ie volume 31 issue 1 by International Festivals & Events Association

the business of international events

ie Magazine is sponsored by:

Jean McFaddin

1942 - 2018

the business of international events

How to Recession-Proof Your Sponsorship Program Succession Planning at Every Level for the Festivals & Events Industry I Donâ&#x20AC;&#x2122;t Have Time for That! Time Management Hacks for Those with All the Balls in the Air

i ii ii i ii ii

the business of international events

F E AT U R E S

How to Recession-Proof Your Sponsorship Program Succession Planning at Every Level for the Festivals & Events Industry I Don’t Have Time for That! Time Management Hacks for Those with All the Balls in the Air

On the Cover: Port Macquarie, New South Wales, Australia.

DEPARTMENTS 8

IFEA President’s Letter

IFEA World Board

IFEA Foundation Board

14 #EventPermit 24

Leadership at all Levels

Small Events, Big Sponsorships

2020 Pinacle Awards Call for Entries

Everyone’s Invited

2020 Hall of Fame Call for Entries

2020 World Festival and Event City Award Program

In Memorium Don Lunday

2020 Webinar Series

May I Help You?

The Sponsor Doc

Festivals Without Borders

102 2020 Volunteer of the Year Call for Entries 104 Adelman on Venues

Driving from the Backseat By Daphne Dickens

First Aid for Burned-Out Teams By Kate Zabriskie

Succession Planning at Every Level for the Festivals and Events Industry By Ira Rosen, CFEE

How to Recession-Proof Your Sponsorship Program By Kim Skildum-Reid

5 Critical Steps to Better Meetings By Rich Horwath

Why You’re Not Getting the Most from Your Training Dollars and How to Start Getting a Better Return By Kate Zabriskie

I Don’t Have Time for That! Time Management Hacks for Those with All the Balls in the Air By Alison Baringer English

106 Control Freaks Anonymous 110 Marketplace

Spring 2020, Volume 31, 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.

IFEA PRESIDENT’S LETTER BY STEVEN WOOD SCHMADER, CFEE

“The greatest ride that you will ever take, is the one you were least expecting.” - Scott Spencer 1954 - 2020

n the hot-air ballooning community, when a beloved pilot passes away, a tribute flight is launched, with a single balloon floating slowly into the sky, silhouetted against the breaking rays of the morning sunrise, and trailing below it three long black banners to express both the sorrow and grieving of those left behind, but also the joy and special memories that they have shared with so many and left behind for all of us to continue building upon, in honor of their lifetime of dedication to friends, family and community. On Friday, January 31st, I lost my best friend and the hot-air ballooning community, as well as the Boise, Idaho community, lost perhaps the most remarkable and talented aerial ambassador in our global industry. After a cumulative career of nearly 50-years of flying, including as the lead corporate pilot for Walt Disney, Coca-Cola, Kellogg and many other leading, family-targeted organizations, as well as the founder of the Spirit of Boise Balloon Classic (which began 30 years ago as part of the original Boise River Festival) Scott left us peacefully, after a long and hard-fought battle with Stage 4 colon cancer. He leaves behind an enviable entourage – by any measure – of loving family, friends and professional colleagues, who were all fortunate to be touched by his life and time with us, and who have all been changed for the better, because of him. Scott liked to say that ‘the greatest ride that you will ever take, is the one you were least expecting’. If that is true, then he is now on the forever flight that he so deserves and I thank him for letting me be a part of the grand launch that he provided to us all. Thank you for letting me share a brief tribute with all of you, who help to make possible the same remarkable and lasting impacts in your own lives and communities around the world.

Good Times Need Quality Insurance. Festivals are always a fun time, but they do come with their own set of inherent risks. Be proactive and protect your event with Haas & Wilkerson Insurance. Entertain the idea of insurance solutions for your festival including food, music and cultural heritage, art, agriculture, and more. Get traditional property and casualty insurance customized to your unique industry needs. With more than 80 years of experience and access to exceptional markets, weâ&#x20AC;&#x2122;re able to provide quality solutions that are cost-effective and event-specific.

For a comprehensive review of your coverage and exposure, call 913 . 432 . 4400 or visit hwins.com/GoodTimes Independent agent representing Westchester, a Chubb Company, Programs Division. Insurance provided by Ace American Insurance Company and its U.S. based Chubb underwriting company affiliates. Chubb is the marketing name used to refer to subsidiaries of Chubb Limited providing insurance and related services. All products may not be available in all states. For a list of these subsidiaries, please visit www.chubb.com.

IFEA WORLD BOARD

s an association, 2019 ended with positive momentum after an energizing Convention in Virginia this past fall. Though there were many great takeaways and memorable moments from the Convention, my favorite memory of our time together was the same it has been for the more than 20 years I have attended the Annual Convention. It always happens during the Awards Luncheon. Once again, I found the standing ovation we extend to the volunteer of the year incredibly touching and a defining moment in time that sets our industry apart! As we rise to honor those who serve, it is as if time stands still for a couple of minutes and all is good in the world. The crowd stands in unity and applauds hard work, dedication, generosity and teamwork. For many of us in the industry the new year has always been an exciting time of media partnerships, sponsorships and launching new programming concepts. It is meant to be a time to renew, strengthen, unite and inspire. I must admit, in recent years, it does seem that we spend more time on insurance matters, legal issues and relationships with our cities than on the creative work and partnerships … it is hard some days to know if we still have that same drive, passion and energy of a volunteer that is the foundation the business of special events was built. I recently returned from the Tournament of Roses and was fortunate to speak with several of the long-standing members that have been volunteers 10

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BY TED BAROODY, CFEE

for more than three decades. Their commitment to the parade, the game and the City of Pasadena is as impressive as portrayed. The ability to give so much of their time for others’ enjoyment is more than motivating. To serve something greater than yourself, to the extent that it becomes part of your personal identity, is a great reminder to all of us of what is right and what is good. It was also a great reminder for what we all have in our own cities. All of our communities and events have these same types of people though not as public as an internationally televised tradition. If you are one of these volunteers, keep up the amazing work you do! Thank you for giving your most valuable asset, your time! For all of us who are fortunate enough to be paid staff members – keep the heart, the drive, the passion and the commitment as those volunteers we applaud each year at the Annual Convention! Life is always better when we are serving something greater than ourselves! Our industry has much to be proud of heading into the New Year - Hooray for 2020!

Ted Baroody, CFEE IFEA World Board Chair President Norfolk Festevents Norfolk, VA

PRODUCTION SERVICES SET CONSTRUCTION RENTAL SOLUTIONS DESIGN ATOMICDESIGN.TV

LITITZ, PA • LOS ANGELES • NEW YORK MIAMI • FRANKFURT

IFEA FOUNDATION BOARD

appy New Year! It is my honor to serve as your Chair of the 2020 IFEA Foundation Board. I also will have the pleasure to work with IFEA President & CEO, Steve Schmader, CFEE, the IFEA staff and more importantly, you - the dedicated event professionals who make up the IFEA membership during the coming months. With this new role within IFEA, I totally understand that my main responsibility as IFEA Foundation Board Chair is to generate funds for IFEA and our worthy Scholarship Programs. You will probably hear plenty of “sales pitches” from me during the year, but I thought I would save those for a later date! Instead, I would like us to take this time to reflect, plan and set goals for 2020 as we start a new decade. Like many of you, I have set personal and professional goals. Sadly, my personal goals very rarely change from year to year – exercise more, eat healthy, less stress and more time with the family. Already this year, I haven’t made it to the gym once and I ate a piece of blueberry pie for lunch today. Professionally, my goals typically change from year to year based on trends, economic environment, and such. These goals may be monetary, staff inclusion and development, or finding a way to improve a process. I’m sure most of you have also met as a staff to review your events from this past year, analyzing everything from revenue, expenses, attendance, marketing, and media coverage. Based on those discoveries it will help map out your direction for 2020. That’s terrific, but how about your goals as it pertains to the annual organization memberships you pay to be a part of? Most of us just pay the annual dues and maybe attend a function or two. Are you really leveraging your memberships to the fullest? First, let’s not refer to it as “dues.” Instead let’s refer to it as an investment. We should not be paying a membership fee if we don’t expect a return on investment. This is comparable to an event sponsor. Very few corporations are giving us money out of the goodness of the heart. They expect something in return. It may be exposure, new customers, tickets, etc. Nothing frustrates me more than a sponsor that does not leverage the partnership and the assets they have paid for. The same should hold true for us as IFEA members. We should set goals, no matter how simple or basic, to better leverage our membership. Are we as members taking full advantage of what IFEA has to offer? My guess is all of us could leverage our association a little better in 2020. 12

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BY KEVIN GROTHE

Networking I have never met a group of professionals more willing to share. It’s like a large (and dare I say dysfunctional) family. We all have experienced successes and failures. When you attend the Annual IFEA Convention, set a goal to meet five new people. Even if you are not able to attend the Convention, don’t be afraid to email a staff or association member. You will be greeted like the long-lost uncle who hasn’t attended a family function in years, with open arms. Webinars IFEA brings the classroom to you. This is a low-cost, efficient way to learn from industry leaders on a variety of topics. You save on travel costs and several staff members can gather around the computer. Newsletters and Magazines Take time to read the IFEA newsletters and magazines. They have articles on the latest trends and happenings in the event industry. Understand you may not read every single article, but my guess is you will find at least one article of interest in every issue if you just make time to read. Professional Products and Resources IFEA offers a myriad of resources that can assist your organization. Below are just a few examples: • Job Bank • Economic Impact Study • Safety, Security and Risk Management Audit • Sponsorship Audit Here’s my hope: just maybe this year you realize there’s more to IFEA than you were aware of or have taken advantage. And just maybe, when you hear that “sales pitch” you are more inclined to support an organization that provided tremendous value for your investment. Here’s to a successful 2020!

Kevin Grothe IFEA Foundation Board Chair Vice President of Sponsorships Memphis in May International Festival Memphis, TN

#EVENTPERMIT

WITH RENE MICHAELY

COMMUNICATION AND INFORMATION MANAGEMENT ARE THE

BACKBONE OF A ROBUST SPECIAL EVENT PERMITTING SOLUTION

t a time when there is rapid digital disruption in the public sector, when citizens are demanding timely information and transparency, and elected officials are turning to community engagement to support decision-making, the role of external communications is vital. However, effective and timely communication doesn’t always take priority internally in government agencies. This is especially the case for non-legislated departments and processes such as special events, filming, and other types of specialized permitting. Effective communication (internal or external) starts with good information, i.e. information that is accurate, complete, consistent, unique, and accessible in real-time. Yes, replacing analog processes with digital solutions can meet many of these requirements, however, if you don’t select the right solution from the outset—and carefully manage its implementation and use— going digital can be just as painful and ineffectual as the manual processes it’s replacing. When a Special Event Office is ready to select a new digital solution to support application and permit processing, staff may want to consider the following features and functionality that will ultimately support effective communications and information management: • Does the solution specifically support the complex approval workflow processes of special event permitting, or was it chiefly designed for other government processes? • Is it customizable so that it can be used for other, less complex, permitting processes (e.g. filming, grants, road closures, etc.)? • Does it integrate well with existing enterprise and legacy systems such as email, GIS, public calendars, and finance? • Does it support interdepartmental, interagency and applicant-direct communications and information storage for external events as well as events hosted internally by the Special Event Office? • Are government staff and external agencies able to email event organizers (i.e. applicants) directly? • Was the solution designed with automated features such as scheduled email notifications to reduce the amount of time spent following up on application approvals? • Does it support central storage of all data, including applications, supporting documentation, reviews, approvals, communication between all users, financial data, issued permits, debriefs, and survey data? 14

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• Can users access the solution (including all documents and communications) anytime, from any device? Although not directly linked to communications and information management, it’s also beneficial that the Special Event Office staff consider a solution that enables: • Staff to easily, and self-sufficiently, modify the application process; • Staff to issue invoices and collect fees during and after the application review and approval process; • Staff to query information in the system to identify process bottlenecks and opportunities for process improvement; • User insight into application data, e.g. staff can generate and print reports from a central source; and • Staff to create post-event surveys so that they can collect data and measure the impact, success and growth of events in their community. Communication and information management are the backbone of a robust event permitting solution and should be paid careful consideration when evaluating potential solutions. Equally important is the implementation of a solution. Selecting a solution that is supported by a clear and tested change management strategy, user training, and responsive user support can make or break the implementation and its adoption. Does your Special Event Office struggle with internal and external communications and information management? Have you selected a solution that has significantly improved the way you manage communications in your Special Event Office? Share your feedback by joining the conversation on Twitter and using the hashtag, #eventpermit. Rene is the founder and chief visionary of Eproval, a software platform designed to automate and streamline complex application and approval processes including event permits. Based in Vancouver, BC Canada, his team has an intimate understanding of government permitting and approval processes through their experience working with and for event offices. Rene has also been a product manager at an event registration start-up and founder of a web development firm specializing in event websites and complex applications. You can reach Rene at rene@eproval.com, learn more about Eproval at www.eproval.com, or follow @eproval.

IFEA VISION A globally united industry

Publisher & Editor

that touches

Steven Wood Schmader, CFEE, President & CEO Assistant Editor

lives in a positive

Nia Hovde, CFEE, Vice President Director of Marketing & Communications

way through

Advertising Kaye Campbell, CFEE, Director of

celebration.

Partnerships & Programs Art Director Craig Sarton, Creative Director Contributing Writers Steve Adleman, Robert Baird, Alison Baringer English, Daphne Dickens, Bruce Erley, Laura Grunfeld, Rich Horwath, Gail Lowney Alofsin, Penny McBride, Rene Michaely, Ira Rosen, Kim Skildum-Reid, Teresa Stas, Robert Wilson, Kate Zabriskie Photography Laura Grunfeld, Andrew Rafkind

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

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. 8180.

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

Spring 2020

http://www.ifea.com

X EEXXPPO O E P O X E P X O EP SEPTEMBER 28 - 29, 2020

65th Annual IFEA Convention, Expo & Retreat Hershey Lodge, Hershey, Pennsylvania, U.S.A.

A sweet time to connect with buyers To register go to www.ifea.com

DRIVING FROM THE BACKSEAT BY DAPHNE DICKENS 18

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Volunteers. They can be your best advocate or your most challenging ally, but we all know the joy festivals bring to our communities could not exist without them (nor our organizations). Let’s be honest, we’re all a little (or a lot) Type A and protective of what we put our blood, sweat, and tears into throughout the year. But, with a well thought out plan and the right people in place, you might be surprised how they can enhance your festival if you let them. The definition of volunteer is “a person who freely offers to take part in an enterprise or undertake a task.” So, give them a task they can own. That’s what they signed up for. I know what you’re thinking “yeah, there’s a lot to be done but I could execute the task more quickly and efficiently. Now I must explain the task, schedule in time for the volunteer questions, re-explain the task, allow time for me to fix what the volunteer didn’t do so it’s up to standard, etc. etc. etc.” Let’s take a step back and evaluate this response (and the million other excuses we have). Did they not execute the task or did they not execute the task the way you would have? Did we take the time to provide enough detail for them to execute the task properly? Are the right people in the right volunteer position? Have we thought “how” individuals volunteer and the most efficient way to communicate with them? We need to give volunteers great directions and tools to empower

them but also allow and encourage them to share opinions, suggestions, and ideas all while guiding to get them in the direction we need to go. This is where we drive from the back seat, but not be a “backseat driver”. There is a difference! In a recent IFEA Webinar, “The Path to Volunteer Growth”, presented by Florence May of TRS Volunteer Solutions, it was noted that volunteering is now seen as an alternative to leisure activities. More people are spending their free time volunteering for organizations they’re passionate about. What an amazing time to be in volunteer management! While there may be plenty of volunteers, how do you attract the right volunteers and how do we best communicate with them pre-festival, during the festival and post festival? At the 2019 IFEA Convention, Kaylee Williams of VolunteerLocal led a session on volunteer programs for multiple generations. “Different generations are experiencing different stages of life. They can be uniquely incentivized (and motivated) based on their values, and the economic and social context in which they grew up.” Kaylee followed the statement with a question: how do we be intentional about leveraging these generational differences to help guide our volunteers? How can we use this to our advantage? By thinking generationally, you may have a better understanding of the volunteers you’re leading, including what their motivations Spring 2020

may be and how to best manage them. We should also be more cognizant about the vehicle we’re using to communicate with our volunteers. In example, it’s been found “Baby Boomers” (1944-1964) prefer email communication compared to “Millennials” (1980-1996) who prefer more instant communication through text messaging. Motivations also vary across generations, ranging from “The Silents” (1927-1945) who are, in general, motivated just by general volunteering for their communities whereas “Gen-Xer’s” (1965-1979) are looking for more family friendly volunteer opportunities. Volunteers may also need help in finding what their strengths are in order to best benefit your organization. It’s not always clear to them (or even to us). Asking them about their passions and learning what their needs are as a volunteer is critical. If a volunteer ends up being placed in the wrong area or position, chances are they won’t return to the organization. But if you get to know them as an individual, they may feel comfortable enough to tell you they didn’t have a good time or felt they weren’t in the right position. You could then place them in a different role or on a different team where they may be a better fit and at the end of day you don’t lose a volunteer. We must meet our volunteers where they’re at in life as individuals and help guide them to truly capitalize on their strengths to help grow and maintain a reliable volunteer. Putting our trust in these

IFEA’s ie: the business of international events

volunteers to get the job done can either make or break our end goal: to execute a successful festival. While it can be challenging and time consuming, it’s the only way to expand not just the volunteer program but the festival itself. While you’re providing guidance to get the job done (or driving from the backseat), you’re now able to focus on other things to enhance the organization’s mission and the festival. I was once given a great analogy when managing volunteers: We need to build a table. It doesn’t matter how you build it; it just needs to get done. One thing to think about when giving volunteers tasks is “are you giving them the right tools to build a stable and beautiful table?” and “Do we have the right people in place to build the table?” Let’s just think about the concept of building a table. You’d probably go to a store to rely on a professional to provide guidance on how to build a table. They might show you where the pieces of wood are, the stain options, tools you may need, the nuts and bolts of how to put it together but then, you’re on your own. You enjoy building this table because you can make it unique, it fits the style of the room you’re putting it in, and you’re proud of the work when it’s done. You want to show it off. Sure, you might have questions along the way but you can call on the trusty professional if needed. Now think about building a table in terms of a team or an assembling line. More than likely there’s someone who is better at selecting the type of wood for the table, someone who enjoys staining the table, people who are excellent with tools, and a team that can follow directions to put the table together. If you don’t have the right people in place, production slows, mistakes are made, and your stuck micromanaging each department. But, if you’ve trained the right leaders, gave them clear direction, shared your goals, and empowered them to make decisions on their own, you’ll have beautiful tables. Trusting your volunteers isn’t always easy but if they’re set up with the right tools and directions, it’s up to them to execute. Your role then is to be there to oversee and support the teams as needed. If the right leaders are in place your focus can be in another area of need. Now, let’s build a festival. Before we stress about recruiting, managing, and motivating volunteers, let’s ask ourselves how we can set them up to succeed (keeping in mind generational differences) and in turn, make our festival successful. It will take a little bit more time on the 20

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front end of planning; however, the outcome is well worth the effort. Volunteer management is an on-going task with the need of year-round engagement. It’s not something that can be thrown together a month before the festival with the expectation of grand success. Once a well thought out volunteer management plan is put into place, you’re able to evaluate the volunteer program year after year and make changes as needed. Some questions to ask yourself: How are your volunteers organized? Do you have volunteer team leads? If not, organizing your teams like a calling tree is something to consider to make your life easier, especially if you have a large group. Are you having open conversations with your team leads before the festival? Team leads can act as a liaison between the organization and specific team/area. It also gives them ownership in the outcome. Having the right team lead can make a

world of difference in a general volunteer’s experience as well. These individuals just want to volunteer during their selected shift and will have no engagement until the next festival, and that’s okay. There’s a place (and a need) for everyone at every level of engagement. It’s also important to make sure your door is open for any concerns or suggestions from other team members and general volunteers. It goes with the old saying, “people don’t leave bad jobs, they leave a bad management.” Volunteers generally have the best interest of the organization and want to see it be successful. Sometimes it’s time for a new leader or to make changes within teams. While these conversations aren’t always easy, if it’s in the best interest of the organization then it’s something that needs to be done. Lean on your Director, Board Chair, or IFEA colleagues for guidance on the best way to execute these types of conversations. Spring 2020

Are you deploying volunteers properly during the festival? The worst thing to happen to a volunteer program at a festival is to have nothing for volunteers to do. Put yourself in their shoes. If you took Volunteer Time Off or dedicated hours of your free time to volunteer, only to stand around, would you come back the next year? More than likely not. Be smart about how many people you need during each shift, (including an estimate of the number of volunteers who will back out or just not show up), work with your veteran volunteers, team leads or production manager to estimate the time and number of people it’ll take to execute a project, and put plans on paper prior to the festival. Sure, the plans may not be followed to the exact date/time but it gives you a better idea on how to prioritize and can be shared with team leads to execute without you micromanaging. Have you empowered these volunteers to make decisions on the best way to “build a table”? Everyone likes their opinions and suggestions to be heard and better yet, they like to be asked. Opening the lines of communication with these volunteers can A) Set the expectations from you and your organization B) Provide dedicated time for you to truly listen and act on what their concerns and ideas may be C) It helps build a roadmap of how to get to your final destination! (Or a stellar festival). Having these on-going conversations is an easy way for year-round engagement. It may be a volunteer round table discussion on past experiences or brainstorming on a better way to do something on-site. It could also be coffee or happy hour with one or two volunteers to get to know them better. Keep in mind, generational and motivational differences when engaging with volunteers. All volunteer feedback is valuable and it’s up to you how you compartmentalize and prioritize the feedback. It helps you drive from the back seat. It can guide you in a way to be more proactive to give your volunteers what they need to be successful before they even ask! More importantly you took the time to care. You gave them the keys to the car and in turn you got where you needed to go with just a little bit of guidance from the back seat. Daphne Dickens is the Production & Program Manager for the Award-Winning Des Moines Arts Festival® in Des Moines, Iowa. She resides in Des Moines with her husband, Luke, and their Mini Aussie, Earl.

IFEA’s ie: the business of international events

INTERNATIONAL FESTIVALS & EVENTS ASSOCIATION

LEGACY SCHOLARSHIPS These 19 scholarships are made possible by the generosity of many industry donors through the IFEA Foundation. Each scholarship covers the full registration costs* for a deserving industry professional, student or volunteer to attend, learn and grow from the unparalleled creativity, education and networking of the IFEA Annual Convention & Expo - the leading industry gathering of professionals dedicated to the festival and event field. The 65th Annual IFEA Convention, Expo & Retreat is scheduled for September 28-30, 2020 at the Hershey Lodge in Hershey Pennsylvania, USA. Scholarship Eligibility Scholarships are open to applications from IFEA members worldwide, with the exception of the following six scholarships established for U.S. based applicants only: • The Georgia Festivals & Events Association Scholarship (Georgia members only) • The Mid-Atlantic Festivals & Events Professional Scholarship (CT, DC, DE, MD, NJ, NY, PA, RI, WV members only) • The Tennessee Festivals & Events Professional Scholarship (Tennessee members only) • The Pete Van de Putte Scholarship (Texas members only) • The Joe & Gloria Vera Memorial Scholarship (Texas members only) • The Kay & Vernon Wolf Scholarship (Texas members only) Each scholarship is designed to support and encourage selected and targeted individuals. Applicants must meet the criteria outlined for the specific scholarship that they are applying for and cannot be in a financial position to attend without scholarship assistance. Once these requirements are met, applicants are considered on their cultural diversity, professional aspirations, course of study (if a student), and statement of benefit to themselves and/or their organizations and communities as the result of attending the convention. We invite you to look through the opportunities below and take a moment to learn a little more about the special individuals and groups attached to each. Apply using the application on the following pages or download the application and get additional details at ifea. com/foundation.

The Arts Festival Legacy Scholarship The Arts Festival Legacy Scholarship provides support for professional growth to individuals with an arts festival focus and a visual or performing arts background. 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 shortterm economic or start-up challenges. The Mampre Media International Scholarship Providing support to a deserving individual working with media/marketing responsibilities for an event.

Interested in building your own legacy through an IFEA Foundation Legacy Scho

INTERNATIONAL FESTIVALS & EVENTS ASSOCIATION

Supporting and Educating the Festivals & Events Industry Since 1993 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 IFEAâ&#x20AC;&#x2122;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. Includes the states of NY, CT, RI, PA, NJ, DE, MD, DC, and WV. 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.

APPLI C

2020

ATI O N D

May 15

EAD LI N

, 2020

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 Memorial 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 & Vernon 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. *Travel and lodging are not included. The Daniel A. Mangeot Memorial Scholarship does not cover convention registrations costs but rather core curriculum fees toward the attainment of the IFEAâ&#x20AC;&#x2122;s Certified Festival & Event Executive (CFEE) designation.

larship? Contact Kaye Campbell at +1-208-433-0950 ext 8150 or kaye@ifea.com.

LEADERSHIP AT ALL LEVELS

WITH GAIL LOWNEY ALOFSIN

20 IDEAS FOR AN

ENHANCED AND INSPIRING 2020! “Open YOUR eyes! The sole difference between ordinary and extraordinary is recognition.” - G.L.A

e blink and we are already several months into a new year. New Year, New You? Let’s adjust this lens from “new you” to “enhanced you.” This is your year! A new year is an opportunity for a fresh start. Here are a few suggestions as you continue the 2020 journey: 1. Enough with the Resolutions. 80% of New Year’s resolutions fail by February. (Source: U.S. News and World Report.) Replace resolutions with goals you can commit to. 2. Set Goals. What four things would make your life better? Put these four realistic goals in writing. Ensure your goals are specific inclusive of a timeline. You can always adjust your goals, just get started! 3. Eat a Frog for Breakfast – every day. Plan your day and eat the frog (the hardest task) first. Addressing that frog, whether it is the start of a project or difficult conversation, will give you energy. Ribbit! 24

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4. #OwnIt – Own your thoughts. What you think about becomes your reality. 5. Challenge Yourself. Make changes that will improve your life. 6. Don’t Close a Door that Could be Left Open. What are you so angry about? Is it worth it? 7. No Gossip, Period. Remember Mrs. Kravitz from the television sitcom, Bewitched? Stop looking out your window with judgment. Take a peek inside your own house. 8. Read “Designing Your Life – How to Build a WellLived and Joyful Life” by Bill Burnett and Dave Evans 9. Watch “Love Actually”. Then watch it again. Smile, Laugh, Cry, Cheer. 10. Dance Party! Music connects. Music unites. Begin your day with a playlist that gets you moving! Live in your song! 11. Get Off the Couch. Start your exercise program slowly and realistically. Walk 10 minutes, then 20. The little things add up. 12. Limit the Junk Food. Do your best to eat healthy. Your body and mind will thank you. 13. Sleep is a Vitamin. Get at least 8 hours of sleep. You cannot run your engine without fuel. You will be invincible! 14. Laugh. Enjoy the people you encounter. Ignite a good belly laugh, every day. 15. Be a Friend. To have a friend, be a friend. “Collect” good people in your life. 16. Plus One. What is one more thing you can do to enhance a relationship with your colleague, client, family? 17. All Phones Down – and put away. Be present. 18. Serve Others. Every morning ask yourself: “What can I do to enhance another person’s life today?” 19. Gratitude. Reflect every day on the gifts in your life, you know what they are. And say thank you. The best gifts cannot be wrapped. 20. LIVE YOUR LIFE! People have more regrets about the chances they did not take than the ones they did. Don’t miss out. This is not a dress rehearsal. Don’t “what if” your life – get there and live it! Gail Lowney Alofsin is the Director of Corporate Partnership & Community Relations for Newport Harbor Corporation/Newport Restaurant Group. An adjunct professor at the University of RI and Salve Regina University, author, speaker and volunteer, Gail lives in Newport, Rhode Island. To date, 100% of the sales of her book, Your Someday is NOW! What Are YOU Waiting For? have raised over $42,000 for non-profit organizations. Visit gailalofsin.com for more info.

POWERFUL IDEAS

PROFITABLE

NETWORK

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International Festivals & Events Association

IFEA World

LEADERSHIP LEGACY

RECOGNITION PROGRAM The I F EA Leadership Legacy Recognition Program recognizes individuals who have made a significant impact through their work and accomplishments in the festivals and events industry within their own town/city/community. Someone who may not necessarily have the international impact that the I FEA Hall of Fame Award calls for, but has accomplished great things within their own town/city/community. Throughout the year, up to four Leadership Legacy recipients will be selected by their peers from nominations received. Each recipient will be recognized through a feature in an issue of I FEA’s “ie” Magazine – specifically in January, April, August and October. This is an ongoing recognition program throughout the year, nominations can be accepted at any time. “ie” magazine deadlines can be found at www.ifea.com.

Leadership Legacy Nomination Criteria Leadership Legacy nominees must represent a current or past IFEA Member. Nominees can be retired and/or represent any facet of our industry (i.e.: vendor, supporter, event profession, senior professional, etc.) Please Submit the Following Information for a Leadership Legacy Nomination. Nominees may have someone else submit a nomination on their behalf, or are able to nominate themselves. Leadership Legacy Nominee Contact Information Name, Title Organization Address, City, State, Zip, Country Phone, Fax, Email Leadership Legacy Nominee Questions Please answer each of the following questions citing specific examples using no more than 500 words per answer. 1. Explain the impact through and accomplishments the has made in the festival industry within the local

their work candidate and event community.

2. Describe the level of involvement the candidate has had with the IFEA during their career. 3. Submit a general overview of the candidate’s career including organizations worked for, positions held, titles, awards etc. Entry Format: Please email the nomination in a word Document. Submit Entries to: Nia Hovde, CFEE, Vice President/Director of Marketing & Communications at nia@ifea.com. Questions: Please Cont act Nia Hovde, C F E E, Vice President/Director of Marketing & Communications at Email: nia@ifea.com or Phone: +1-208433-0950 ext: 8140. Deadline: Nominations may be submitted at any time during the year. Leadership Legacy Recipients will be featured in the January, April, August and October issues of IFEA’s “ie” Magazine. “ie” Magazine deadlines can be found at http://www.ifea.com/p/ resources/iemagazine/publishingdeadlines.

BIG

SMALL EVENT,

SPONSORSHIPS

WITH TERESA STAS

NO SPONSORSHIP RECAP

MEANS MONEY LEFT BEHIND

s we start a brand-new year – heck, a brand-new decade – thinking about how you will reach your fiscal event goals for 2020 is probably on the top of your mind. I know it is for our clients. Just before New Year’s, I had an extensive conversation with a client after one of their sponsors asked for a recap of their sponsorship. My client contacted me because they had never done recaps before. They had never felt the need, and they weren’t really sure where to start. Yet, through our discussion, I learned the event planners were frustrated that they weren’t getting the money that they felt the sponsorships warranted. They didn’t understand why the sponsors wouldn’t increase their sponsorships. Well of course they aren’t getting the money they deserve because the sponsor doesn’t know what they have done for them because they have never seen a recap! I run into this attitude all the time with smaller events and I can’t stress this enough: if you aren’t doing sponsorship recaps, you are leaving money behind and making your job harder. It may feel like you have a good relationship with your sponsors and a recap is unnecessary extra work, but that is, in fact, not the case at all. And if done correctly, a recap doesn’t have to be a daunting task. Recaps Increase Renewals In last Fall’s column, I went over how to increase your renewals. One of the steps I shared was to always do a sponsorship recap. The events we work with that conduct sponsor recaps re-sign at a 75% higher rate than those events that do not. Seventy-five percent! I constantly preach to my clients that it’s essential for you to not only show proof of your performance, but also debrief with your sponsors so that you both know what did and did not work. In my experience, I’ve found that most small events do not debrief with sponsors, which is a major misstep. A company’s sponsorship of your event is looked at as an investment and it’s up to you to show them that they made a smart decision. Many companies must prove to their higher ups why certain marketing initiatives did or did not work. If they have nothing to show for their investment, or if you leave it up to them to do the research on their own, it’s easier for them to just say no to you next year. If you don’t follow up with your sponsors after the event, how will you know what you need to adjust for next year or if you are in a position to ask for more? You can’t just disappear and resurface when it’s time for renewals. By then, it’s too late to fix any issues that might have arisen.

How to Do a Recap Most recaps will be less than five pages with a lot of photos showing proof. Your bigger sponsorships may include more than five pages; it just depends on the amount of promotion and/or marketing the sponsor was involved in. For those of you who may not know how to put together a proper recap or what information to provide, let me break it down what information you should include: • Numbers: Include attendance numbers, along with demographics and other information collected through research. This also includes overall media reach and general event success info. • Additional Assets and Bonuses: Highlight what the sponsorship agreement included versus what extras they received. • Photos: Supply images of activations and assets, especially those the event was responsible for providing, such as banners, posters, billboards, display booths, t-shirts, etc. • Media Value: Highlight everything that the sponsor was included in and affidavits of radio and/or tv. Include air-checks when possible. • Advertising and PR: Provide copies of print ads and articles that include the sponsor. Include circulation numbers if available. • Copies of Print Items: Provide copies of programs, posters, flyers, rack cards, etc. If the event was managing any sampling or distributing of literature, include numbers of how many were distributed. • Other Promotions: If the sponsor was included in any off-site exposure or retail promotions, include photos and/or documentation. Think of your recap as their receipt. You are showing them that they got what they paid for. When you take the time to do this, you are proving that their sponsorship is important to you and that you value the partnership. Now, for a quick word of caution. When events do recaps for the first time, they often start to realize that they haven’t been holding up their end of the bargain. They also often start to recognize that this is probably a big contributor to why they aren’t getting an increase or renewal. It’s not enough to tell a sponsor that you did what you said you would; you must prove it! The process of a recap holds the event accountable for its promised assets. Getting Started The idea of doing recaps might feel daunting if you haven’t done them before but starting now will make things much easier Continued on page 108

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FIRST AID FOR BURNED-OUT

TEAM S By Kate Zabriskie

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

Spring 2020

The team’s exhausted. They’re burnedout, and I am too. I don’t know if we can recover. We’ve been working at 150% for over a year – at least most of us have. More change? Really? We’ve been through three major transitions in as many months. Everyone is really on edge. I am pretty sure Susan is going to quit. Team? We work in the same building, but that’s about where it starts and stops. I’m hoping to get out of here soon. Even in the best of times, creating and maintaining a high-functioning team is work. When the team is burned-out, the task is infinitely harder, but it can be done. STEP ONE The first step is accepting a list of truths. Truth One: People have different levels of buy-in, a range of professional goals, and varying home/work demands. Truth Two: Not everyone experiences burnout in the same way nor is work always distributed evenly in most organizations. Some people probably are more burned-out than others. Truth Three: Great teamwork will compensate for a lack of resources in the short term. However, teams that are stretched too thin for too long begin to show signs of wear and tear after a while. Truth Four: If the leader isn’t a believer in what the team needs to accomplish or isn’t working as hard as he or she can to bring the team over the finish line each day, team members will know it and react in a range of ways—most of which are neutral at best. Truth Five: Transparency matters. People don’t like being left in the dark, or worse still, lied to. Truth Six: Too many changes at once usually don’t go over well unless there’s a logical flow to them, a sense of fairness about what’s being changed, and the absence of unnecessary chaos or drama. Truth Seven: Elephants in a room stay there if they’re allowed to do so. If a team is not prepared to operate with candor and

address any unspoken issues, there’s only so much that can be done to save the group. Truth Eight: Team members’ perceptions of the team’s condition are their truth. You may have plenty of data to argue to the contrary, but until people are ready to listen and believe what you show them, what they currently think is what is. STEP TWO Once you’ve got a firm understanding of the basic truths, the next step is taking a long and hard look at what’s working, what isn’t, and why. Does everyone understand and buy into the team’s mission? Is work distributed fairly? Are some people doing more than they should have to do and others doing less than they should? Are people resentful of each other? Is there drama, and do you know the source? Is the team’s burnout a recent phenomenon or has its decay been long in the making? Is the burnout caused by internal factors, external factors, or a combination of both? Have people been misled or lied to in the past by those in positions of authority? Those questions are just the tip of the iceberg and some ideas to get started. In fixing burnout, asking the right questions is as important, if not more, so than taking action. A good list of questions will help you reduce the likelihood that you are treating symptoms or curing the wrong disease altogether. STEP THREE When you think you have a good grasp of the current situation and have verified your findings with others, it’s time to start thinking about what could be. A fast way to imagine a different state is to work through some more questions. • Why does our team matter to the organization and what value do we offer? • How do we want to feel about our work? • What gets us excited about our work or what do we enjoy? • What changes do we need to our work product, our work processes, or our people interactions? • What needs to stay the same? • What level of performance do we need from each team member? • What are we going to do if those levels aren’t met? Spring 2020

• What additional resources do we need? • What would success look like? • What can we do to encourage transparency and communication? • How will we celebrate improvements? STEP FOUR With a clear view of the present and a possible future, the next step is prioritizing. In most cases, burned-out teams don’t burn out overnight. Often the process is long and marked by a series of declines, bad luck, and unfortunate circumstances. Consequently, the recovery process is often long. In fact, the team may never realize some of the elements identified in step three for a long time, or maybe ever. Most recoveries don’t happen overnight. The trick is to keep the truths discussed in step one in mind as you prioritize a plan of action to get from the reality you uncovered in step two and the future you envisioned in step three. STEP FIVE The final step in the recovery planning process is creating a deliberate communication plan. Recognize that you need to over explain and repeatedly share information. Once is not enough. Also, not all recoveries are linear. Your team will have some good days and bad. What’s important is making progress in the right direction over time. After a series of successes, everyone who is still with the group should be feeling a little less burned-out and a lot more excited about the work at hand. With these five steps well in hand, you’re positioned to provide some immediate triage to your team members that are battling burnout. Burnout can be pervasive throughout an entire company, so get your first-aid kit out as soon as you pick up on the problem, and mitigate the issue before it negatively impacts your operation. Kate Zabriskie is the president of Business Training Works, Inc., a Maryland-based talent development firm. She and her team help businesses establish customer service strategies and train their people to live up to what’s promised. For more information, visit www.businesstrainingworks.com.

IFEA’s ie: the business of international events

THE UN-COMFORT ZONE

WITH ROBERT WILSON

FOUR EASY WAYS

TO EXERCISE YOUR CREATIVITY

Stimulate creative-thinking from the comfort of your desk. Recently I was contacted by a reader asking me if I would suggest some exercises that he could use to think more creatively. That request has inspired me to write about some fun ways that you too can exercise your creative mind. The purpose of these exercises is to condition your mind to quickly make new connections or combinations between two or more existing items or ideas. When this becomes second nature, you will begin to automatically notice connections that you never saw before. Some of these may even turn into money-making opportunities. Find New Uses: Select a common item such as a bottle, comb, fork, or chair, then come up with ten or more alternate ways that you use that item. I saw a product on Amazon.com called an Onion Holder (for holding an onion while you slice it), it looks like someone found a new use for a metal hair pick. Make New Connections: Pick two random objects and think of a way you could combine them to come up with a new product. Start right now with the items on your desk: pen, pencil, tape dispenser, stapler, lamp, phone, paperweight, in/ out box, paper and so forth. Have fun here and be as unusual or unconventional as necessary to force these items into something new. Take for example the Roller Buggy, which combined a baby stroller with a scooter, and allows parents to have fun riding with baby. One of my favorite ways to make new connections is to make up jokes from stuff I hear on the news. A joke is really just a story with a surprise ending. I especially 32

like non sequitur jokes that begin with a logical sequence of thought then take an unexpected direction (sometimes called “being led down a garden path); such as this one by Ellen DeGeneris, “My grandmother started walking five miles a day when she was sixty. She’s ninety-seven now, and we don’t know where the hell she is.” Jokes are frequently a play on words that have two or more meanings; like this one by Natalie Wood, “The only time a woman really succeeds in changing a man is when he’s a baby.” And, then there are double entendres such as this classic “Police station toilet stolen; cops have nothing to go on.” Solve Riddles: Solving riddles exercises your creative-thinking in a similar fashion to making up jokes. Riddles are not only fun, but they stimulate your creativity by forcing you to consider the clues from a perspective that is different than normal (riddles, like jokes, often use double entendre or double meaning). Here are two that I found on riddles.com: “What relation would your father’s sister’s sister-in-law be to you?” and “What ends in a ‘W’ but has no end?” (*answers at end of article). Complete the Picture: Mr. Squiggle was a television show that originated in Australia. The title character was a marionette with a pencil for a nose. Viewers would scribble a few marks on a piece of paper and mail it into the show. Mr. Squiggle would then use his pencil nose to complete the drawing into an object that children would recognize. You can do this same exercise at home or the office. Take pen and paper, and make your own arbitrary squiggles, lines and shapes. Look at them until you can visualize a

IFEA’s ie: the business of international events

Spring 2020

recognizable object, then fill in the lines to make the drawing. Alternatively, you can select three or four random words from a dictionary, then come up with a sentence using all of them. In previous articles I have suggested what I consider to be the most important method for stimulating your creative thoughts. And, that is to regularly expose yourself to new stimuli - in short - new experiences. Whether you take a trip to some place you’ve never been, or take a class in something you know little or nothing about, or read something that is different from what you normally read, you will expose yourself to new information. That new information creates new neural connections in your brain which in turn give you more data with which to make new meaningful connections. The purpose is to get used to seeing connections where you never noticed them before. Then when you need to solve a problem, you’ll be prepared. Robert Evans Wilson, Jr. is an author, humorist/speaker and innovation consultant. He works with companies that want to be more competitive and with people who want to think like innovators. Robert is the author of ...and Never Coming Back, a psychological thriller-novel about a motion picture director; The Annoying Ghost Kid, a humorous children’s book about dealing with a bully; and the inspirational book: Wisdom in the Weirdest Places. For more information on Robert, please visit www.jumpstartyourmeeting.com. *Riddle answers: your mother; a rainbow.

2020 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 65th Annual IFEA Convention & Expo.

THE CONTEST DEADLINES All entries must be RECEIVED at the IFEA Office by the following dates: • EARLY BIRD ENTRY DEADLINE: 5:00 p.m. (MST), MONDAY, JUNE 15, 2020 ❍ Entries received on or prior to June 15, 2020 will receive the Member early bird rate of $35 per entry or $100 per Grand Pinnacle Entry or the Non-Member earlybird rate of $70 per entry or $200 per Grand Pinnacle entry depending on IFEA Membership status. • FINAL ENTRY DEADLINE: 5:00 p.m. (MST), MONDAY, July 13, 2020 ❍ Entries received between Tuesday, June 16, 2020 and Monday, July 13, 2020 will receive the Member final entry rate of $40 per entry or $125 per Grand Pinnacle Entry or the Non-Member earlybird rate of $90 per entry or $250 per Grand Pinnacle entry depending on IFEA Membership status. ELIGIBILITY • Entries must have been produced and / or used for the first time between July 16, 2019 and July 13, 2020. • Entries must be submitted in their original format unless previously approved. For Questions Contact: Nia Hovde, CFEE, 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. • NEW - Page size must be no greater than 8.5 inches x 11 inches (or A4 size paper outside North America) • Preferred layout to be white background with black text (if possible). • 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. However, please don’t hesitate to contact Nia Hovde, CFEE at nia@ifea.com with questions. 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. 36

IFEA’s ie: the business of international events

Spring 2020

• 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/ USB Drive, will not be accepted. Please separate entries. • Entries required to be submitted in a “notebook” (Categories 1, 40-70) 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. This is to protect the entry and make sure it stays in the order and condition you sent it. • UPDATED: All winning entries are posted on ifea.com after they are announced. In order for us to make this possible, if submitting categories 1 or 40-70, 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 pdf document.) Please submit pdf on a USB ThumbDrive. If submitting one or more entries from categories 1 or 40-70, plesae include all pdf versions of entries on the same single USB ThumbDrive and attach to overall payment form. Be sure to clearly label your thumbdrive! • If submitting an entry that requires a link to be provided (TV/Radio/MultiMedia) please make sure link remains active until the end of October. • 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 2020 Pinnacle Entry for “Your Event Name / Organization Name.” Only one logo will be used. HOW TO USE THIS BROCHURE • 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.) • Please provide answers/information in the order it is asked, for the specific category in this brochure. THE JUDGES The judges are recognized professionals in the areas of graphic design, promotions and public relations; broadcast, print and online media; and special event planning and management. SCORING SYSTEM • Categories 1, 40-70 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. • Scores are available upon request. • Failure to meet all requirements or answer / provide all necessary information will result in a deduction of points. THE WINNERS • For all entries, each winning festival/event receiving a Gold, Silver or Bronze award, is the best festival/event/ program for that specific category based on the specific criteria and requirements of the specific category, chosen out of those Festivals/Events/Organizations who entered the 2020 IFEA/Haas & Wilkerson Pinnacle Awards for that category. • All winners for the IFEA / Haas & Wilkerson Pinnacle Awards will be notified by email by Tuesday, August 18th, 2020. Notification will go all contacts listed on the Awards entry form. If you have not received a notification email, please contact nia@ifea.com. • The 2020 IFEA/Haas & Wilkerson Pinnacle Award winners will be announced at the 65th Annual IFEA Convention & Expo. 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 ALL contacts 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 weeks after the IFEA Annual Convention. • Awards will be shipped via USPS and may take up to 3 weeks to arrive at their destination, once shipped (depending on location). If you would like us to ship your awards via UPS/FedEx, please provide 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 65th Annual IFEA Convention & Expo, or arrange for a representative to accept any award won on your behalf. • Gold winning entries will be on display during the 65th Annual IFEA Convention & Expo. • Winning entries will also be available to view at ifea.com shortly after the 65th Annual IFEA Convention & Expo. RELEASE & USAGE • By submitting your entry to the IFEA/Haas & Wilkerson Pinnacle Awards 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.

• Confirm that all information within each of your entries is true and accurate to the best of your knowledge. • Acknowledge your entry/ies are not returnable or refundable. • Your entry into the competition is acknowledgement of these terms. • As a not-for-profit 501 (c) 6 organization the IFEA reserves the right to refuse entries from any individual or organization who, at its sole discretion, may represent / display unprofessional, unlawful, unethical, unsafe or other actions/ positions deemed contrary to the best interests of the IFEA and our global industry. 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: 8140 • Please do not use packing peanuts/popcorn when shipping your entry. • For packing tips, go to www.ifea.com and then Awards / Pinnacle Awards / 2020 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 / 2020 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, CFEE at +1-208-433-0950 ext: 8140 or nia@ifea.com. TIPS AND POINTERS Never participated in the Pinnacle Awards Program before? Looking for some helpful tips and pointers on how to enter? To assist you, we have posted a list of Tips and Pointers on ifea.com to hopefully point you in the right direction. They can be found at ifea.com / Awards/ Pinnacle Awards / 2020 Pinnacle Awards. . QUESTIONS? • Contact: Nia Hovde, CFEE, Vice President/Director of Marketing & Communications at Phone: +1-208-4330950 ext: 8140 or Email: nia@ifea.com • For additional information and FAQ’s, go to www.ifea.com/ Industry Awards / Pinnacle Awards

Spring 2020

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 festivals and events who enter and are judged within each of the four separate budget categories based on the specific criteria and requirements of the specific category.)

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 each (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 Thumbdrive. Attach Thumbdrive to overall payment form. If submitting one or more entries from categories 1 (or 40-70), please include all entries on the same single Thumbdrive. Please clearly label thumbdrive with Organization Name and Category #. • 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. A one (1) paragraph overview of your Festival / Event. d. A brief history and description of your Festival / Event. e. Types of Activities Included Under the Festival / Event Umbrella f. Overall Revenue and Expense Budget g. Estimated Economic Impact h. Attendance Numbers & Demographics i. Volunteer Count & Demographics j. Staffing Numbers and Positions k. 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.) 38

IFEA’s ie: the business of international events

• • • • • • •

Volunteer Program Green Program Educational Program Best Inclusivity 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. • Grand Pinnacle entry must score a minimum of 60 points or higher to be considered as a Gold, Silver or Bronze winner. • 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 65th Annual IFEA Convention & Expo or arrange for a representative to accept any award your behalf. • NEW Please review Eligibility Section on Page 2 for New Page Spring 2020 Size, Layout and Font Size requirements.

CATEGORIES TELEVISION & RADIO ENTRIES 2)

BEST TV PROMOTION

BEST FULL LENGTH TV PROGRAM

BEST EVENT VIDEO PROMOTION

BEST RADIO PROMOTION

(Ad Spot or PSA)

(Local Programming)

(National Promotion / Syndication)

(Ad Spot or PSA)

ENTRY INFORMATION FOR CATEGORIES 2-6: • NEW - Submit categories 2-6 each as a separate online link for entry to be viewed / downloaded. (Link must remain active until the end of October. Please use https://tinyurl.com (or similar) to reduce the size of long links). • Please type links in Section 1 of entry form. • Please make sure the link works, before you submit.

• If entry is not able to be submitted as an online link, please submit on USB Thumbdrive. IF submitted on a thumbdrive: • Only one entry per Thumbdrive. Submit each entry separately – do not combine multiple entries on a Thumbdrive. • Each TV/Video entry should be viewable in Windows Media Player or QuickTime. • All Radio entries should preferably be submitted as a wave file, MP3 file or WMA. • Please clearly label each Thumbdrive with Organization Name and Category number, and attach entry form. • Please make sure your entry is saved to the Thumbdrive before submitting. • These are standalone items and no written information is required. 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

13) BEST SINGLE DIGITAL/SOCIAL AD

BEST ORGANIZATION WEBSITE

14) BEST DIGITAL/SOCIAL AD SERIES

BEST EVENT / ORGANIZATION E-NEWSLETTER

Note: Also available to enter: #64 - Best Social Media Campaign.

(Submit web address only – clearly print or type website address on entry form under section 1.) (Submit web address only – clearly print or type website address on entry form under section 1.)

(Clearly print or type a link to download materials on entry form under Section 1. Submit 3 consecutive issues. All issues to be submitted via a single link.)

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 1 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 1.)

12) BEST FESTIVAL / EVENT MOBILE APPLICATION

(Submit web address for where to obtain the App, clearly print address on entry form under Section 1.)

(Submit link to view ad online - clearly print or type link on entry form under Section 1.) (Submit a maximum of 5 ads. All ads to be submitted via a single link. Submit link to view ads online. Clearly type link on entry form under Section 1.)

ENTRY INFORMATION FOR CATEGORIES 7-14: • For categories 7-14, entries will be reviewed online by judges. • Submit categories 7-14, each as a separate online link for entry to be viewed / downloaded. (Link must remain active until the end of October 2020. Please use https://tinyurl.com (or similar) to reduce the size of long links). • Please type links in Section 1 of entry form. • Be sure 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? Spring 2020

IFEA’s ie: the business of international events

CATEGORIES PROMOTIONAL PRINTED ENTRIES 15) BEST EVENT PROGRAM

(For programs that are provided to use during the festival or event.)

16) BEST NEWSPAPER INSERT / SUPPLEMENT 17) BEST PROMOTIONAL BROCHURE

(For brochures that are sent out prior to the festival or event to promote the event.)

18) BEST MISCELLANEOUS PRINTED MATERIALS (MULTIPLE PAGE)

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

19) BEST MISCELLANEOUS PRINTED MATERIALS (SINGLE PAGE)

(Includes, but not limited to direct mail pieces, rack cards, fliers, maps, etc.) (Does NOT include posters.)

(Only one item per entry. Mounting on Poster board, optional for this entry.)

20) BEST COMPANY IMAGE PIECES

(Includes, but is not limited to: Letterhead, envelopes, logo, business cards, notecards, etc.)

(One item per entry.)

21) BEST COVER DESIGN

(Includes covers from items such as Magazines, Newspapers, Brochures, Programs etc.)

(Submit cover only – mounted on poster board.)

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

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

24) BEST AD SERIES

(Submit a maximum of 5 ads. Mount all ads on same poster board.)

25) 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.)

26) BEST COMMEMORATIVE POSTER

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

27) BEST EVENT PROMOTIONAL PHOTOGRAPH

(Photo used to promote your event.) (Photo Dimensions: 8 inches x 10 inches. Submit photo mounted on Poster board - 2 inch margins.)

28) BEST OUTDOOR BILLBOARD

(Submit photo or print out of billboard, mounted on poster board. Photo Dimensions: 8 inches x 10 inches. No more than 2 inch margins on poster board.)

29) BEST EVENT INVITATION

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

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ENTRY INFORMATION FOR CATEGORIES 15-18: • These are stand alone items and no written information is required. • Submit each entry in original format if possible • Submit categories 15-18 with the entry form securely paper clipped/bull clipped to the back. • Do not mount on display board. Judging Criteria • Does the entry relay the image of the event? • Is the item creative and / or unique? • Is the item designed / laid out well? • Is the message clear? • Is the item organized? • Is the item usable / functional? • What is the overall impression? ENTRY INFORMATION FOR CATEGORIES 19-29: • Submit categories 19-24, 27-28 each mounted on a single, black display board with a maximum of 2 inch margins. (Display board means poster board, foam core, etc.) • Submit categories 25-26 each rolled up in a poster mailing tube. Do not fold the poster. Do not mount the poster on poster board. • Submit category 29 with entry form securely paper clipped/bull clipped to the back. • 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?

EVENT DÉCOR & AMBIANCE ENTRIES 30) BEST STREET BANNER

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

31) BEST MISCELLANEOUS ON-SITE DECOR

(Includes, but is not limited to: directional signage, stage backdrops, entryways, flags, inflatables, etc.) (Submit only one décor item per entry. Submit photo of décor, mounted on poster board. May include up to 6 photos to illustrate single décor item/area per entry.)

ENTRY INFORMATION FOR CATEGORIES 30-31: • Submit categories 30-31 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. 32) BEST T-SHIRT DESIGN

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

33) BEST PIN OR BUTTON

(Please mount pin on poster board with 2 inch margins maximum. For SINGLE PINS ONLY. NO Pin Sets.)

34) BEST HAT 35) BEST OTHER MERCHANDISE

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

36) BEST MISCELLANEOUS CLOTHING

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

37) BEST NEW MERCHANDISE

ENTRY INFORMATION FOR CATEGORIES 32-39: • Submit actual merchandise items for categories 32-39. Contact Nia Hovde, CFEE at nia@ifea.com if questions. • Please do not submit faulty or damaged merchandise items. Judges are not only looking at the creativity, uniqueness and usability of an item, but also the quality and condition of an item. • 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?

(New merchandise to your festival/event/ organization)

38) BEST SPONSOR GIFT

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

39) BEST GIVE-AWAY ITEM

(For merchandise items that are given out at festival/ event and are not for sale, i.e. - Race medals, T-Shirts, Beverage Mugs, etc. DOES NOT include items that are raffled/auctioned off at festival/event.)

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IFEA’s ie: the business of international events

CATEGORIES FESTIVAL & EVENT CRITICAL COMPONENT ENTRIES 40) 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 & description of event b. Name (if applicable) and 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 end of entry, or throughout.

ENTRY INFORMATION FOR CATEGORY 40: • Submit category 40 within one (1) notebook each (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 Thumbdrive. Attach to overall payment form. If submitting one or more entries from categories 1 or 40-70, please include all entries on the same single USB Thumbdrive. Please clearly label your thumbdrive. • NEW Please review Eligibility Section on Page 2 for New Page Size, Layout and Font Size requirements. 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 may be placed within a specific section of the entry, or at the end. 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

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SPONSORSHIP ENTRIES 41) 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.)

42) BEST INDIVIDUAL SPONSOR FOLLOW-UP REPORT

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

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.)

43) 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 42: • Submit category 43 within one (1) notebook each (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 Thumb-

ENTRY INFORMATION FOR CATEGORIES 41-42: • Submit category 41-42 each within one (1) notebook each (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 Thumbdrive. Attach to overall payment form. If submitting one or more entries from categories 1 or 40-70, please include all entries on the same single USB Thumbdrive. Please clearly label your thumbdrive. • NEW Please review Eligibility Section on Page 2 for New Page Size, Layout and Font Size requirements. 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 may be placed within a specific section of the entry, or at the end. 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?

drive. Attach to overall payment form. If submitting one or more entries from categories 1 or 40-70, please include all entries on the same single USB Thumbdrive. Please clearly label your thumbdrive. • Please review Eligibility Section on Page 2 for New Page Size, Layout and Font Size requirements. 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?

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IFEA’s ie: the business of international events

CATEGORIES SPONSORSHIP ENTRIES 44) BEST SPONSOR ACTIVATION (NEW)

(Activation of a sponsor/sponsorship during a festival/event.)

Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: 1. Overview Information: a. Introduction & description of main event. b. Introduction & description of sponsor, level of sponsorship (cash/inkind); details of benefit package; length of sponsorship/partnership c. Description and purpose of Activity/Program at event, that the Sponsor is sponsoring. d. Describe the roles of the Event/Sponsor in the creation of the activation efforts. (i.e. – Did the event create everything, did the sponsor, or both?) e. Explain the originality of the activation efforts (i.e. – are the activation efforts unique to your event, or does the sponsor use the same activation for all events they sponsor?) f. Describe the overall sponsor activation in detail. g. Describe the overall effectiveness / success of the sponsor activation. 2. Supporting Questions – Answer questions listed to the right, here. 3. Supporting Materials – Place at end of entry or throughout.

45) 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 Activity/Program created and name of 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 Questions – Answer questions listed to the right, here. 3. Supporting Materials – Place at end of entry or throughout.

46) 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 Questions – Answer questions listed to the right, here. 3. Supporting Materials – Place at end of entry or throughout.

IFEA’s ie: the business of international events

Spring 2020

ENTRY INFORMATION FOR CATEGORIES 44-46:

• Submit category 44-46 each within one (1) notebook each (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 Thumbdrive. Attach to overall payment form. If submitting one or more entries from categories 1 or 40-70, please include all entries on the same single USB Thumbdrive. Please clearly label your thumbdrive. • NEW Please review Eligibility Section on Page 2 for New Page Size, Layout and Font Size requirements. 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 may be placed within a specific section of the entry, or at the end. 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?

FESTIVAL & EVENT CRITICAL COMPONENT ENTRIES 47) BEST VOLUNTEER PROGRAM

(For overall Volunteer Program 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 description of main event b. Name of Volunteer Program (if applicable) in addition to description and purpose / objective of Volunteer Program c. Target audience / attendance / number of participants of Volunteer Program 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. Please provide Volunteer job descriptions for each position. g. Explain and describe Recruitment methods / materials / applications h. Explain Communication methods / materials used with Volunteers i. Provide examples of Training guides / programs / handbooks / materials j. Provide Organization & schedule information / materials k. Explain Volunteer perks / benefits l. Highlight Volunteer Appreciation / recognition methods/ materials m. Describe Volunteer Retention methods / materials n. Provide 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 end of entry, or throughout.

48) 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 description of main event b. Name of Green Program (if applicable) in addition to 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 end of entry, or throughout.

ENTRY INFORMATION FOR CATEGORIES 47-48:

• Submit categories 47 & 48 each within one (1) notebook each (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 Thumbdrive. Attach to overall payment form. If submitting one or more entries from categories 1 or 40-70, please include all entries on the same single USB Thumbdrive. Please clearly label your thumbdrive. • NEW Please review Eligibility Section on Page 2 for New Page Size, Layout and Font Size requirements. 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 may be placed within a specific section of the entry, or at the end. • 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?

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IFEA’s ie: the business of international events

CATEGORIES FESTIVAL & EVENT CRITICAL COMPONENT ENTRIES 49) BEST PARADE

ENTRY INFORMATION FOR CATEGORIES 49-50:

For parades that are stand-alone parades or part 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. Name, introduction, description, purpose and objective of Parade b. Introduction and description of overall festival/event, if Parade is part of a larger festival/event (if applicable) c. Tie-in of Parade to main festival/event (if applicable) d. Target audience / attendance of Parade e. Number and type of entries in Parade f. Overall revenue and expense budget of Parade g. Duration of Parade (start to finish) and years Parade has been in existence h. Activities planned before, during and after Parade i. Description of sponsor / charity / volunteer / school / other group involvement with Parade and benefits to each (if applicable) j. Community involvement and impact of Parade k. What makes the Parade unique and creative? l. Overall effectiveness / success of Parade 2. Supporting Question – Answer question listed to the right, here 3. Supporting Materials – Place at end of entry, or throughout.

50) 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 description of main event b. Name (if applicable), 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 end of entry, or throughout.

IFEA’s ie: the business of international events

Spring 2020

• Submit categories 49, 50 within one (1) notebook each (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 Thumbdrive. Attach to overall payment form. (If submitting one or more entries from categories 1 or 40-70, please include all entries on the same single USB Thumbdrive.) Please clearly label your thumbdrive. • NEW Please review Eligibility Section on Page 2 for New Page Size, Layout and Font Size requirements. 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 may be placed within a specific section of the entry, or at the end. • 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 51) BEST INCLUSIVITY PROGRAM

For Festivals & Events that have made their events inclusive for all audiences. 1. Overview Information Please provide a detailed overview explaining the following, using no more than one (1) page or less to explain each section: a. Introduction and description of main event b. Target audience / attendance of Festival/Event c. Name (if applicable), description and purpose / objective of Inclusivity Program e. Provide a description of the types of inclusivity arrangements that have been made at festival/event (1 page each), including but not limited to: • Information listed online about your Inclusivity Program • How your website and other online applications have been changed/updated to meet inclusivity/accessibility standards. • What services your event has for people with mobility disabilities • What services your event has for who are deaf or hard of hearing • What services your event has for blind or have low vision • What arrangements your event has made for service animals • What services your event has for attendees with Alzheimer’s • What services your event has for attendees with Autism. • What services have been made in regards to medical considerations for people with disabilities. • Any other services for people with disabilities (visibile/non-visible) f. Describe behind the scenes efforts made to implement inclusivity program (signage/training etc.) g. Overall revenue and expense budget for Inclusivity Program (if available and applicable) h. Duration of Inclusivity Program (i.e.: all year, just at the event?) and years Program has been in existence i Festival activities accessible to patrons with disabilities j Description of sponsor / charity / volunteer / school / other group involvement with Inclusivity Program and benefits to each (if applicable) k Overall effectiveness / success of Inclusivity Program

52) 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 description of main event b. Name (if applicable), 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 end of entry, or throughout.

Spring 2020

ENTRY INFORMATION FOR CATEGORIES 51-52: • Submit categories 51, 52 each within one (1) notebook each (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 Thumbdrive. Attach to overall payment form. If submitting one or more entries from categories 1 or 40-70, please include all entries on the same single USB Thumbdrive. Please clearly label your thumbdrive. • NEW Please review Eligibility Section on Page 2 for New Page Size, Layout and Font Size requirements. 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 may be placed within a specific section of the entry, or at the end. • 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

CATEGORIES FESTIVAL & EVENT CRITICAL COMPONENT ENTRIES NEW 53) BEST OVERALL ENTERTAINMENT PROGRAM

For overall entertainment programming at an event/festival. Includes, but not limited to, Stage/Wandering/Children’s/specialty entertainment/performers; impromptu/ unexpected entertainment; other miscellaneous entertainment features. Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: 1. Overview Information: a. Introduction & description of main event. b. Description of all Entertainment efforts at Festival/Event including, but not limited to, Stage/Wandering/Children’s/specialty entertainment/performers; impromptu/ unexpected entertainment; other miscellaneous entertainment features. c. Overall revenue and expense budget for Entertainment Programming; any sponsor involvement; free vs. ticketed entertainment. d. Target market for overall Entertainment Programming in addition to each area of programming if different from overall. e. Marketing efforts tied to Entertainment Programming. f. Community involvement in promoting and/or selling tickets. g. Measurable results (including attendance numbers if available) h. Describe the overall effectiveness / success of the Entertainment Program. 2. Supporting Questions – Answer questions listed to the right, here. 3. Supporting Materials – Place at end of entry or throughout.

54) 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.)

55) 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 description of main event b. Name (if applicable), 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 end of entry, or throughout. 48

IFEA’s ie: the business of international events

Spring 2020

ENTRY INFORMATION FOR CATEGORIES 53-55: • Submit categories 53-55 each within one (1) notebook each (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 Thumbdrive. Attach to overall payment form. If submitting one or more entries from categories 1 or 40-70, please include all entries on the same single USB Thumbdrive. Please clearly label your thumbdrive. • NEW Please review Eligibility Section on Page 2 for New Page Size, Layout and Font Size requirements. 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 may be placed within a specific section of the entry, or at the end. • 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 56) BEST EVENT (WITHIN AN EXISTING FESTIVAL) (Entry to highlight a specific event that is held during the course of a larger festival/event.)

57) 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.)

58) 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 description of main event b. Name (if applicable), 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 end of entry, or throughout.

Spring 2020

ENTRY INFORMATION FOR CATEGORIES 56-58: • Submit categories 56, 57, 58 each within one (1) notebook each (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 Thumbdrive. Attach to overall payment form. If submitting one or more entries from categories 1 or 40-70, please include all entries on the same single USB Thumbdrive. Please clearly label your thumbdrive. • NEW Please review Eligibility Section on Page 2 for New Page Size, Layout and Font Size requirements. 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 may be placed within a specific section of the entry, or at the end. ❍ 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

CATEGORIES FESTIVAL & EVENT CRITICAL COMPONENT ENTRIES 59) BEST NEW FESTIVAL OR EVENT

For Festival or Event created from scratch within the past year, that is not part of a larger 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 description of main event b. Name, description and purpose/objective of new Festival/Event c. Target audience and attendance / number of participants d. Overall revenue/ expense budget of Festival/Event e. Duration of Festival/Event (start to finish) f. Description of sponsor / charity / volunteer / school / other group involvement with Festival/Event and benefits to each (if applicable) g. What makes the Festival/Event unique & creative? h. Overall effectiveness / success of Festival/Event 2. Supporting Question - Anwser question listed to the right, here. 3. Supporting Materials - Place at end of entry, or throughout.

60) 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 description of main event/organization b. Name (if applicable), 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 end of entry, or throughout.

ENTRY INFORMATION FOR CATEGORIES 59-60: • Submit categories 59, 60 each within one (1) notebook each (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 Thumbdrive. Attach to overall payment form. If submitting one or more entries from categories 1 or 40-70, please include all entries on the same single USB Thumbdrive. Please clearly label your thumbdrive. • NEW Please review Eligibility Section on Page 2 for New Page Size, Layout and Font Size requirements. 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 may be placed within a specific section of the entry, or at the end. • 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?

IFEA’s ie: the business of international events

Spring 2020

MEDIA RELATIONS ENTRIES For effective media campaigns that generated news coverage, instead of paid or donated advertising time. 61) 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 & description of main event b. Target audience / demographics for the media c. Target location (communities / cities / states) for media d. Types of mediums used for media outreach e. 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 - Provide actual media kit used to send out for your event. (Place at end of entry.)

62) 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 & description of main event b. Name (if applicable) and 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 end of entry, or throughout.

ENTRY INFORMATION FOR CATEGORIES 61-62: • Submit categories 61, 62 each within one (1) notebook each (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 Thumbdrive. Attach to overall payment form. If submitting one or more entries from categories 1 or 40-70, please include all entries on the same single USB Thumbdrive. Please clearly label your thumbdrive. • NEW Please review Eligibility Section on Page 2 for New Page Size, Layout and Font Size requirements. 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 may be placed within a specific section of the entry, or at the end. • 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?

Spring 2020

IFEA’s ie: the business of international events

CATEGORIES MEDIA RELATIONS ENTRIES For effective media campaigns that generated news coverage, instead of paid or donated advertising time. 63) 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 & description 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 end of entry, or throughout.

64) BEST SOCIAL MEDIA CAMPAIGN

Overall social media campaign used to promote a festival, event, parade, 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 description of Main Event b. Description, purpose and objective of Social Media Campaign c. Social Media Platforms used (please provide up to 5 screenshots of each platform used) d. Social Advertising used (please provide up to 5 screenshots of each social advertising used) e. Target Audience for Social Media Campaign f. Editorial Calendar and Timeline for Campaign g. Examples of Hashtags, Contests, Polls & Quizzes etc., used during Campaign h. Additional Media exposure received from Social Media Campaign i. Estimate of revenue and/or attendance increase as a result of Social Media Campaign j. Analytics Overview (Listing Demographics, Impressions, Shares, Mentions etc.) k. What makes the Social Media Campaign unique and creative? l. Overall effectiveness / success of Social Media Campaign 2. Supporting Question – Answer question listed to the right, here 3. Supporting Materials – Place at end of entry, or throughout.

IFEA’s ie: the business of international events

Spring 2020

ENTRY INFORMATION FOR CATEGORIES 63-64: • Submit categories 63, 64 each within one (1) notebook each (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 Thumbdrive. Attach to overall payment form. (If submitting one or more entries from categories 1 or 40-70, please include all entries on the same single USB Thumbdrive.) Please clearly label your thumbdrive. • NEW Please review Eligibility Section on Page 2 for New Page Size, Layout and Font Size requirements. 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 pro-gram - limiting materials to no more than 5 examples for each area listed below (if applicable). Supporting materials may be placed within a specific section of the entry, or at the end. • 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?

EDUCATIONAL INSTITUTIONS OFFERING EVENT MANAGEMENT PROGRAMS 65) 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 program was founded & time frame 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 end of entry, or throughout.

66) 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 program was founded & time frame 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 end of entry, or throughout.

67) 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 program was founded & time frame 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?)

ENTRY INFORMATION FOR CATEGORIES 65-67: • Submit categories 65, 66, 67 each within one (1) notebook each (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 Thumbdrive. Attach to overall payment form. If submitting one or more entries from categories 1 or 40-70, please include all entries on the same single USB Thumbdrive. Please clearly label your thumbdrive. • NEW Please review Eligibility Section on Page 2 for New Page Size, Layout and Font Size requirements. 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 provide 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 may be placed within a specific section of the entry, or at the end. • 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?

2. Supporting Question - Anwser question listed to the right, here. 3. Supporting Materials - Place at end of entry, or throughout.

Spring 2020

IFEA’s ie: the business of international events

CATEGORIES EDUCATIONAL INSTITUTIONS OFFERING EVENT MANAGEMENT PROGRAMS 68) 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 program was founded & time frame 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 end of entry, or throughout.

69) 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 program was founded & time frame 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 end of entry, or throughout.

70) 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 program was founded & time frame 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 end of entry, or throughout.

IFEA’s ie: the business of international events

ENTRY INFORMATION FOR CATEGORIES 68-70: • Submit categories 68, 69, 70 each within one (1) notebook each (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 Thumbdrive. Attach to overall payment form. If submitting one or more entries from categories 1 or 40-70, please include all entries on the same single USB Thumbdrive. Please clearly label your thumbdrive. • NEW Please review Eligibility Section on Page 2 for New Page Size, Layout and Font Size requirements. 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 provide 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 may be placed within a specific section of the entry, or at the end. • 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?

Spring 2020

2020 IFEA / HAAS & WILKERSON PINNACLE AWARDS ENTRY FORM ENTRY FORM REQUIREMENTS FOR EACH INDIVIDUAL ENTRY: Please complete sections 1 and 2 on for each individual entry. Please submit TWO copies of each individual entry form One to be attached to each individual entry. One to be attached (with all copies from other entries) to the Pinnacle Payment Form. Please place payment form and all duplicate entry forms in an envelope and place at the top of your entries when shipping. 1. INDIVIDUAL ENTRY INFORMATION (Required for each entry)

Please provide the following information for each category entered. How you list your organization / event name will be how it is listed on any award won. PLEASE PRINT CLEARLY. Category Number (required): _______________ Category Name (required): _____________________________________________________________ Organization (required):__________________________________________________________________________________________________________ Name of Event (if different from organization): _____________________________________________________________________________________ For Categories 40 - 70, if applicable: Name of Specific Program / Program Sponsor / Vendor etc.: _______________________________________________ For Categories 2-14: Provide Link to Entry (Please use https://tinyurl.com to reduce the size of long links.) ____________________________________ _______________________________________________________________________________________________________________________________ _______________________________________________________________________________________________________________________________ Provide brief identifying description for each entry. This helps to identify your entry if you enter 2 or more entries for the same category. (i.e.: Photo of Crowd; Photo of Fireworks; Blue T-Shirt; Green T-Shirt; etc.) 2. INDIVIDUAL BUDGET INFORMATION (Required for each entry)

Under $250,000

$250,000 to $1 Million

$1 Million to $3 Million

Over $3 Million

Organizationâ&#x20AC;&#x2122;s Event Expense Budget. (USD include all cash outflows) See Pinnacle FAQ at ifea.com for definition. Each category is divided into the four budget categories listed above. Gold, Silver and Bronze Awards will be given in each budget category within a specific category so like sized Festivals/Events/Organizations are being judged against each other. Judges may combine budget categories within a specific entry, if the number of entries warrants it.

Under $250,000

$250,000 to $1 Million

$1 Million to $3 Million

Over $3 Million

2020 IFEA / HAAS & WILKERSON PINNACLE AWARDS PAYMENT FORM PAYMENT FORM REQUIREMENTS: FOR ALL ENTRIES: Please complete section 1, 2 and 3 on this Payment Form. Please submit one overall entry form with total payment. Please list all entries submitted on this form. PRINT or TYPE all information. All text from this form will be used for any awards if/when won. LOGO REQUEST: After submitting your entries, please email a high-resolution copy of either your organization or event logo (Only one logo will be used.) to nia@ifea.com - subject “2020 Pinnacle Entry Logo” & Your Event / Logo Name. 1. CONTACT INFORMATION Organization: _______________________________________________________________________ Membership #: ____________________________ Address: ______________________________________________________________________________________________________________________ City:____________________________________ State: _____ Zip Code: _____________________ Country: __________________________________ Website: _______________________________________________________________________________________________________________________ MAIN CONTACT PERSON (For all entry/payment related questions and awards notifications): Name: ______________________________________________________________________________ Title: ____________________________________ E-mail: _____________________________________________________________________________ Phone: ___________________________________ Additional Contacts: To ensure award notifications are received, please list two additional contacts to receive award notifications (if available). Name: ___________________________________________ Title: ______________________________ E-mail: __________________________________ Name: ___________________________________________ Title: ______________________________ E-mail: __________________________________ (Please do not include emails such as info@/sales@ - Email must go to a specific person. Award notifications will be sent from nia@ifea.com or ifeamail@ifea.com.) 2. PAYMENT INFORMATION TOTAL CATEGORIES ENTERED Please list which categories you are entering and how many of each so we are able to confirm all of your entries have arrived. (e.g. 1, 2, 2, 3, 5, 7…): _______________________________________________________________________________________________________________________________ _______________________________________________________________________________________________________________________________ _______________________________________________________________________________________________________________________________ Early Bird Member Rates (Before June 15, 2020)

Final Entry Member Rates (June 16 - July 13, 2020)

Early Bird Non-Member Rates (Before June 15, 2020)

Final Entry Non-Member Rates (June 16 - July 13, 2020)

Grand Pinnacle:

$100 x _____= $_______

$125 x _____= $_______

$200 x _____= $_______

$250 x _____= $_______

Pinnacle Entries: (Categories 2-70)

$35 x ______= $_______

$40 x ______= $_______

$70 x ______= $_______

$90 x ______= $ _______

TOTAL NUMBER OF ENTRIES: ____________________________ TOTAL AMOUNT ENCLOSED: $ _____________________________________ Check (Make checks payable to IFEA)

Visa

MasterCard

American Express

Print Cardholder Name: _______________________________________________ Signature: _______________________________________________ Credit Card Number: ____________________________________________________________________________________________________________ Expiration Date: ______________________________________________________ CVN Code: ____________(MC / VISA-3 digit code back) (AMX-4 digit code front) RECEIPT: Please email receipt to: Name: _______________________________________________________________ Email: __________________________________________________ 3. SHIPPING OF PINNACLE AWARDS Any award/certificate (s) not picked up at the 65th Annual IFEA Convention & Expo, will be shipped to the recipient 3 weeks after the Annual Convention. The award/certificate (s) will be shipped via the USPS and may take up to 3 weeks to arrive at their destination once shipped (depending on location). If you would like the IFEA to expedite the shipping of your awards via UPS or FedEx, you will be responsible for any shipping fees incurred. Please ship my awards via USPS UPS FedEx If shipping via UPS or FEDEX, I give permission for the IFEA to charge the Credit Card listed above, for the shipping fees, or I will provide an alternate method of payment upon request. 4. RELEASE & USAGE By submitting your entry to the IFEA/Haas & Wilkerson Pinnacle Awards 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; Confirm that all information within each of your entries is true and accurate to the best of your knowledge; Acknowledge your entry/ies are not returnable or refundable.; Your entry into the competition is acknowledgement of these terms. DID YOU REMEMBER TO Include your payment for all entries along with completing the Payment Form listing all categories entered? Include 2 individual entry forms for each item – One to be attached to each individual entry. One to be attached (with all copies from other entries) to this Payment Form? Include each entry (as requested) on one, clearly labeled, Thumbdrive attached to this Payment Form? Email your organization or event logo to nia@ifea.com Review all rules for entry submission? For more info, go to the Pinnacle Awards section at www.ifea.com. 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

YOUR EVENT HAS IMPACT…

SHOW IT! r.”

al t Festiv ent H Stree act Assessm Econom

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Commission Your IFEA Economic Impact Analysis Today

ic Imp

H Street Festival Impact The average visitor spent $63 during the festival, generating $6.1 million in sales along the corridor. Eating and drinking establishments experienced the largest increase in sales during the festival with an average increase of 132% more sales than on a Festival Impact typical Saturday in September. Neighborhoods Goods & Services and Merchandise stores were also positively impacted by the festival, experiencing a sales increase of 57% and 22% respectively.

Restaurants Goods and Merchandise On-Street and Bars Services Retailers Vendors

Overall Impact On H Street Retail

Avg. Sales on a September Saturday

$15,381

$5,175

$2,074

n/a

$10,526

The average visitor spent $23 on food, $20 on alcohol, and $13 shopping during the festival.

The H Street Festival attracts visitors from all across the region.

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sed (JS&A) ba sociates surveys ver & As business d Jon Sto al and 48 sed on HSMS an MS) by eet (HS 17 festiv g the 20 dance figures ba velopment. t Main Str De H Stree nducted durin en ess for Att sin ed N. Bu let ys co ng IMPLA all and Local ure comp endee surve usi ch ed bro Sm d att velop t of and y-selecte multipliers de the Departmen Analysis ta randoml ards. Da is supported by on 102 ted afterw conduc estimates. HSMS ic Econom ment police elop

The H Street Festival is public, free, and openDev oingall. H Street sult Cont Main Street relies on contributions to fund and operate this important event.

JS&A

The festival draws a young and diverse crowd.

The H Street Festival resulted in nearly $2.3 million in salaries and the equivalent of 58 fulltime positions, and generated approximately $728,000 in tax revenue for the District.

Avg. Sales During the H Street Festival

$35,684

$8,112

$2,535

n/a

$22,812

Direct Impact

Indirect Impact

Induced Impact

Overall Impact

Avg. Increase in Sales Per Business (%)

132%

57%

22%

n/a

117%

Jobs Created

Avg. Increase in Sales Per Business ($)

$20,303

$2,936

$461

n/a

$12,286

Labor Income

$1.9 M

$241,650

$155,318

$2.3 M

Corporate Tax

$31,448

Number of Businesses on H Street

176

138 businesses (excluding vendors)

Sales Revenue

$6.1 M

$648,069

$337,611

$7.1 M

Personal Income Tax

$27,925

Increased Sales Due to the Festival

$1,543,051

$146,822

$5,531

$4,419,953

$6,115,356

City Permits & Fees

$134,699

Increased Tax Revenue Due to Festival

$728,706

Fiscal Impact for the District of Columbia Sales Tax

Overall Impact

There are many ways to get involved and support the H Street Festival. H Street businesses and local artists and performers can participate in the event as vendors or volunteers. A range of sponsorship opportunities exist, and are vital to making the festival possible. Contact H Street Main Street to learn more about how you can help!

$534,634

Leverage Cost & Credibility IFEA’s cost effective, industry credible program brings a critical tool within financial reach and provides reliable results from a trusted and recognized resource.

Quantify & Articulate Value Understand and communicate the impact your event brings to your local economy and local tax revenue.

Gain Support & Increase Funding Demonstrate how your event benefits area businesses and your city at large, convey the need for public and private assistance, and secure additional financial support.

Enhance Participation Increase business participation, recruit additional vendors, and strengthen stakeholder commitment.

Improve Operations Incorporate a data-driven approach to evaluate and make adjustments to your event or program each year.

READY TO GET STARTED? Find Out More on our IFEA Professional Products & Services Web Page or Contact Kaye Campbell, CFEE, Director of Partnerships & Programs • +1-208-433-0950 Ext. 8150 • kaye@ifea.com

SUCCESSION

PLANNING

AT EVERY LEVEL FOR THE FESTIVALS AND EVENTS INDUSTRY BY IRA ROSEN, CFEE

According to Wikipedia, “succession planning is a process for identifying and developing new leaders who can replace old leaders when they leave, retire or die. Succession planning increases the availability of experienced and capable employees that are prepared to assume these roles as they become available. Taken narrowly, ‘replacement planning’ for key roles is the heart of succession planning.” In the world of festivals and events, this definition can, and needs to be, expanded in one key way. The definition above refers to “experienced and capable employees.” In our world, we need to alter this definition to include volunteers, as without volunteers many of our organizations would cease to exist. Succession planning can also vary greatly depending upon the type of organization that you work for and your status within that organization. Are you a for-profit company providing services to the industry? Are you a not-for-profit governed by a Board of Directors? Are you a governmental employee? Are you an employee? Are you a volunteer? Although specific plans may vary based on your answer to these questions, the bottom line answer is the same: Everyone needs a succession plan; few of us actu58

ally have one. According to BoardSource, only 27% of not-for-profits have a formal succession plan. Our industry needs to adapt what many sports organizations refer to as “next person up.” If someone gets hurt, injured or leaves the organization, who is the next person to step up? Most of us have health insurance and automobile insurance and many of us have life insurance. We have all of these things in order to account for things that happen beyond our control and to make sure we have the resources available to recover from an accident, an illness or in the case of life insurance, to provide for those whom we leave behind. We hope we never have to use our insurance, but we have it any way. We need to think of succession planning in the same way – perhaps we will never need it, but it’s important to have it nonetheless. Why is this so important? Let’s take the example of the type of dedicated volunteers many of our organizations are fortunate enough to have. Jane has been the chairperson of our Operations Committee for 10 years. She started out as a committee member and has worked her way up in the organization to where she knows everything there is to know about Operations; who the vendors are, when

IFEA’s ie: the business of international events

Spring 2020

the deliveries need to happen, when bids need to be prepared, who are the strong committee members, who are the key players with the City and basically every detail about everything. All of this lives in Jane’s head, because like many of us, Jane is a control freak! One week before your event, Jane has a major medical incident and winds up in the Intensive Care Unit of your local hospital. Clearly, everyone on your team feels terribly, but what about the operations of your event? How do we move ahead? How does our event happen? A second example involves your not-for-profit festival organization and your Executive Director. Mary has been your one and only Executive Director and has been in the position for 20 years. She basically built the Festival from scratch and you are now very successful. No one in your organization has thought about succession, because everyone assumed Mary would stay forever. Much to everyone’s surprise, Mary has decided that it is time for her to move on and she gives your organization 2 months’ notice, which means she will be leaving upon the completion of the next festival. What do you do to replace her? Clearly these two scenarios are very different, but both of them beg the question “What do we do now?”

In thinking about succession planning, we need to pursue two different avenues: emergency succession planning and strategic succession planning. These avenues are a bit different, but the formula for dealing with them is pretty standard. In both cases, there are five steps that can help us through the process. Step One: Have a Plan Just as in the world of risk management planning, the time to develop a succession plan is not in the middle of your replacement crisis. Whether it is for emergency succession or strategic succession, plans need to be put into place before you need them. Here are some key elements of the plan: 1. Commit Things to Paper (or the “cloud”) Many of us walk around with things in our heads. In the case of both Jane and Mary, they know many things that no one else knows because they were always the people responsible for taking care of these things. Details as large as when the sponsorship renewals get done and when grant applications need to be filed, to as small as where we keep the keys to the storage trailer. In both an emergency succession and a planned succession, what we have in our heads is of no value to our team. This is not an easy thing to do, as writing things down makes us feel more “replaceable.” Keep in mind, none of us are irreplaceable. Additionally, make sure that the organization gets access to passwords before a person leaves. It is hard to change passwords without knowing the right one to start with! 2. Train for Succession Whether you are an employee or a volunteer, if we care about our organizations, we want to ensure their sustainability in the future. Part of that organizational sustainability includes training others. It can be a formal training plan or an informal one, but whatever we do, we need to do something. Many festivals and events have great volunteer training programs, where people must serve as committee members before they are moved into leadership positions. The same ought to be true with our employees – find ones who want to grow and nurture them. It is an obligation we should all take seriously. If we commit to this, when we choose to move on from our positions, we are certain that our organizations will continue to thrive.

3. If we are replacing someone at a high level (CEO, Senior VP, President) should we consider having an interim leader? This is a question best left to your organization, but in making that decision be clear about that person’s role and responsibilities, have a set of mutually agreed upon expectations (such as the interim leader training the new leader) and try to have a specific end date for the role. Step Two: Understand Your Organization Although succession planning can cause us great distress, it also presents a great opportunity for us to assess our organizational structure. Is our organization functioning at a high level, or are we just chugging along because of leaders who have been in their roles for a long time? Have we been doing the same thing for the past five years because we have become complacent? Are we still relevant? Are we continuing to fulfill our mission? Do we have clear goals, objectives and strategies? Do we understand the roles within our organizations, such as Board of Directors vs Staff responsibilities? Have we done a SWOT analysis recently? How about a strategic plan or a business plan? Clearly these explorations are more appropriate when we are doing a planned succession vs an emergency succession, but they are certainly important elements to consider at this time. Step Three: Build a Team Who needs to be involved in your succession planning? There is no clear answer for that, other than it needs to be a team made up of diverse stakeholders from within the organization, and in some cases people from outside your organization. The number and type of stakeholders will vary by situation, but typically the broader the participation in the process the more successful the outcome. If building succession for a volunteer position, be certain to involve other members of the committee. If building succession for key salaried leaders, be certain to involve your board, other staff, volunteers and perhaps even high level sponsors. At the executive level, it may be worthwhile to engage a search firm. Again, whatever the type and composition of the team, succession planning is most successful when managed by a team. Step Four: Build Your Perfect (or Least Imperfect) Successor First and foremost, recognize that the perfect successor does not exist. We all

have ideas as to what the ideal candidate for a particular position might look like, but the chances of finding that exact person are extremely slim. Rather, what we need to do is figure out what the least imperfect solution might be. What are the ten key attributes that we are looking for in a candidate? What are the five most important ones? In searching for successful leaders, experience in our industry dictates a number of key elements and many of them live in the world of soft vs hard skills. The best teachers in the world can’t teach passion or teach anyone to care about their job. Unfortunately, we cannot learn about a person’s soft skills from a resume. Also, we need to determine what level of training the person will need in order to fulfill their role. A highly skilled colleague of mine who has served in a number of leadership roles maintains that Executive Directors should not have to be trained to be an Executive Director. If they are qualified to fill that role, they may have to learn the hard skill associated with that organization, but they should not have to be trained to lead, to communicate, to motivate or to inspire. Step Five: Execute the Plan In executing the plan, one of the key elements is having a realistic timeline. “Realistic” is a floating target, however, based on your situation. In an emergency succession plan, time is by definition short, so your plan needs to be ready to go in an instant. In order to do this, all of the previous steps need to have been completed. In the case of a strategic, planned succession, your timeline needs to be thought out and planned. In the opinion of this writer, any executive leader in an organization should be required by contract to give a minimum of 30 days’ notice. For our organizations, two weeks is completely inadequate and unprofessional. Clearly, there are exceptions to this rule, but we should try in all cases to have as much time as possible to complete an organized succession. We should set benchmarks in the timeline including posting the job, gathering resumes, conducting round one interviews, conducting final interviews and decision making. Again, be realistic. Conclusion: Succession planning is clearly not a topic most of us like to deal with. However, we don’t need to operate in a vacuum. Recognize that there are resources available to help us through this process. A number of national organizations which specialize in not-for-profit planning have great resources that address this topic. Some Continued on page 108

Spring 2020

IFEA’s ie: the business of international events

EVERYONE’S INVITED

WITH LAURA GRUNFELD

INCLUDING PEOPLE WITH DISABILITIES

YES, PEOPLE WHO ARE BLIND

ATTEND EVENTS ON THEIR OWN

o you have the same misguided belief that I did at one time, to think that a person who is blind could never attend a large event in an unfamiliar location without bringing along a companion? Some years ago I learned a lesson about independence that has stuck with me ever since. George When I was working the Jazz Fest in New Orleans a man, who I will call George and who was blind, attended the festival on his own. How could he possibly navigate the grounds of such a large festival without assistance? George had not written in advance to ask about our accommodations, he had not asked for any help, and I did not have someone lined up to spend the day with him. I was alerted to his presence by security when they noticed him with his white cane, first in line at the entrance. In the time it took me to get to him, the gates had opened and he had asked someone standing next to him to take him to the box office. When he was done with that transaction, he asked another person who happened to be near him to bring him through the turn styles. That is when I arrived and approached him. We introduced ourselves and I asked if there was anything I could do to assist. George explained that he was at the festival to see one particular performer. She was the closing act on the Congo Square Stage. He said, “I came early to get a front row spot and I plan to stay there all day. I just need to get some food and drink first. Can you direct me?” I guided George to the food vendor area and as we walked down the line of food booths, I read the signs giving him the menus and prices at each booth. I also described our surroundings and gave him a sense of the size and layout of the festival. George made his selections, handling all of the interactions with the vendors without my assistance. I noticed that he kept track of the various denominations of bills with a special system of folding and particular placement in his wallet. We then walked together to the Congo Square Stage where he laid down his blanket to claim his spot. Lastly, I guided him to the nearest restroom and he memorized the route. When I left him, he seemed quite content. I returned a few times during the day but he never needed anything else and had befriended all those around him. At the end of the day I stopped by one more time, but George had already left and I trust he made it safely home. 60

IFEA’s ie: the business of international events

Spring 2020

Accommodations I am grateful to George for gifting me with such a valuable lesson. Let me ask you, would you want to always have to ask for assistance or cajole a friend to come along with you everywhere you went? The answer is no. We all want to be independent. What do you, as a producer, need to do to make it possible for people who are blind to attend and enjoy your event? Let’s get into the details. 1. WEBSITE: Website and mobile application accessibility are very important. People use your website to see what the event is all about and decide if they want to attend, to plan their trip, and to purchase tickets. If your website is not accessible to people with disabilities, especially those who are blind, they will have much more difficulty doing any of that and may very well elect not to attend. They may even bring a complaint against the festival as many other businesses have learned and who have had to pay legal fees as well as upgrading their websites. Avoid the legal fees by making your website and mobile app accessible now. Make sure that the accessibility information is easy to find from the main page. 2. EMAIL: Make sure you can be reached easily and that you reply to questions promptly. 3. PRIVACY: There are various types and degrees of vision loss making accommodations unique to each person. Ask what the person needs before assuming. Do not ask about a person’s private medical information or about their particular vision loss. Instead ask how you may accommodate them. 4. SERVICE ANIMALS: Some people who are blind will have a service animal to help guide them. If so, be sure to show the handler where the service animal relief area is. Do not interact with the animal; it is on duty and should not be distracted. Make sure festival workers are trained regarding your service animal policy.

5. LIGHTING: No one can see in the dark. For the safety of all, including those with low vision, look for ways to improve lighting on your pathways and throughout your event. 6. PROGRAMMING INFORMATION: Ask if it would be helpful to have a copy of the program guide in braille, in large-print, or if they would like their own electronic copy that they can use with their screen reader. I create my own large print version of the program guide that is simply a list of what is happening, where, and when. No grids, no illustrations or graphics, no fancy fonts. Use a sans serif, 18-point or larger font, in black text on white paper. (See illustration.) Braille is usually quite inexpensive to produce and you will likely find a local braille producer near you. If not, you can email the file to a braille producer and they can ship the final product back to you. Make the connection a few months in advance and ask how much lead-time you will need. You will want to do it almost last minute so that the schedule is as accurate as possible. I use the same simple document I have produced for the large print, but with a standard sized font, to send to the braille company. For ease of reading in braille, make sure the document is standardized with the exact same punctuation and format throughout. It is best to align all copy flush left and not use all caps. Enter “prepare document for braille translation” into your search engine to find more information. In addition to any reserved braille or large print copies, make two or three extra copies for those who didn’t think to reserve in advance.

topic online. Be sure to ask the patron what guiding style works best for them. 8. BRAILLE MAP: These tend to be on the pricey side and I have never received a request for a braille map. However, I have seen and felt a braille map and I can see how beneficial they would be. If you receive a request for one, look into the possibility in your area or contact the Lighthouse for the Blind in San Francisco. 9. NAVIGATION SERVICE: Aira.io provides a “vision on demand” navigation service. The user wears glasses that have a camera built into them or uses their smart phone’s camera. They connect to an Aira agent who describes what they see through the camera to the user. To provide the best connection, the event would have the site set up for the service, so pre-planning and budget are required. Or the patron may use a free app for a less robust connection. Conferences, stores, airports, and other businesses are signing up. 10. AUDIO DESCRIPTION: Some films will have audio description as an option. The patron wears a headset or uses an app on their phone, and during the quiet parts of the action, a narrator describes the scenes. 11. CLOSER PARKING & CAMPING: Reducing the amount of distance necessary to travel helps immensely. I always offer accessible parking/camping and if the person does not have an accessible parking tag, I either put them on a list that gives them the necessary permission or suggest that they get an accessible parking tag. Many people do not realize that the accessible parking tag is not issued to the driver but to the person with the disability. In this way, a person with a disability may be the rider in a car that has permission to park closely. 12. RESERVED VIEWING: I like to give people who are blind or have low vision permission to use the reserved viewing areas for patrons with disabilities. These areas are less crowded, make it easier for someone who may have difficulty navigating in the crowd, and it is better for a service animal as well. Reserved areas that are close to the stage are especially helpful to those with low vision.

An example of how you may format for large print or braille. 7. GUIDED TOUR: I know of one event that offers full time volunteer guides if arrangements are made in advance. I have typically offered a one time guided tour to give an overview of the venue. I ask for reservations so I can book a volunteer at the proper time and make sure the volunteer is well trained in guiding technique. You will find many helpful videos on the

13. PROTRUDING OBJECTS: Americans with Disabilities Act regulations require that objects not protrude dangerously into a circulation path, either inside or outside. People who are using a white cane to navigate only detect protrusions up to 27” off the ground. Above that, a person using a cane may bump into a protrusion if it extends more than 4” from a wall. (See illustration). You will find more about this in the US Access Board’s “Guide to the ADA Standards.” The Access Board has a very clear animation illustrating the requirements available on the board’s website. Enter “access board protruding objects” into your search engine. 14. STAFF TRAINING: Make sure your Access Team has proper training for accommodating and interacting with people who are blind and have low vision. Other festival workers will also need basic accessibility awareness training. 15. SURVEY: Always ask your patrons how you are doing and what you could do better or differently. Spring 2020

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SHAF Shaf, a young man in his 20s who is blind, traveled solo from Canada to attend a 4-day camping music festival. I manage the Access Program and Shaf and I worked out some of the logistics in advance, including arranging his transportation from the airport to the festival site and sending an electronic copy of the programming schedule in advance so he had time to plan out his schedule. In a recent conversation, he talked about what accommodations were most necessary to make it possible to best experience the festival. “The most important accommodations to me were assistance with guidance into the venue, as well as accessible camping that was close to the Access Center, the port-o-potties, and the venue entrance. That was really, really useful. Most of the time when I was inside the venue, I was in the crowd, although I used the viewing platforms on the last day so I could sit and have a little more space. As to navigating around the festival, I just asked people for help. I listened for people, bumped into people. That’s how I found them. Hardly anyone said ‘no.’ New friends would guide me to various stages or wherever I needed to go. When I was ready to go back to my campsite, I would find someone to get staff who would call the Access Program and I would get a golf cart ride back to the Access Center. From there I could make it to my tent on my own.” Shaf also volunteered with the Access Program. He and another volunteer teamed together to enter responses to the Access Program surveys that patrons filled out. Shaf’s partner read the surveys aloud and Shaf did the data entry. He works in software development, so it was an ideal position for him. Shaf speaks very excitedly about his visit to this festival and is planning to return. Interacting With Persons Who Are Blind: 1. Communicate with the person directly, not with their companion. 2. Don’t shout, use a child-like voice, or speak any differently than you would to anyone else. 3. Announce your arrival and introduce yourself and anyone who is with you. 4. Say when you are leaving so the person to whom you are talking does not think you are still there. 5. In a group conversation use the person’s name or touch the person on the arm when you are addressing them. 6. Don’t have pity for or talk about how much the person

“inspires” you. This gets old fast and can be offensive to many people. 7. People first language, “person who is blind” or “person who has low vision,” is usually best in the United States. This reflects the viewpoint that this person is like anyone else but also happens to be blind. 8. If it appears that assistance is needed, ask how you may help and follow instructions. Do not assume you know what is needed. 9. Give specific directions like “The entrance is 50 feet straight ahead,” rather than “The entrance is over there.” Kimberly Kimberly, a young woman of 23 years who flew cross-country to a camping festival where we manage the Access Program, seemed totally at ease when she arrived. Being a minimalist, she brought two smallish bags with all of her belongings. One bag held her one-person tent and sleeping bag, and the other had her clothing and everything else she might need. Kimberly is also a vegan and she has just completed an extensive training culminating in her receiving her certification to teach yoga. Kimberly’s blindness does not hold her back from living a full and enriched life. Kimberly had not written in advance so we were not expecting her but the Access Team is always ready to help as needed. We showed Kimberly around the camping area a bit and she selected a campsite that was very close to the toilets and to the Access Center. We helped set up her tent but she declined our offer to give her a one-time guided tour of the venue. She said she could manage on her own. And so she did. Kimberly said, “The biggest aid in attending a festival is the braille program. Websites are often largely reliant on pictures of text, and in the event of an accessible website, the screen reader is hard to hear over the noise of the crowd. It is extremely helpful to have a quick reference on hand that does not require assistance or audio. The accessible entrance by a known landmark makes it easier to clarify what directions I need when asking other festival patrons for assistance. Its convenient placement near the accessible campground makes getting from tent to festival effortless and especially satisfying after a long day of negotiating crowds. I was not aware that organizations such as this exist, but discovering that people are dedicated to extending the culture of music festivals to as many people as possible is a very welcome surprise.” She is looking forward to returning to the festival. George, Kimberly, and Shaf are all examples of people who are blind who, with just a little assistance, are able to attend and participate in the events we produce. All we need to do is think ahead to be able to offer a few services, be prepared to help in other ways if needed, and train our staff to be alert and ready to assist all people with disabilities. Just remind the staff to ask first and then follow instructions. Everyone’s Invited, LLC, founded by Laura Grunfeld, is winner of the gold level “Best Accessibility Program,” for the 2018 and 2019 IFEA/Haas & Wilkerson Pinnacle Awards. Laura writes a regular column helping producers make their events accessible to people with disabilities. She has worked many festivals across the nation and readers can learn more about her event accessibility consulting, training, and production company at www.EveryonesInvited.com and www.linkedin. com/in/lauragrunfeld. Suggest topics or ask questions by writing to Laura@EveryonesInvited.com. © Laura Grunfeld, Everyone’s Invited, LLC, October 2019

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Good

Great

CFEE

An Important Step in the Career Track of Industry Leaders 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 CFEE FastTrack® Program, contact Cindy Lerick at cindy@ifea.com or call +1-314-614-7152.

The CFEE Professional Certification Program is Sponsored by

2020 IFEA

IT’S TIME TO RECOGNIZE THE LEADERS OF OUR INDUSTRY Board of Directors, will review all nominations and select one or more individuals to be honored in to the IFEA Hall of Fame.

It’s time to present the IFEA’s most prestigious honor. It’s time to induct someone into the IFEA Hall of Fame for 2020. Who will it be? Will it be your own Executive Director? Will it be one of your mentors? Will it be a colleague you’ve met at an IFEA Annual Convention? Will it be . . . you? Who that person will be is up to you. Now is the time to submit a nomination for that leader and recognize them for their outstanding achievements and contributions to the festivals and events industry. ABOUT THE AWARD: 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 and a profound difference in the communities they serve, both locally and internationally. The International Festivals & Events Association is now accepting nominations from its members for those individuals who meet this standard for the 2020 Induction Ceremony. 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 World Board of Directors, IFEA Foundation Board of Directors and IFEA Staff Members are not eligible to be nominated*). *Exceptions may be made at the discretion of the IFEA Hall of Fame Committee. HOW INDUCTEES ARE SELECTED: Once nominations have been received, the IFEA Hall of Fame Committee, comprised of members of the IFEA World

HONORING THE INDUCTEE: The Honoree (s) will be the guest (s) of the IFEA on an all-expense* paid trip to the 65th Annual IFEA Convention & Expo, where they will be inducted at the IFEA Awards Luncheon, in their honor. *Includes 2 nights hotel, airfare and Convention registration.

PAST NOMINATIONS: To view a complete list of past inductees and their stories, go to the Awards Section at www.ifea.com. NOMINATION DEADLINE: Nominations should be submitted no later than 5:00 PM (MST) Monday, June 1st, 2020 ENTRY FORMAT: Please EMAIL your nomination in a Word document. SUBMIT ENTRIES TO: Nia Hovde, CFEE, Vice President/Director of Marketing & Communications at nia@ifea.com. QUESTIONS: Please contact: Nia Hovde, CFEE – nia@ifea. com +1-208-433-0950 ext: 8140

THE NOMINATION PROCESS 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 Name • Position • Address • City • State • Zip Phone • Fax • Email C. NOMINATION QUESTIONS Please submit a general overview of your nominee’s career, including IFEA involvement; organizations they have worked for, positions held, awards, etc., highlighting how your nominee has had an international impact and made a difference in the festival and events industry.

2020 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 recipient cities come from all over the globe including such cities as: Sydney, Australia; Dubai, United Arab Emirates; São Paulo, Brazil; Rotterdam, The Netherlands; Jinju City, Gyeonsangnam-do, South Korea; Krakow, Poland; Philadelphia, Pennsylvania, USA; Greater Palm Springs - CA, USA; Ottawa - Ontario, Canada; Boston - Massachusetts, USA; Maribor, Slovenia; Taupõ - New Zealand; Tucson, Arizona, U.S.A.; Des Moines, Iowa, U.S.A.; New Taipei City, Taiwan; 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.

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IFEA’s ie: the business of international events

ENTRY INFORMATION Quick Reference Guide DEADLINES

• Entry Deadline: 5:00 p.m. (Mountain Time Zone) – Monday, July 6, 2020 • 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.

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

Applicants may re-apply for the IFEA World Festival & Event City Award © each year.

• Award Recipients will be notified via email by Monday, August 17, 2020. Notification will go to the primary contact listed on the entry application. • The 2020 IFEA World Festival & Event City Award © will be presented during the IFEA’s 65th Annual IFEA Convention & Expo. 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 65th Annual Convention & Expo to accept your award, please arrange for a representative to accept on your behalf. • If you are not present at the awards presentation to accept your award, it will be mailed to you 4 weeks after the convention concludes at your expense. Please provide a credit card number to charge for shipping fees.

JUDGING

MAXIMIZING YOUR AWARD

ELIGIBILITY

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

Judging 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 encour68

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

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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 2020 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. • Confirm that all information within your entry is true and accurate to the best of your knowledge. • Acknowledge your entry is 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. • Agree that if selected as a winning applicant, the IFEA may use their City name and representative’s photos in all press releases and program marketing materials, both hard copy and electronic versions. • Acknowledge that your entry into the competition is acknowledgement of these terms.

ENTRY REQUIREMENTS

1. A completed entry form providing contact and payment information. 2. A one (1) paragraph description of your city (to be used for promotional purposes by the IFEA). 3. An email list of your local media contacts in Excel format for IFEA for use to announce the selected recipients. Please limit to your 25 main contacts. 4. An individual photograph representing your city - preferably of a festival setting within your city (at 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 / Past 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 11-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 Thumbdrive 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 Spring 2020

YouTube. If mailing video on a Thumbdrive, please submit video as an MPF, WMF, MOV. (DVD’s should be encoded for Region 1 or Region 0 DVD capabilities.) • Entries over one GB 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 Hovde, CFEE at 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, CFEE, President & CEO at schmader@ifea.com • Nia Hovde, CFEE, Vice President/Director of Marketing & Communications at nia@ifea.com • Phone: +1-208-433-0950 ext:8140

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 contacts in Excel format for IFEA for use to announce the selected recipients. Please limit to your 25 main contacts. 4. An individual photograph representing your city - preferably of a festival setting within your city (at 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 and Event City Award / Past 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. Wifi Accessibility throughout Venues in City (signal / affordability) g. Hospital and Emergency Response Availability h. Total Number of Hotel Rooms Available i. Public Transportation Options j. Parking Availability (Paid lots, meters, and free) k. Walking Paths, Bicycle Lanes l. 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, risk management expectations, etc.) h. Green Initiatives: What assistance does the city offer to encourage and support green initiatives by festivals & events? i. City Provided Festival and Event Training Programs (For example: Marketing, Planning, Budgeting, Risk Management, Alcohol Service, City Department Introductions, Professional Certification, etc.) j. Direct Industry Involvement / Memberships by Any of the Above

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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 (For example: special discounted rates for use of a local performing arts venue; provision of ticketing services, etc.) 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?) 72

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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. Defined and used Risk Management Partnerships between the City and Events f. Efforts to Actively Recruit New Events to Your City (Please include reference to any applications made/secured if this area pertains) g. Other Creative Endeavors

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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 / World Festival & Event City Awards / Past Recipients

2019 IFEA World Festival & Event City Award Recipients • • • • • •

Coffs Harbour, New South Wales, Australia Gimje-Si, Jeollabuk-do, South Korea Philadelphia, Pennsylvania, United States Rotterdam, South Holland, The Netherlands Sydney, New South Wales, Australia West Palm Beach, Florida, United States

Boryeong-si, Chungcheongnam-do, South Korea Coffs Harbour, New South Wales, Australia Gold Coast, Queensland, Australia Moscow, Russia Ottawa, Ontario, Canada Philadelphia, Pennsylvania, United States Sydney, New South Wales, Australia Taichung City, Taiwan Winnipeg, Manitoba, Canada

Coffs Harbour, New South Wales, Australia Des Moines, Iowa, United States Gold Coast, Queensland, Australia Hadong-gun, Gyeongsangnam-do, South Korea New Taipei City, Taiwan Philadelphia, Pennsylvania, United States Port Macquarie Region, New South Wales, Australia Sydney, New South Wales, Australia Tucson, Arizona, United States

2016 IFEA World Festival & Event City Award Recipients • • • • • • • •

Coffs Harbour, New South Wales, Australia Dubai, United Arab Emirates Greater Palm Springs, California, United States Krakow, Poland Newcastle, New South Wales, Australia Philadelphia, Pennsylvania, United States Sydney, New South Wales, Australia Taupo-, Waikato Region, New Zealand

2015 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 • Dubai, United Arab Emirates • Dublin, Ohio, United States

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• • • • • • •

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

2017 IFEA World Festival & Event City Award Recipients • • • • • • • • •

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

2018 IFEA World Festival & Event City Award Recipients • • • • • • • • •

• • • •

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• • • • • • • • • • • • •

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

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

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 • • • • • • • • • • • •

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 6th, 2020 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: 8140 – 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) 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.)

❍ North America

__________________________________________________________________________________________________________________________ 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

• Acknowledge your entry is 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. • Agree that if selected as a winning applicant, the IFEA may use their City name and representative’s photos in all press releases and program marketing materials, both hard copy and electronic versions. • Acknowledge that 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 Nia Hovde, CFEE at nia@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 contacts in Excel format for IFEA for use to announce the selected recipients? Please limit to 25 main contacts. ❍ Submit an individual photograph representing your city - preferably of a festival setting within your city (at 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?

HOW TO RECESSION-PROOF YOUR SPONSORSHIP PROGRAM By Kim Skildum-Reid

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We’ve all seen the news reports about the increase in recession warning signs. Economies are slowing down. Some countries and business sectors are already in, or on the brink of, recession. At best, global economic indicators are mixed. It’s also been ten years since the end of the Global Financial Crisis (AKA, the Great Recession). This, in and of itself, concerns some economists, as historically, this makes us “due” for a recession. And with ample coverage in both financial and main media about the potential for a recession in the near term, it’s clear that experts are on alert. Maybe all of this is wrong, and we’ll sail through another few years with a reasonably stable economy. I honestly hope that’s the case. But when things do start to head south, our industry has a long history of being hit hard and swiftly. If we do drop into a recession – or if it looks like one is truly looming – some sponsors will have a directive to cut spending. If a company has a culture that categorises sponsorship as a luxury spend, budget cuts will disproportionately affect rightsholders. Even if your direct contacts totally understand the value of best practice sponsorship, if the C-suite isn’t across the power and flexibility of this medium, financial decisions may be out of their hands. For other companies – and I’m going to go out on a limb to say most companies – they’ll use a recession as an excuse to clear out dead wood, and fair enough. The question you need to ask yourself is, “Are we dead wood?”. And frankly, would you know it if you were? Either way, you don’t want to be on the losing side of the budget cut equation, so I’ve compiled some things you can do to increase your odds if a downturn comes along. The kicker is that making these changes takes time, and economy-driven financial decisions can come fast, so you need to get onto this preparation now. Worst-case scenario: You’ve minimised the financial impacts of a recession on your sponsorship program. Best-case scenario: It’s a false alarm (for now), you’ve significantly upped your game, and the work you’ve done has you increasing your annual sponsorship revenues. Get Real Are you expendable? Realistically, all properties are expendable, so the question should be, “How expendable are you?” Whether it’s mandatory budget cuts or opportunistic portfolio rationalisation, a recession is an opportunity for a brand to reinvent their approach, and restructure

their portfolio, turning it into a powerful, efficient, meaningful, and lean marketing engine room for their company. That’s the mindset they’re going to be in, and that’s not a situation where you want to be presenting yet another weak, self-absorbed, strategic black hole of a renewal offer. So, it’s time to assess your approach, and get real about how good you are. • If you’ve been phoning it in, taking your sponsors for granted, and assuming they’ll just keep renewing, you’re in danger. • If you’ve been selling outmoded, commodity benefits, or anything resembling gold-silver-bronze, you’re in danger. • If your business case for renewal focuses on the benefits you provide, not the meaningful leverage a sponsor could do with them, you’re in danger. • If the only thing that changes in a renewal is tweaking the offer and raising the price, you’re in danger. • If you’re relying on your board, senior executives, or other personal relationships to secure and renew sponsors, you’re in danger. • If you think your size or worthiness is the reason they sponsor, you’re in danger. • If you don’t understand their overall marketing objectives and target market segments – theirs, not yours – for all of your sponsors, you’re in danger. • If you can’t name more than two major trends in sponsorship strategy, you’re in danger. There are more danger signs, but I reckon I’ve collected at least 95% of rightsholder with just these few. That 95% is lacking the skills and/or impetus to be a good partner. That 95% may have enormous potential for sponsors, but your approach is selling you far short. That 95% is dead wood. Clean Up Your Act… And Do It Right Now Once you’ve got a handle on how imperilled you are, you need to make changes, and you need to do it right now. Don’t wait to roll out some new, whiz-bang approach at renewal time. Chances are that if they’re going to rationalise their portfolio, they’ll be making decisions on what gets the chop based on your past performance, not what’s in the renewal. What that means is that you need to improve your body of work with them now, so that they get some strong wins with you, before they start assessing their portfolios. What you need to do will depend on your danger signs, and if you’ve ticked a Spring 2020

lot of them, you could have a lot of work ahead. But what’s the alternative? Letting your sponsorship revenues crater? One Word: Vision Establishing a vision for what sponsors can accomplish with your property isn’t about doing some presentation with lots of pretty pictures and charts, in an attempt to tell them how great you are. Not even close. This is about helping them to see the full strategic potential in the sponsorship – the scope for their brand, the scope for their relationships with all their various target markets, the scope over time and geography. Some of those target markets will be yours, but not all; your target market may be just a drop in the bucket of who they could influence. Sure, they want to leverage during your event or season or whatever, but however long that lasts, it’s a fraction of the months – or even years – that they could meaningfully leverage the sponsorship. And geography-schmeography. Great leverage isn’t limited by geography or who actually attends. If people care about what you do – or even just the larger themes around what you do – they can be influenced by a great leverage program, no matter where they are. So, if you think back at all those whiz-bang presentations and proposals that focused with laser precision on your property, you need to now realise that you were setting those sponsors up to think small. You were setting them up to think, “two-day festival in Memphis”, not “powerful marketing epicentre, leverageable nationally for at least eight months”. How do you create this vision? There are a few options: • You can feed them with amazing leverage ideas. Brainstorm all of the things you could do with that sponsorship, if you owned that company. There is a whole process for this, which is outlined in The Sponsorship Seeker’s Toolkit 4th Edition. • Even better, do that same brainstorm process with the sponsor. Get them to assemble some of their stakeholders, and collaborate on those ideas. If you’re not confident, hire a really strong sponsorship consultant to facilitate. • If speed and efficiency is a concern – and with a shaky economy, it should be – you could facilitate a sponsor leverage session for all of your sponsors. You’ll definitely want someone credible and adept to lead it, as part of the job is kicking their arses for lazy thinking, and you really don’t want that to be you. Invite

IFEA’s ie: the business of international events

your sponsors and their teams, so you build vision and buy-in at the same time. I do a half-day leverage and measurement workshop, where those teams walk out with actual leverage and measurement plans, and a totally different vision about the value of the property. Position Your Property as a Multi-Tool Going hand-in-hand with creating vision is positioning your property as a sponsorship multi-tool – a marketing tool that can do almost anything that needs doing. • Engender advocacy? Check. • Demonstrate brand values? Check. • Demonstrate understanding of, and alignment with, the target markets? Check. • Reward loyal customers? Check. • Build the organisational culture? Check. • Launch a new product? Check. • Anchor a sales promotion? Check. • Collect consumer research? Check. That list could go on for pages! The point is that you want to be seen as a flexible marketing platform, that they can go to for whatever they need, over and over again. And the key here isn’t being big or sexy – it’s relevance. If what you do is relevant to the sponsor’s target markets, and you have the strategic nous and willingness to be flexible, your value to them will skyrocket. Renew Early and for Multiple Years Start talking about renewals early, and get them contracted early. From a purely practical point of view, this could insulate you from knee-jerk decisions, and if they don’t renew, you’ll have a longer timeframe to secure new sponsorship. And speaking of insulating you from knee-jerk decisions, do everything you can to secure multi-year renewals. If corporate finance comes down with a directive to cut 30% from the sponsorship portfolio, but you’re under contract for the next two or three years, chances are good that some financial equilibrium will have been restored, by the time you’re up for renewal again. Minimise Reliance on Personal Relationships In addition to wreaking havoc on sponsorship portfolios, economic downturns take a heavy toll on workforces. They shrink. They’re restructured. And if that happens, there’s every chance the sponsorship decision-maker you work with now, won’t be in that job, when it comes time for renewal. 78

This doesn’t mean you shouldn’t have a good relationship with that person, but when it comes to how you manage the sponsorship, concentrate on adding value to the brand, not the individual. With high turnover in sponsorship jobs, this is always smart, but takes on even more importance in a downturn. Do Your Homework on Sponsorship Make the effort to learn about the critical factors that are driving sponsor decisions, because newsflash, it’s not visibility, image transfer, or sales. A good place to start would be to download and read “Disruptive Sponsorship: Like Disruptive Marketing, Only Better” from PowerSponsorship.com. If that doesn’t change your perspective on what you’re selling, nothing will. Do Your Homework on Your Sponsors While you’re doing homework, make the effort to learn about your sponsors. One of the biggest complaints I hear from sponsors is that their partners have no idea what their overall marketing objectives are, who their target markets are, their organisational culture, or even how their business works. This is research you should have done before selling to them, in the first place, but if you didn’t, the second best time to do it is now. First, do the desk research. Take tons of notes. Find their pinch points, priorities, and hot buttons. • Mine their website – Look for any sponsorship guidelines they may have, which will offer a lot of information. Check their press releases for clues on new initiatives and priorities. Find anything that articulates their organisational ethos. Take notes on what is being most heavily featured. • Mine their social – What are the focal points? What is the voice? Is it human or dispassionate? Who do they appear to be talking to? Are the conversations one-way or two-way? • Mine the web – Search for financial results, controversies, and recent, positive PR. Search your local/regional marketing industry websites for articles about new initiatives, markets, products, etc. Then, use those notes as a platform to get more information and clarity from the sponsor. Say, “I notice from your recent social and a media release from last month that you’re making some big changes in how people use your service. I’d love to

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find a way to help you with that, but I need some more background.” Ask the Hard Questions I’m an optimist. Truly, I’m incorrigible. So, I get that you want to think if you clean up your act, you’re not going to lose any sponsors in a downturn. That would be a great outcome, but it may not be realistic. The thing is, if a sponsor is going to exit, you want to know about it as soon as possible. With a long lead time, you may be able to find another sponsor. With a long lead time, at the very least, you’ll be able to reassess your plans, so the loss of revenue isn’t catastrophic. So, to mitigate any ugly surprises, you need to be willing to ask the hard questions. You can tell a sponsor that you understand their sector is being hit hard, right now, and that your goal is to be a powerful and efficient marketing tool for them. But you should also say that if it’s unlikely the sponsorship will be renewed, for whatever reason, you’d appreciate knowing sooner, rather than later. The Upshot Whether it’s looming, or still years away, we’re going to have another recession. And when it does, you don’t want to be dead wood. You don’t want cutting you loose to be a no-brainer, and with the above steps, that’s a lot less likely to happen. But the optimist in me wants to you know that, even if we don’t have a recession soon, your effort won’t be wasted. Every day you’re a great partner that makes your place in a sponsor’s portfolio more secure. Every new skill you develop will make both renewals and new sales easier. And the more you build a sponsor’s vision, the more your sponsorship is worth. Kim Skildum-Reid is one of the sponsorship industry’s most influential thought leaders. She has a blue chip list of consulting and training clients spanning six continents, is author of global industry bestsellers, The Sponsorship Seeker’s Toolkit and The Corporate Sponsorship Toolkit, and commentates to major business media around the world. She is the brains behind industry hub, PowerSponsorship.com, and offers sponsorship consulting, training, speaking, and coaching. Kim can be reached at: Email: admin@powersponsorship.com | Phone AU: +61 2 9559 6444 | Phone US: +1 612 326 5265 or for more information, go to: http://powersponsorship.com/.

IN MEMORIUM

Don Lunday

CalFest Founders Dick Nicholls, Bill Lofthouse, Ruth Schnabel, Laura DeOrio, Don Lunday, and Jack French

e are sorry to announce the passing of one of the early IFEA Executive Directors, Don Lunday. Don was born in San Antonio, Texas, in 1931, and passed away in Temecula, California, October 22, 2019, at the age of 88. Don was a business executive in sales & marketing, worked in the music industry, and consulted in restructuring businesses. He volunteered for the Pasadena Tournament of Roses for 42 years and worked in the Special Events Industry coordinating and supervising festivals and parades. He was a member of the International Festivals Association (IFA), which evolved into the International Festivals & Events Association (IFEA), for 19 years and served as its Executive Director for four years in the 1980’s. Don was a founding member of the California Festivals & Events Association (CalFest) for 15 years and served as its first Executive Director. His final career was as an ordained minister in Colorado and California. After retirement, he served as a part-time hospice chaplain. A memorial service will be held sometime in the spring of 2020. Spring 2020

IFEA’s ie: the business of international events

Chocolate Anniversary

Annual IFEA Convention, Expo & Retreat September 28-30, 2020 Hershey Lodge

Hershey, Pennsylvania, U.S.A. CFEE Days Sept 25, 26, 27

Convention presented by

2020 IFEA WEBINAR SCHEDULE

2020 IFEA WEBINAR SE R I ES

Bringing valuable Festival and Event industry education right to you, we’re pleased to present our Online IFEA Webinar Series. IFEA WEBINARS ARE: PROFESSIONAL: 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. (If working toward your IFEA CFEE Certification, each individual paid Webinar is eligible for one CFEE Elective Credit.) AFFORDABLE: At $59 each for IFEA Members ($99 for Non-IFEA Members), not only are you able to attend the Webinar presentation, but any and all of your co-workers can gather around to view the presentation as well, for that one low price! CONVENIENT: Webinars are easy to attend. Let us bring the education to you . . . view and listen to the presentation online right at your computer, tablet, smartphone… wherever you may be! No Travel Expense Required. EFFICIENT: With no travel time to and from to attend the Webinar and one easy click to log-in, give us 60 minutes and we’ll give you an hour full of valuable festival and event industry education. What better way to receive great educational information by great presenters, while saving both time and travel expenses! VALUABLE: Get the most out of your registration fee. All paid Webinar Registrations receive access to the live 60-minute Webinar presentation, an interactive Q&A session, copies of the presentation materials and handouts, in addition to the recording of the Webinar.

THURSDAY, JANUARY 30, 2020 Effective Sponsor Activations & Pop-Ups Bruce L. Erley, CFEE, ARP, President & CEO Creative Strategies Group, Denver, CO THURSDAY, FEBRUARY 6, 2020 Information Matters: Using Your Words to Manage Reasonably Forseeable Risks Steven Adelman, Vice President Event Safety Alliance Adelman Law Group, PLLC, Scottsdale, AZ THURSDAY, FEBRUARY 13, 2020 Building Your Brand, Attracting Your Audience & Making the Most of Every Dollar! Ellesor Holder, CFEE, Marketing Strategist South Carolina Festival of Flowers Gray Marketing & PR, Greenwood, SC THURSDAY, FEBRUARY 20, 2020 New Online Priorities: Digital Trends You Can Use Jessica Bybee-Dziedzic, Partnership Director Saffire, Austin, TX THURSDAY, MARCH 5, 2020 Creating the Better Community Festival Experience Dr. Vern Biaett, CFEE, Assistant Professor / Founding Chair Event Management Department High Point University, High Point, NC THURSDAY, MARCH 12, 2020 Social Media: Turn Every Customer In To An Influencer David Ramirez User Generated Content Evangelist TINT, San Antonio, TX THURSDAY, MARCH 19, 2020 Succession Planning for Festivals and Events – How to Survive Change Ira Rosen, CFEE Assistant Professor & Director of the Event Leadership Executive Certificate Program at Temple University, Philadelphia, PA THURSDAY, APRIL 2, 2020 Adding to Your Community Engagement Toolkit with Creative Placemaking Sean King, Principle Aspire Consulting Group, Allentown, PA THURSDAY, APRIL 9, 2020 Location, Location, Location – The Critical Impact of Event Space and Protecting Yours Keli O’Neill Wenzel, CFEE, President & CEO, O’Neill Marketing & Event Management, Kansas City, KS Jim Holt, CFEE, President & CEO, Memphis in May International Festival, Memphis, TN THURSDAY, APRIL 23, 2020 Creating Community for Communities Annie Frisoli, CFEE, Founder & CEO Creating Community, LLC, Goodyear, AZ THURSDAY, APRIL 30, 2020 Managing a Multi-Generational Volunteer Base Kaylee Williams, President VolunteerLocal, Des Moines, IA THURSDAY, MAY 7, 2020 Go Bold or Go Home: Get the Most from your Merchandise Program Stephen King, CFEE, Executive Director Des Moines Arts Festival, Des Moines, IA THURSDAY, NOVEMBER 5, 2020 Don’t Walk Away from Money on the Table: Revisiting Your Revenue Streams Becky Genoways, CFEE, President Genoways Events, Rockford, IL THURSDAY, NOVEMBER 12, 2020 A Lawyer and an Event Producer Walk Into A Bar… Jeff English, CFEE, Sr. Vice President/General Council Kentucky Derby Festival, Louisville, KY THURSDAY, NOVEMBER 19, 2020 Tomorrow’s Headlines, Today: Reporting on the Latest Event Trends and Ideas Ted Baroody, President Norfolk Festevents, Norfolk, VA

2020 IFEA

WEBINAR SE R I ES

PURCHASING WEBINARS

WEBINARS

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!

Webinars are available for purchase via any of the following methods: • Online at the IFEA Store • Faxing, mailing emailing the Webinar Registration Form • Calling the IFEA at +1-208-433-0950 x8140

• INDIVIDUAL WEBINAR COST $59 - IFEA Members $99 - Non-IFEA Members Provides access to the individual 60-minute live IFEA Webinar presentation, an interactive Q&A session, copies of the presentation materials and handouts, in addition to the recording of the Webinar. On-Demand Webinars are also able to be purchased individually at $59 (IFEA Members) or $99 (Non-IFEA Members.) • WEBINAR SUBSCRIPTION A subscription to the IFEA Webinar Series can also be purchased for those looking for year-round Festival & Event industry education. ° Live Webinar Subscription $590 – IFEA Members $990 – Non-IFEA Members Provides access to ALL 15 individual 60-minute live IFEA Webinars for the year, interactive Q&A sessions, copies of the presentation materials and handouts, in addition to the recordings for each Webinar.

On-Demand Webinars are available for purchase online at the IFEA Store.

QUESTIONS? Contact: Nia Hovde, CFEE, Vice President/Director of Marketing & Communications at: nia@ifea.com

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

HOW TO PURCHASE © Copyright 2020. 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.

IFEA’s ie: the business of international events

Spring 2020

THURSDAY, JANUARY 30, 2020

EFFECTIVE SPONSOR ACTIVATIONS & POP-UPS Bruce L. Erley, CFEE, ARP President & CEO, Creative Strategies Group Denver, CO

Brand experiences and attendee engagement are driving sponsorship decisions. Organizers must provide the platforms, opportunities and a creative attitude in assisting sponsors to create meaningful activations. This webinar will include key promotional strategies you should employ to assist your sponsors plus a variety of case studies on successful sponsor promotions and engagement activities. 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 which he founded in September, 1995. Creative Strategies Group (CSG) specializes in sponsorship and event marketing consultation as well as forging partnerships between corporations and events, festivals, nonprofit organizations and other properties. In 2012, Erley served as the World Board Chairman of the International Festivals & Events Association (IFEA). He is a 2015 inductee into the IFEA Hall of Fame. He is 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. THURSDAY, FEBRUARY 6, 2020

INFORMATION MATTERS: USING YOUR WORDS TO MANAGE REASONABLY FORSEEABLE RISKS

Steven Adelman Vice President, Event Safety Alliance Adelman Law Group, PLLC Scottsdale, AZ Most mishaps are the product not of a single error in judgment or execution, but a series of mistakes that form a daisy chain of disaster. This webinar will discuss the power of communication between

event organizers, staff, and patrons to manage the routine risks that snowball into problems when left unattended. It will teach you nothing new – it may strengthen your resolve to do what you already know is right. Steven A. Adelman is the head of Adelman Law Group, PLLC in Scottsdale, Arizona and Vice President of the Event Safety Alliance, an international trade association focusing on safety and security at live events. His law practice focuses on risk management and litigation regarding venues and events throughout North America, and he also serves as an expert witness in crowd-related lawsuits. Steve Adelman is widely recognized as an authority on event safety and security. He writes the monthly “Adelman on Venues” newsletter, he teaches “Risk Management in Venues” at Arizona State University’s Sandra Day O’Connor College of Law, and he frequently appears in national and local media for analysis of safety and security incidents at public accommodations. Steve Adelman graduated from Boston College Law School in 1994. THURSDAY, FEBRUARY 13, 2020

BUILDING YOUR BRAND, ATTRACTING YOUR AUDIENCE & MAKING THE MOST OF EVERY DOLLAR!

Ellesor Holder, CFEE Marketing Strategist South Carolina Festival of Flowers Gray Marketing & PR Greenwood, SC This Webinar will provide proven marketing tactics and actionable tips for getting the most out of your marketing resources, budget and relationships. You’ll be introduced to effective and award-winning strategies that get people talking, engaging and attending your event, no matter how big or small.

Festival of Flowers where she made her mark by rebranding, winning industry awards and achieving record numbers. She now runs Gray Marketing & PR where she assist clients with branding, implementing comprehensive marketing strategies, website development and social media integration. THURSDAY, FEBRUARY 20, 2020

NEW ONLINE PRIORITIES: DIGITAL TRENDS YOU CAN USE

Jessica Bybee-Dziedzic Partnership Director Saffire Austin, TX Is your online presence keeping up with consumer expectations? Are you often left with your head spinning when trying to determine how to spend your time? We’ll help you make sense of it all as we discuss some benchmarks and best practices for your website, social media, mobile presence, email marketing and more, and tell you what you should do this year to take advantage of the online landscape. You’ll leave with specific priorities and a to-do list for “what to do next.” Jessica Bybee-Dziedzic has a comprehensive background in online marketing, social media, and website strategy. In 2007, she joined Wright Strategies, managing online projects for clients including KEEN Footwear, Nike and Frito Lay. Two years later, the Wright Strategies team created Saffire, providing events, venues and destinations with websites and ticketing in a simple integrated platform. Today, the Saffire team serves hundreds of clients nationwide. In her spare time, Jessica and her husband pursue their love of films, as co-owners of an indie film production company and annual film festival.

Ellesor Gray Holder, CFEE is a marketing strategist that works with clients to develop and execute their offline (traditional marketing) and online promotional programs. She is also a Certified Festival and Events Executive through the International Festival and Events Association. She has an extensive background in advertising, marketing and public relations. Most recently, she was Executive Director for the South Carolina Spring 2020

IFEA’s ie: the business of international events

THURSDAY, MARCH 5, 2020

CREATING THE BETTER COMMUNITY FESTIVAL EXPERIENCE

Dr. Vern Biaett, CFEE Assistant Professor / Founding Chair Event Management Department High Point University High Point, NC There are thousands of organizations that include community festivals as part of their programming. Most know how to maximize their revenues and effectively use their events to grab public attention, but how many provide truly great experiences filled with special moments that create transformative memories for their audience? This educational session has one goal … to teach you how to optimize the attendee experience at festivals! Its focuses on understanding the basics of festivity and using this knowledge to design peak experiences. It is time to put your festival attendees into a zone of turbulent ecstasy. Dr. Vern Biaett, CFEE produced events for 30 years, primarily as a manager of major festivals for the cities of Phoenix and Glendale, Arizona. He then became a faculty member at Arizona State University, co-created a special event certificate program, and completed his doctoral studies. In 2014 he relocated to North Carolina to establish a new B.A. in Event Management at High Point University, which to date has over 60 graduates, 140 majors and minors currently enrolled, and been honored with a Haas & Wilkerson Pinnacle Award as the Best Event Management bachelor’s degree for the past 4 years. THURSDAY, MARCH 12, 2020

SOCIAL MEDIA: TURN EVERY CUSTOMER IN TO AN INFLUENCER David Ramirez User Generated Content Evangelist TINT San Antonio, TX

Your customers are your best advocates. They are constantly taking and sharing photos of their authentic experience. You’ve spent the time place-making, now leverage user generated content to grow your digital and print marketing strategy. People want to buy from real people. Market with your customers, not at them.

the world and he has written extensively on topics ranging from risk management to sponsorship to the financial and operational management of events. He has been a featured speaker at conventions and conferences around the world.

David Ramirez is a User-Generated Content Researcher and Evangelist at TINT. With his background in special events and marketing strategy, he helps businesses across industries leverage the power of User Generated Content. He serves on the board of the San Antonio River Walk Association, as a guest marketing instructor at the University of Texas at San Antonio Institute for Economic Development, and is a marketing mentor at the Break Fast and Launch Culinary Accelerator. Mostly, he’s a nerd; talk to him about movies or marketing.

ADDING TO YOUR COMMUNITY ENGAGEMENT TOOLKIT WITH CREATIVE PLACEMAKING

THURSDAY, MARCH 19, 2020

SUCCESSION PLANNING FOR FESTIVALS AND EVENTS – HOW TO SURVIVE CHANGE

Ira Rosen, CFEE Assistant Professor & Director of the Event Leadership Executive Certificate Program at Temple University Philadelphia, PA What happens when a key leader, either staff or volunteer, leaves your organization? Whether it is an emergency departure or a planned one, organizations that don’t plan for this can find themselves in deep trouble. This webinar will discuss specific steps you can take to avoid disaster. Ira L. Rosen; CFEE is an Assistant Professor with Temple University’s School of Sport, Tourism and Hospitality Management. He teaches several event management courses and is the Program Director for the School’s award-winning Event Leadership Executive Certificate Program. Additionally, for over thirty years he has owned and operated Entertainment On Location, Inc. (EOL), a full-service event consulting company based in New Jersey. EOL has done extensive production and consulting work for major events and clients throughout the world. Ira has spoken and done training programs around

IFEA’s ie: the business of international events

Spring 2020

TH U RSDAY, APR IL 2, 2020

Sean King Principle, Aspire Consulting Group Allentown, PA Over the past 5 years, the Cultural Coalition of Allentown has introduced the concepts of creative placemaking and the creative economy to the business, government and artistic leaders of the region and has grown from a budget of $0 to potentially $350,000 in 2020 projects. The session will take attendees through the highs and lows of educating your community on the elements of the creative economy to build a sustainable implementation strategy incorporating festivals, events and other projects. Session participants will learn tips and techniques needed to build a community-wide program including issues such as Diversity, Equity, Inclusion, Accessibility, Funding / Financial impacts from Creative Placemaking Initiatives, Economic development, and Youth opportunities. 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.

TH U RSDAY, APR IL 9, 2020

LOCATION, LOCATION, LOCATION – THE CRITICAL IMPACT OF EVENT SPACE AND PROTECTING YOURS Keli O’Neill Wenzel, CFEE, President & CEO, O’Neill Marketing & Event Management, Kansas City, KS Jim Holt, CFEE, President & CEO, Memphis in May International Festival, Memphis, TN Especially for long-running events, but even for some shorter-run festivals, sporting events, and others, it is easy for both stakeholders and attendees to quickly get ‘settled in’ to their site. A known commodity, with anticipated repetition that allows us to focus more of our creativity, time and resources on programming, F&B, decorations, et al., is a plus for everyone. So what happens when someone decides that your site is no longer your site, or to ‘rearrange things’ in a way that negatively impacts your event, attendance, revenues and more? Come hear from two events that have found themselves in just such a scenario, weigh both the positives and the negatives, and the emphasize the importance of thinking ahead to protect your own location and needs. Keli Wenzel O’Neill, CFEE is the President/Managing Partner of O’Neill Marketing & Event Management. She is the creator and orchestrator of many of Kansas City’s most successful civic, corporate and entertainment events. She serves as the founding Executive Director of the highly successful Kansas City Irish Fest. She is co-founder and Producer of the Jiggle Jam Family Music Fest, as well as executive producer of Boulevardia Craft Beer and Music festival and Kansas City RiverFest (KC’s largest Independence Day Celebration). Other recent projects include VIP coordination for Amway Global Presents the Tina Turner Tour, planning and management for the opening of the National WWI Museum at Kansas City’s landmark Liberty Memorial, opening events for the Kauffman Center for the Performing Arts, director of Kansas City’s City-Wide

Events committee for the 2012 MLB All Star Game, marketing and communication liaison for the Big 12 Championships. Jim Holt, CFEE has directed one of the United States’ largest and most successful annual civic festivals, Memphis in May International Festival, since 1998. During his tenure, Holt has driven organizational and program expansion, generated festival asset growth from $10,000 to over $3 million, with an economic impact in 2019 of over $149 million. Under his leadership, Memphis in May International Festival has received over 200 prestigious Pinnacle Awards from the IFEA. Jim also has been accredited with his Certified Festival and Event Executive (CFEE) from the IFEA in addition to serving on the IFEA World Board of Directors for seven years and chairing the Board in 2014. Prior to joining Memphis in May International Festival, Jim spent nearly two decades in the entertainment industry with Memphis and Nashville agencies and through his own business, promoting and directing headline concerts, special events, music festivals, and managing recording artists and touring properties regionally and nationally. THURSDAY, APRIL 23, 2020

CREATING COMMUNITY FOR COMMUNITIES Annie Frisoli, CFEE Founder & CEO Creating Community, LLC Goodyear, AZ

Community can be defined as the experience of connection a n d membership between individuals within a group. Event professionals, more than most other professions, create community EVERY DAY. By engaging in this session, participants will have the opportunity to gain knowledge on the founding principles of community, increase knowledge on core research concepts related to community, discuss barriers to creating community, discuss inclusive practices and ultimately develop their own strategies to build community. Annie Frisoli, CFEE is a former university faculty member of nearly 20 years within parks and recreation management. Annie is now Founder & CEO of Creating Community, LLC and hosts training and Spring 2020

speaking engagements on topics related to community building, group development, design thinking, and inclusion in order to positively impact teams and communities. Annie earned her bachelor’s degree from The University of Toledo and her Master’s degree from The University of North Carolina at Greensboro. Annie is also a Certified Festivals & Events Executive (CFEE), gaining her certification through the IFEA/ NRPA Event Management School. Annie has worked and volunteered on several event teams including the Volvo Car Open (formerly known as Family Circle Cup Tournament), St. Louis Art Fair, non-profit development and awareness events for the Alzheimer’s Association, and campus-wide events at a variety of universities. Finally, as a current adjunct faculty with Arizona State University and Ohio University, she still enjoys having an impact on future recreation and event professionals. THURSDAY, APRIL 30, 2020

MANAGING A MULTI-GENERATIONAL VOLUNTEER BASE Kaylee Williams President, VolunteerLocal Des Moines, IA

In this webinar, we’ll bring to light (and challenge) some of our commonly held assumptions about the generational differences between us. What is the best way to “thank” a Millennial for their time (and attention)? Are Boomers actually your biggest advocates for new technology on-site? How can we recruit more bright-eyed youngsters to complement our more seasoned volunteer base? The most productive volunteer recruitment and retention strategies are those that are intentionally designed to be adaptive and inclusive. Join us to learn how you can (re) build your volunteer programs for long-term success with multiple generations. Kaylee Williams is the President of VolunteerLocal, a volunteer registration and scheduling platform for festivals and events of all sizes, all over the world. Passionate about music and the arts, Williams has leveraged partnerships with hundreds of festivals, fairs and parades to help them streamline their volunteer programs. She is a triathlete, bass guitar player and home-brewer.

IFEA’s ie: the business of international events

T H U R S DAY,

M AY

2020

GO BOLD OR GO HOME: GET THE MOST FROM YOUR MERCHANDISE PROGRAM

Stephen King, CFEE Executive Director Des Moines Arts Festival Des Moines, IA Merchandise programs can be about slapping LogoFest on the back of a t-shirt. Or, they can be about revenues and brand advancement. With an eye towards fundamentally changing the way you think about and execute your merchandise program, this session will explore how to add dollars to your bottom line and prestige to your brand. Stephen M. King, CFEE, is the executive director of the Des Moines Arts Festival® in Des Moines, Iowa and currently serves on the IFEA World Board of Directors. He chaired the organization in 2017. Projects throughout his career in events have garnered more than 300 industry awards from organizations like the IFEA, TFEA, and the International Downtown Association. Before turning his full attention in July, 2011 to the Des Moines Arts Festival, King led the Downtown Events Group from 2006-2011, served as President/CEO of Celebrate Fairfax, Inc. in Fairfax, VA and was the Director of the festivals and events division of Downtown Fort Worth, Inc. in Fort Worth, Tx, where he produced the MAIN ST. Fort Worth Arts Festival. Stephen also is a past director of the National Association of Independent Artists, IFEA Foundation Board of Directors, and is a founding member of ZAPPlication™, the art fair industry’s universal online application system. King is a regular speaker and contributor to the various festival, event and sponsorship conferences and conventions and faculty member of the IFEA/NRPA Event Management School. T H U R S DAY,

N OV

DON’T WALK AWAY FROM MONEY ON THE TABLE: REVISITING YOUR REVENUE STREAMS

Becky Genoways, CFEE President Genoways Events Rockford, IL 86

2020

Far too often we are focused on chasing the money that we don’t control. In this important session we’ll visit those areas that you do control and how to use some common sense approaches that can result in substantial dollars being added to your bottom line. Take the time today to ensure that you are not leaving money on the table. Becky Genoways, CFEE is a 30-year veteran of the festivals and events industry, a Certified Festival & Event Executive (CFEE), past Chair of the International Festivals & Events Association World Board of Directors and a member of the IFEA Hall of Fame. She is a leading industry consultant, educator and producer. Becky has produced events of all sizes, from a local market with weekly attendance of 3,500 to a major music festival that attracted over 300,000 people. She is the former President and CEO of On the Waterfront, Inc., a multiple-event production company located in Illinois. Her current projects include overseeing the food and beverage programs for the Saint Louis Art Fair and Fair Saint Louis, executing the beverage program for the Sausalito Art Festival, and managing the volunteer, food, merchandise and beverage programs for Memphis in May International Festivals. Her main areas of focus are maximizing revenue and enhancing the event experience. Becky has presented numerous professional training seminars and Certified Festival and Event Executive programs throughout North America, in the Middle East and New Zealand and teaches at the IFEA/NRPA Event Management School annually. TH U R SDAY, NOV 12, 2020

A LAWYER AND AN EVENT PRODUCER WALK INTO A BAR ...

Jeff English, CFEE Sr. Vice President/ General Council Kentucky Derby Festival Louisville, KY While the punch line will make more people roll their eyes rather than laugh, there are plenty of things for these two to discuss over a drink! Things like contracts, trademarks, insurance clauses and certificates, by-laws, risk management, and indemnification! As the General Counsel for the Kentucky Derby Festival, I work daily on the legal issues that face the festival and event industry. Through 13 years of putting out

IFEA’s ie: the business of international events

Spring 2020

fires, I’ve learned how to both protect our organization if we face litigation and how to keep it from getting to that point. I look forward to sharing some war stories and key legal principles that will keep your festival from seeing the inside of a courtroom! Jeff English, CFEE is the Senior Vice President and General Counsel for the Kentucky Derby Festival. After graduating from Washburn University School of Law in Topeka, Kansas in 2004, Jeff worked in politics and practiced law before joining the Festival staff in 2007. He is charged with overseeing all of the Festival’s legal issues and serving as its risk management officer. He also manages the Merchandise Department and serves as the President of the Kentucky Derby Festival Foundation, the 501(c)3 charitable arm of KDF. He was named a member of the 2014 class of Louisville Business First’s Forty Under 40. TH U R SDAY, NOV 19, 2020

TOMORROW’S HEADLINES, TODAY: REPORTING ON THE LATEST EVENT TRENDS AND IDEAS

Ted Baroody President, Norfolk Festevents Norfolk, VA Newspapers may be a thing of the past, but good ideas are always in fashion! Join us as we write the headlines for 2021! Benefit from the research, interviews and resources that were the best of 2020. Covering the hottest stories in sales, marketing, programing and sponsorship, we will fact check all that is trending for the year ahead and publish tomorrow’s headlines “today”. 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 serves on both the IFEA World and IFEA Foundation Boards of Directors.

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

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2020 UPCOMING LIVE WEBINARS: To register please make your selection by checking (√) from the webinars below: ❍

Thursday, January 30, 2020 Effective Sponsor Activations & Pop-Ups Bruce L. Erley, CFEE, ARP, President & CEO Creative Strategies Group, Denver, CO

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Thursday, February 6, 2020 Information Matters: Using Your Words to Manage Reasonably Forseeable Risks Steven Adelman, Vice President Event Safety Alliance Adelman Law Group, PLLC, Scottsdale, AZ

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Thursday, February 13, 2020 Building Your Brand, Attracting Your Audience ❍ & Making the Most of Every Dollar! Ellesor Holder, CFEE, Marketing Strategist South Carolina Festival of Flowers Gray Marketing & PR, Greenwood, SC Thursday, February 20, 2020 New Online Priorities: Digital Trends You Can Use Jessica Bybee-Dziedzic, Partnership Director Saffire, Austin, TX Thursday, March 5, 2020 Creating the Better Community Festival Experience Dr. Vern Biaett, CFEE, Assistant Professor / Founding Chair Event Management Department High Point University, High Point, NC

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Thursday, March 12, 2020 Social Media: Turn Every Customer In To An Influencer David Ramirez, User Generated Content Evangelist TINT, San Antonio, TX

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❍ Thursday, March 19, 2020 Succession Planning for Festivals and Events – How to Survive Change Ira Rosen, CFEE Assistant Professor & Director of the Event Leadership Executive Certificate Program at Temple University, Philadelphia, PA ❍ Thursday, April 2, 2020 Adding to Your Community Engagement Toolkit with Creative Placemaking Sean King, Principle Aspire Consulting Group, Allentown, PA

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Thursday, April 9, 2020 Location, Location, Location – The Critical Impact of Event Space and Protecting Yours Keli O’Neill Wenzel, CFEE, President & CEO, ❍ O’Neill Marketing & Event Management, Kansas City, KS Jim Holt, CFEE, President & CEO, Memphis in May International Festival, Memphis, TN Thursday, April 23, 2020 Creating Community for Communities Annie Frisoli, CFEE, Founder & CEO Creating Community, LLC, Goodyear, AZ

Thursday, April 30, 2020 Managing a Multi-Generational Volunteer Base Kaylee Williams, President VolunteerLocal, Des Moines, IA Thursday, May 7, 2020 Go Bold or Go Home: Get the Most from your Merchandise Program Stephen King, CFEE, Executive Director Des Moines Arts Festival, Des Moines, IA Thursday, November 5, 2020 Don’t Walk Away from Money on the Table: Revisiting Your Revenue Streams Becky Genoways, CFEE, President Genoways Events, Rockford, IL Thursday, November 12, 2020 A Lawyer and an Event Producer Walk Into A Bar . . . Jeff English, CFEE, Sr. Vice President/General Council Kentucky Derby Festival, Louisville, KY Thursday, November 19, 2020 Tomorrow’s Headlines, Today: Reporting on the Latest Event Trends and Ideas Ted Baroody, President Norfolk Festevents, Norfolk, VA

Registration cost is per computer site for as many people as you can sit around your computer. Once your registration has been submitted, you will receive an email from the IFEA confirming that you have been registered for the Webinar. The week 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, 2 days before the Webinar and 2 hours before the scheduled Webinar. Payment must be received in full at time of registration to participate in Webinars. No refunds on webinar registration unless notified 24 hours prior to start of webinar.

If working towards your CFEE Cerification, each individual webinar is eligible for one CFEE Elective Credit.

International Festivals & Events Association • 2603Spring W Eastover Terrace • Boise, ID 83706 - U.S.A. 2020 IFEA’s ie: the business of international events 87 Questions: Contact Nia Hovde, Director of Marketing & Communication at nia@ifea.com or Phone: +1-208-433-0950 ext: 8140, Fax: +1-208-433-9812 • www.ifea.com

CRITICAL STEPS to Better Meetings By Rich Horwath

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

Spring 2020

Are your meetings creating valuable new insights for the business or are they a series of multitasking-filled monologues? Are they productive conversations about key business issues or a rehashing of the same stuff you’ve been talking about for months? Are your meetings getting better or worse? Answer these five sample questions from the Strategic Meetings Assessment for the meetings you typically attend: 1. Relevant information is sent out prior to meetings to avoid one-way presentations during the meetings. ❍ Yes ❍ No 2. Meetings start at their scheduled time. ❍ Yes ❍ No 3. People are fully attentive and not engaged in multitasking (e.g., checking phones). ❍ Yes ❍ No 4. People leave meetings with a clear understanding of who is doing what by when. ❍ Yes ❍ No 5. I decline meeting invitations when the purpose and/or agenda have not been communicated. ❍ Yes ❍ No

In this brief sample, a score of three or more “No’s” indicates an opportunity to dramatically improve the efficacy and productivity of your meetings. A meeting can be defined as a gathering of two or more people featuring collective interaction and engagement using conversations to make progress toward a purpose. Note the use of the words “interaction” and “conversations” in the definition. If you find yourself in meetings and especially teleconferences on a regular basis where the format is primarily one-way presentation, there’s ample opportunity to improve your situation. Research shows that meetings consume about 40 percent of working time for managers. Key data points from research to consider: • Up to half of the content of meetings is either not relevant to participants or

could be delivered outside of a meeting. • 20 percent of meeting participants should not be there. • 40 percent of meeting time is spent on information that could be delivered before the meeting. • 50 percent of meetings executives attend are rated as “ineffective” or “very ineffective.” There are five critical steps you can follow to help your organization take a more strategic approach to meetings and teleconferences: 1. Conduct a Meetings Audit Before a doctor prescribes a medication, she first diagnoses the patient’s condition. In the same spirit, before you prescribe new meeting guidelines, it’s helpful to first baseline what’s happening today. Look at factors such as the types of meetings you attend, the frequency of meetings, and the length of meetings. Then identify the reasons these meetings exist and if there are any meetings that are not necessary. Once the audit is complete, it provides a bounty of useful information to shape the future state of meetings. 2. Identify Current Meeting Mistakes Meeting mistakes occur in three phases: pre-meeting, in-meeting, and post-meeting. They can also be categorized as either leader or participant mistakes. For example, a common in-meeting mistake by the leader is failing to rein in off-track conversations. A common in-meeting mistake by participants is multitasking, which conveys a lack of interest in the topic and/or a lack of respect for the person speaking at the time. There are approximately 25 mistakes to look for in the three phases to ensure that the group is not sabotaging their own efforts at improvement. 3. Educate Managers on What Good Looks Like Begin this step by collecting the current best practices being used by managers within the organization. Then look externally to see what principles and guidelines are being used by other organizations within and outside your industry as it relates to meetings. Examples of best practice principles include things such as “identify decisions to make in the meeting” and “create a virtual table of participants for teleconferences.” Use these best Spring 2020

practices to compile a list of new meeting standards. 4. Utilize Meeting Tools One of the keys to leading effective and efficient meetings is aligning the goals of the meeting with the appropriate tools and processes to get there. For instance, if you’re leading a strategy development meeting, there are more than 70 different strategic thinking tools you can choose from to help your team think and plan strategically. The key is to select the handful of tools that make the most sense based on the context of the team, business goals, competitive landscape, etc. Be clear on your meeting goals and then choose the process and tools to get there. 5. Develop Meeting Checklists Research in the social sciences on habits shows that in order to effectively change someone’s behavior, it’s helpful to provide physical or environmental triggers. One highly effective trigger is the use of meeting checklists. These physical reminders ensure that teams across the organization are aware of the basic meeting principles, techniques, and tools to optimize their meeting time. However, the checklists are only valuable if they are accompanied by the corresponding discipline to utilize them on a consistent basis. Effective meetings can be energizing forums to help your team set direction, make decisions, and unify efforts. Ineffective meetings can be anchors that weigh people down with irrelevant information, didactic presentations, and unclear priorities. Which type do you attend today? Do you think it will be different tomorrow? Rich Horwath is a New York Times bestselling author on strategy, including his most recent book, StrategyMan vs. The Anti-Strategy Squad: Using Strategic Thinking to Defeat Bad Strategy and Save Your Plan. As CEO of the Strategic Thinking Institute, he has helped more than 100,000 managers develop their strategy skills through live workshops and virtual training programs. Rich is a strategy facilitator, keynote speaker, and creator of more than 200 resources on strategic thinking. To sign up for the free monthly newsletter Strategic Thinker, visit: www. StrategySkills.com.

IFEA’s ie: the business of international events

MAY I HELP YOU?

WITH FLORENCE MAY

THE GIVERS MODEL I DON’T OFTEN GIVE BOOK OR RESEARCH REVIEWS BUT…

ecently I stumbled across a new volunteer management study for growing and retaining event volunteers that stuck with me. The study by Fujiwara, Lawton and Watt has a rather long name, “Using Behavioral Science to Recruit and Retain Volunteers More Effectively” or it is better known as the GIVERS study in the UK where it was commissioned. The study isn’t quite a book but at 140 pages in length you need a little time to invest in reading the entire study. Which I did. The 2018 study is focused primarily on sport; however, it is a worthwhile read for anyone who has a serious interest in volunteer motivations for any type of event. You can find the study by typing GIVERS VOLUNTEER RESEARCH into your browser to pull up the pdf. If you are interested in the science, read the entire study. If you are only interested in outcomes, read the opening section and the final section. Typically, I find volunteer research somewhat removed from the day-to-day reality of event management. Nice to know information but not very practical. This study is different. GIVERS is not only a study of motivations but also practical volunteer management strategies. The element I found most compelling is the strategies (in the final section) work to address many of the most common trends we see every day in my work at TRS with U.S.A. based event volunteer managers. The GIVERS six steps to influencing volunteer behavior are listed below with my comments and questions for volunteer managers. 1. Growth (G) We know that many volunteers are looking for personal growth (e.g. Expand Skills, Leadership Experience, New Opportunities) as part of their experience with your organization. Can you give examples of how your volunteer program provides personal growth opportunities? Do you have any specific examples of volunteers who have grown by participating in your event? 2. Impact and Increased Sense of Purpose (I) We know that purpose is so very difficult to measure. Volunteers often state on surveys that they want to make a difference. What mechanisms do you use to convey the impact volunteers have on their community via your event? Do your volunteers feel like they are making a difference? Can you give some examples? 3. Voice (V) Volunteers are looking for active engagement. They want a voice in the event they choose to support. Do you ask 90

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volunteers for input on future events and feedback on the immediate past event? Do you ask how volunteers would like to be involved going forward and if they have suggestions on improving the event? 4. Ease of Experience (E) How do you make it easy to sign up, to get there, to get the job done? Yes, we would love for you to mention TRS in your answer. Just kidding! Actually, we really want to know what elements of online registration and the rest of your process (e.g. follow-up communications, training, great team leaders) make it easy for your volunteers. 5. Rewards and Recognition. (R) How do you measure volunteer participation? Which volunteers do you thank, appreciate, and celebrate? Can you clearly communicate your rewards program? 6. Social Opportunities (S) The single biggest change in U.S. volunteer trends is the growth of group volunteer programs. Volunteers like making new friends and working on a team. Are you partnering with corporate, charitable or social groups as part of your volunteer program? Are you engineering new ways for your volunteers to network? People volunteer for a wide variety of reasons. And they leave volunteer programs for an equally wide variety of reasons. Successful event managers know the importance of engaging volunteers at many different levels. The GIVERS model includes valuable tools and practical ideas for volunteer managers competing to attract and retain quality people. My recommendation? At a minimum read the last chapter and the conclusion of GIVERS. Worth the Time. Florence May is the Founder and President of TRS Volunteer Solutions. Her company provides myTRS Software for hundreds of Festivals, Conventions, Non-Profits, corporations and Sports Commissions. Among these support for 26 Final Fours, 5 Super Bowls, 2 Republican National Conventions, 2 Democratic National Conventions, 18 F1 Races, 12 Special Olympic Organizations, Indy 500 Events and so many others. Flory is a national Speaker, Author and Workshop Leader on Volunteer Management Trends. You may contact Flory with volunteer management questions at fmay@my-trs.com or 317.966.6919. And there is a library of volunteer management resources at www.my-trs.com/articles.

ASSOCIATION ENDORSED PARTNERS

ASSOCIATION SPONSORS

INTERNATIONAL FESTIVALS & EVENTS ASSOCIATION

CONVENTION SPONSORS

ASSOCIATION SUPPORTERS | BENEFIT PROVIDERS

Interested in sponsoring? Contact Kaye Campbell, Director of Partnerships & Programs at (208) 433-0950 ext. 1 or kaye@ifea.com

Why Youâ&#x20AC;&#x2122;re Not Getting the Most from Your Training Dollars By Kate Zabriskie

and How to Start Getting a Better Return 92

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Each year, organizations waste thousands of dollars on training that doesn’t deliver what the people who bought it thought it would. Consequently, many of those remorseful purchasers determine that either training has no value to their employees, the training facilitators don’t know what they’re doing, the program designers are out of touch with reality, or all three. If only the root causes of training failures were as simple as those. Even with willing learners, great content, and strong facilitation, you can still encounter a host of problems that will keep you from realizing strong returns on your training investment. If your training isn’t delivering what you think it should, you may be suffering from one of three major problems that plague organizations big and small. PROBLEM ONE: Training Isn’t Part of a Larger Learning Ecosystem Just because people participate in a workshop, it doesn’t mean they will change their behavior back on the job. In fact, even if while in class they demonstrate an ability and willingness to do whatever is being taught, all may be lost once participants exit the classroom. Why does this happen? Good workshops usually fail to deliver because they are treated as a training solution instead of a component of one. In other words, a workshop isn’t the answer in itself; rather, it should be part of a larger apparatus or ecosystem. Solution Creating a strong learning ecosystem is an ongoing and often complex endeavor. It takes time to build a holistic structure that supports continuous development. That said, start small. For example, ask yourself: • Prior to training, do managers explain to people why they will attend a course and how they are expected to use what’s learned after the session? • Will someone with authority (other than the facilitator) launch the session by explaining how the workshop ties into the bigger picture? • Are there check-in opportunities after training to ensure that participants are implementing new behaviors? If you answer “no” to any of those basics, do what you need to do to shift those answers to “yes.” Next, think about the incentives you can put in place to encourage behavior change and the barriers you need to remove to encourage success, and the corrective action you will take if what’s happening in the classroom isn’t replicated on the job.

Once you start thinking holistically and view courses and workshops as a component of learning versus learning in its entirety, you will have taken the first step in getting the most out of your training dollars. PROBLEM TWO: Continuous Learning Isn’t Part of the Culture, and Training Isn’t Treated as a Priority You have great content, you have a skilled facilitator in place, and half the people scheduled to attend the course don’t attend because training isn’t a priority. When training occupies a position of “nice to have” and not “need to have,” getting the most from it becomes problematic. This most often happens when people are in survival mode instead of on a growth trajectory. In other words, they are scrambling to get through the work instead of thinking mindfully about the work they’re completing and how they’re completing it. In practical terms, if people are always putting out fires and don’t regularly ask “what have we learned” and “how can we improve,” why should they care about learning new skills? Solution Shifting from a reactive culture to one that is deliberate about its activities takes months or even years. However, it’s not difficult to make big strides over time when you begin by asking the right questions up, down, and across an organization. Start the improvement conversation at multiple levels and at different times. Frequently ask, “what have we learned,” “what do we need to do better next time,” “what do we wish we’d known earlier,” and other such questions after projects, meetings, presentations, and so forth. In the rare instances when something goes perfectly, remember there are still questions to ask: “How can we replicate what we just did,” “why did that work well,” “is there any reason this approach won’t work again in the future,” and so on. When questioning becomes the norm, the solutions offered via training should have stronger importance and value. For example, if turnover is an issue, a learning organization wants to know why and may ask several questions: “Are we hiring the wrong people,” “are we expecting too much,” “is there something better for the same money somewhere else,” “do our managers not manage well,” “do we need to provide people with better tools,” and so on. Then, when learning and improvement are a priority, you’ll hear such things as, “Today is a training day for me. I’ll be unavailable until 4:00. If you have an Spring 2020

emergency, please see my supervisor Melissa. The workshop I’m attending is of top importance and part of my effort to reduce the turnover in our department.” Who can argue with that? The logic sounds right and ties into big-picture improvement goals. To get larger returns from training, use questioning to drive improvement. The answers will help people connect the dots and understand why training is a priority and not just something they do because Outlook tells them to show up in a classroom. PROBLEM THREE: Few Annual Development Plans Exist The world doesn’t stagnate, and your employees shouldn’t either. If they’re doing their work the same way they were five years ago, and nobody is encouraging or demanding change, why should they care about training or think you care about them? Solution Regardless of level, every employee should have a development plan and some learning and growth goals that connect to the big picture and enhance their skills. “I want to improve XYZ skill to drive ABC result, and 123 is how I plan to grow,” is a quick and easy format to follow when setting development goals and three to five goals is a good number for most people. Better still, if you can tie those goals to performance reviews, you’ll be amazed at the interest people develop in improvement, training, and implementing new skills. As with the other two solutions, start small. If your company, for example, has no development plans, choose a department and pilot them. Act Now Whether you suffer from one, two, or all three of the problems described, take action now. When thoughtful goals and development plans are put in place throughout an organization, people are conditioned to ask the right questions and drive toward improvement, and a strong learning ecosystem supports learning, it is almost impossible not to realize a stronger return on your training dollars. Kate Zabriskie is the president of Business Training Works, Inc., a Maryland-based talent development firm. She and her team help businesses establish customer service strategies and train their people to live up to what’s promised. For more information, visit www.businesstrainingworks.com.

IFEA’s ie: the business of international events

THE SPONSOR DOC

WITH BRUCE L. ERLEY, APR, CFEE

HOW HARD

CAN IT BE?

Dear Readers: Instead of answering one of your questions in this issue, I hope you will allow me to vent and reflect a bit about some recent circumstances I’ve experienced.

little background…CSG is a sponsorship agency. Our clients are event organizers which hire us to go out to find and fulfill the sponsors that fund and promote their events. Why don’t they do it themselves? There are likely a number of reasons. They are great at running events, but the idea of selling is outside their wheelhouse… They don’t know where to start… They don’t really understand the objectives and motivations of companies that use event marketing… And for many, selling isn’t very fun! Just a few weeks ago, only a couple of days after we successfully completed a major event for a client, (after a record year of sponsorship revenue,) we were abruptly informed that our agreement to continue to represent the event, (which we have done for nearly two decades,) would not be extended. They candidly told us that they were going to take sponsor sales and fulfillment inhouse to save on commission payments. Having been in this business for 25 years, this is not the first time a client has left us to take over their sponsorship inhouse. And that is certainly their right! But as I reflect on why this occasionally happens, it seems once we achieve the desired revenue levels for a property, someone internally wonders why they don’t do it themselves. Once we build and maintain a cadre of happy, engaged and fulfilled sponsors, it can look “easy” to those who don’t see all the behind-the-scenes rejection and disappointment of the sales process, as well as the tedious work to fulfill benefits, engineer activations and play ombudsmen between the event and the sponsor. I really believe that some of these clients think… how hard can this be? We’ll do it ourselves and save on having others do it for us! I can recall a moment just a couple years ago. We were transferring our sponsorship sales and fulfillment files and briefing several board members of a cycling event that we were transitioning from us to them to manage internally. After about 90 minutes of downloading to them, a board member actually exclaimed… ”My God! I had no idea it was this complicated. There are so many moving parts! We don’t know how to do this!” 94

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So, what can we learn from these types of experiences? I think we need to be more transparent with the rigors of our work. I don’t mean that you should moan and complain about how hard it is to do what you do, but don’t hide your hard work behind the veneer of your successes. Irrespective of what you do, whether you work for a client, a boss or a board, make sure that you are regularly and thoroughly demonstrating with those to whom you report, the joys and trials of your job… the successes and disappointments… the achievements and the frustrations. Don’t make your success look too easy. Otherwise… how hard can it be!! Thanks for letting me vent. The Sponsor Doc

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

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IFEA has partnered with MultiView to provide these advertising opportunities. For more information about them, contact salesinquiries@multiview.com or call 972-402-7000. For more information about IFEA, email kaye@ifea.com or call 208-433-0950 ext: 1 POWERED BY

FESTIVALS WITHOUT BORDERS

WITH ROBERT BAIRD

BOOKING FOREIGN ARTISTS

TO ENGAGE YOUR AUDIENCE AND ENHANCE YOUR FESTIVAL

he world is full of talented artists and the entertainment programmer at any festival must sift through a lot of material and be tuned in to what will attract attendees to a festival because of the entertainment offerings. How does one go about finding artists? One does so through word of mouth, research, attending concerts and conferences and community cultural connections. a. Word of Mouth – How often do we get a recommendation from a friend or colleague that we should “check out” this singer or that group? Often these “word-of-mouth” recommendations will expose us to artists with whom we might not be familiar and who might just fill the bill for our festival. Do not fail to check out any such recommendation. Talk to festival colleagues who book artists. Find out who was successful, who was not, who was good to work with, who was not, who would they have back? b. Research – Find out who is “hot” or unusual or suitable for your festival theme, audience demographic, etc. Check the charts available, such as the Billboard World Music Chart, for information on the popularity and concert information for many groups. Listening to and watching various media as well as paying attention to ads in newspapers and other publications will inform you as to which artists are popular. c. Attend Concerts and Conventions if at all possible. Seeing an artist perform will give you the best sense of what they do, and how they come across to an audience. Many conferences have artist showcases where you can experience a snippet of performance and, hopefully, be able to make a judgment as to how they would do in your festival. Here are some suggested conferences where you can experience showcases by foreign artists: • APAP (Association of Performing Arts Professionals) Held in New York City in early January, this conference features attendees from all over the world (3500 in attendance) and showcases by artists from around the world (over 1000 showcases at the Hilton hotel and in various venues throughout the city.) For more information: www.apap365.org • ISPA (International Society for the Performing Arts) Held in New York City either before or after APAP, ISPA features delegates from virtually every country and also features informative sessions by foreign artists looking to tour the United States. The artists represent many cultures and provide a feast for ear and eye with their unique performances. For more information: www.ispa.org These two major conferences require a substantial investment in time and money (New York City is an expensive city in which to spend any time). Fortunately, there are regional conferences which provide opportunities for foreign artists to showcase. These include: 96

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• WAA – Western Arts Alliance (www.westarts.org) Held in various locations on the west coast, this conference is creative and informative and provides a few opportunities for artists to showcase as part of the conference and opportunities for independent showcases. • Arts Midwest (www.artsmidwest.org) Considered by many to be the premier regional arts conference in the USA, Arts Midwest provides both juried and independent showcases. It is held in various locations in mid-America. • Arts Northwest (www.artsnw.org) Held in Oregon, Washington or Idaho annually. A smaller regional conference but there are many showcases to see. If the regionals seem daunting, then you can certainly start closer to home with one of these state conferences: • ArtsMarket – North Carolina Presenters Consortium (www. ncpresenters.org ) Held in November in Durham NC • Ohio Arts Professional Network (www.oapn.org) Held in various Ohio cities in September. • PA Presenters (www.papresenters.org) Conference held in June in various PA cities. • Mid-Atlantic Performing Arts Market (MAPAM) – alternates with Arts Market bi-annually and is held in November. Investigate the showcases being offered at these conferences and make a note of the ones you think might be suitable for your particular festival. d. Community Cultural Connections should be investigated in the locale where your festival is held. Often there will be cultural associations representing various countries and they can provide guidance in choosing artists and support in bringing them to your festival. Increasing the demographic appeal of your festival can only result in increased attendance. Booking foreign artists can provide a whole new dimension to your festival and programming into various cultural areas will create a widespread appeal for attendees. Robert Baird is President of BAM! Baird Artists Management Consulting in Toronto, Canada and an acknowledged expert in international touring including visas, withholding and taxation. He offers free advice to artists, agents, managers and venues and has an international clientele. He served for many years on the Executive Board of Festivals and Events Ontario (FEO) and is a former Vice-President of that organization. He can be reached at: P: 1-800-867-3281 E: robert@bairdartists.com or for more information go to: www.bairdartists.com

Remember the Helping Hands that Got You Where You are Today?

The IFEA Foundation “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! It allows the organization to keep pace with new and changing

technologies necessary to communicate with and serve our global industry and it supports a continued expansion of our services, resources, programming and outreach around the world. In a nutshell… it powers those who power celebration.

Now You Can Pay It Forward. Help Sustain the “Premier Association Supporting and Enabling Festival & Events Worldwide”

Donate Today IFEA.com / Foundation / Ways to Give Questions? Contact Kaye Campbell, CFEE, Director of Partnerships & Programs

at kaye@ifea.com or +1-208-433-0950, ext. 8150

I DO N H ’ T A TI M VE E F THA OR T!

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TIME MANAGEMENT HACKS FOR THOSE WITH ALL THE BALLS IN THE AIR By Alison Baringer English

Spring 2020

eâ&#x20AC;&#x2122;ve all been there. The balls start slowly. Our mailboxes are cleaned out, our meeting schedule is light, we even have time for an actual lunch! Then the internet goes down. And your largest sponsor pulls out. The chair of your signature event angered your top vendor and now both are withdrawing. Your office manager is out for 2 weeks with the flu. And now your board is asking for a full update on your strategic plan. One week before your biggest fundraising event.

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

Time blocking needs to be your new best friend. The concept of time-blocking is simple - pair similar tasks together and literally set a time in your calendar for when you will work on these tasks. When deadlines and to-do lists add up, it is easy to want to scream, “I Don’t Have Time for That!” Time is a precious gift that can feel like it is weighing you down, but when utilized properly, can be the framework that guides you to astounding success and growth. Below are some ways to put time back on your side: Time Block Time blocking needs to be your new best friend. The concept of time-blocking is simple - pair similar tasks together and literally set a time in your calendar for when you will work on these tasks. Have a project or task you’ve been putting off or dreading? Put two hours on the calendar to work on it - a time block. Have a key strategic plan or goal in your office? Mandate your team to set time blocks for progress towards these goals. I recommend setting weekly time blocks for long-term projects and strategic goals (an example of such a time block would be “Sponsorship Time”). On Friday afternoons, look at your week ahead and add in time blocks for things needing your attention. By time blocking, you are taking back control of your time and not leaving it up to the whim and needs of whatever is thrown your way each day. This allows you to create dedicated time for the most important things, the tasks and projects that will move the needle for your organization. Time Block With Intention Putting time blocks in a calendar is the easy part, the hard part is sticking to them! Protect that time at all costs. Shut the door to your office. Turn off all notifications (email, text, etc.). After you’ve successfully time blocked for a few weeks, take some time to reflect on your optimal work flow and time block with this in mind. Do you crash most afternoons at 3 pm? You need to block that time for easy, low-effort tasks like returning simple emails or filing paperwork. It is suggested that we only have a certain amount of will power each 100

day - so put hard, dreaded, and thoughtheavy tasks first thing in the morning. You’ll be better able to accomplish and focus on the task first thing, and the feeling of accomplishing such a big task will give you energy and that “feel good” feeling throughout the rest of the day that will drive more production and energy. For more information on time blocking and to see just how much time in a week you really have, read Laura Vanderkam’s book, “168 Hours: You Have More Time Than You Think.” You can google a 168-hour time log and keep track of just where your hours go in a week – it is truly enlightening! Use Technology, Don’t Let It Use You There are so many good digital productivity tools that can improve your time management. Top favorites include: • Google Calendar: This should be a given but there may be some of you late to the bandwagon. Online calendars allow you to access your schedule from your phone, tablet, or computer no matter where you are. What’s even better is you can share your calendar with your team as they share theirs with you, so you always know what meetings are taking place and what progress is being made towards certain projects. You will also have your time blocks on the calendar, so others can know when not to interrupt you or when you might be more accessible for a question or brainstorming. Online calendars save time amongst team members by keeping everyone in the loop with what’s happening on an hour-by-hour basis. • Asana: (Or other project management systems) Online, real-time access is key here. Assign tasks to your team members with details, attachments, and deadlines. They receive an email on the task and all can stay updated on the progress through the website. Saves time by removing the need for multiple emails concerning a task, time spent

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organizing information, etc. You can also download this as an App on your phone, so if you think of a task or project over the weekend/at night, etc. you can immediately open the App, add it, and it will be there in the morning or for your next staff meeting. This frees you from worrying about forgetting it and closes the loop in your mind on that task. • Airtable: Another online resource much like Google Sheets, in an Excel-like format. The layout is pretty on the eyes and the ease of use is incredible. Can be utilized for sharing information with committees such as action items, budgets, donations, special event requests, etc. Saves time by allowing everyone real-time access and updates on a project. • Canva: For those non-designers who need to make flyers, social media posts, etc. – this is gold. Design templates for anything one can imagine; a simple click and drag to change out for your photos, text, colors, etc. Seriously, you can get addicted to this program. Technology can be extremely helpful when utilized correctly. It can also be the biggest time-suck and distraction. Turn your notifications off. All of them. There is no reason you need to know the second an email hits your inbox, or the second grandma posted a photo of her baked casserole to Facebook. The day is yours - the minutes are yours, use them for what YOU want to use them for. Don’t be at the mercy of what’s happening around you. Make sure you are using technology and it is not using you. Automate Processes Find a way to automize. Anything. And everything. Do you have a task or a subject matter that always stresses you out? Set up a process that, when it happens again, you can pull out and hit “play.” For example, we all know there are too many marketing platforms to promote an event. Did you remember to update the website? Set up a social media campaign? Request to go on media interviews? Send a mass email? Thinking through all these things for each event, in the midst of everything else, can be overwhelming and time-consuming. Create an “Event PR Checklist” and make it a habit to go through the checklist while planning each event. This will minimize the stress of thinking you forgot something, while utilizing your time and brain energy wisely. Michael Gerber, in his book, “E-Myth Revisited,” outlines the success of this strategy. The McDonald Brothers, along

with Ray Kroc, created a simple system for making a hamburger, down to the order in which ingredients were put on the burger. This system was so automated teenagers across America could easily be taught it, and customers across America would have the same experience regardless of which McDonalds they visited. And thus, McDonalds came to be. The same outcome every time, little thinking, very fast. (Let’s just make sure we have quality ingredients we are putting into our processes, okay?) Automating processes forces you to step outside daily tasks of working “in” the businesses, and causes you to look larger, and work “on” the business. Side note, creating these automations and processes not only save you time and energy, but is one way to truly grow your organization. We each are only human and each human can only do so much. To grow and expand, you need these automations and processes to work for in order to pass along to others to fuel expansion and growth in your business. Change Your Mindset One of the biggest things to remember is that time spent doing one thing is time not spent doing another. For every project you dedicate your time to, you have actively chosen to not work on something else. With this being said, ensure you are focusing on high value work. The majority of your projects should be things that will wield high impact success or growth, things that move the needle towards whatever your goals are. Certainly, there will be things you have to do that may not wield high value results, either things handed down to you from upper management or routine things necessary to run the business. These are tasks you should try to automize. Create processes for these tasks so they take up less of your time, allowing you to focus on the projects that truly matter. By changing your mindset, you will begin to recognize those projects that are most beneficial to your business. These projects should be heavily time blocked and given high priority. Working on these projects yield higher successes and by default, your time spent on these projects is more valuable. Surround Yourself With HighPerformance In today’s age there are so many amazing ways to level up your education and productivity. Some of my favorite ways to broaden your knowledge base include:

• Conferences: Time blocking whole days for working only ON your business with like-minded people is one of the top ways to achieve growth and success. The amount of knowledge and sharing you will gain just by spending time with those in your field (if you put yourself out there by introducing yourself to people, asking questions, engaging, etc.) is priceless. • Group Discussions: Similar to the above, but from your own home and at your own time. Start a group chat or Facebook group, etc. with like-minded people. Odds are these groups are already in existence, you just have to find them and join. If you don’t see what you are looking for…be proactive and start it yourself! • Books: There are an infinite number of books that will help increase your productivity and motivation. Some good ones to start with: The Power of Habit by Charles Duhigg, The Happiness Project by Gretchen Rubin, Work Happy by Jill Geisler, and The Slight Edge by Jeff Olson. • Podcasts: Again, SO MANY podcasts that will motivate and/or provide proven time hacks. What I love about podcasts is you can listen to them while you do those things in life that are necessary but not high output such as loading the dishwasher, folding laundry, getting ready in the morning, driving to work, etc. Check out: The Tim Ferris Show and Happier With Gretchen Rubin. If you really want to level up (potentially even skipping straight over a few levels), consider combining the above. Think Business Book Club (I know, nerd alert). The combination of reading educational books (on business, leadership, management, etc.) with real-life group discussions can propel you into specifically thinking ON the business and not IN the business. This can elevate your leadership skills which ultimately results in utilizing your time and your employees’ time more efficiently. Move Hopefully I don’t have to cite any sources on the benefits of movement and exercise. We all know we need to do it and do it often. But have you thought about how you incorporate it into your workday? Even a few minutes of movement or stretching signals to your brain that change is coming (movement vs. sitting at your desk typing). This makes it more alert and ready to tackle Spring 2020

the next challenge. When you get stuck on a task or are feeling sluggish and not motivated…move! A quick walk outside or around the building, 10 squats, or even a good office plank challenge can activate your body into a higher state of motivation. Challenge yourself to set workday rules in advance to promote movement…for example any phone call on a phone means talking while walking, and any trip to the restroom means 10 squats. Movement is a wonderful time hack in that it can spur creativity and forward motion. Exercise wakes up the brain and allows you to focus, which in turn helps complete tasks more efficiently and quickly. At the end of the day, we can’t create more hours in a day. But by maximizing your time wisely through time blocking with intention, digital management programs, automation, changing your mindset, surrounding yourself with high performance, and incorporating movement into your day, your time will be spent more effectively. Soon you will begin to observe, learn, and adapt to new ways of working to be more effective and productive in your tasks and projects. You may still have all those balls in the air, but to a master juggler the balls are simply the objects that highlight the juggler’s talents, not a thing holding you back. Alison Baringer English has been the Executive Director of the North Carolina Azalea Festival since 2015 although she has been with the Festival since her graduation from UNC-Wilmington in 2004 and has been a key leader in the Festival’s strategic growth over the past thirteen years. In addition to helping the Wilmington community through her career at the Azalea Festival, Alison is an active volunteer with other non-profits and leadership programs. She is a Leadership Wilmington graduate of 2013 and was President of the Junior League of Wilmington in 2014-2015. Alison has attended numerous international training conferences through both the International Festivals and Events Association and the Association of Junior Leagues International, where she has received extensive training in volunteer management, events production, sponsorship activations, and board management. Alison currently serves on the International Festival and Events Association (IFEA) Foundation Board as Chair-Elect and the UNC-Wilmington Alumni Board on the Executive Committee.

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2020 IFEA

GIVE THANKS TO THOSE WHO SELFLESSLY GIVE SO MUCH TO YOUR EVENT Take a moment to think about all your hard-working volunteers that will be with your event this year, or have been with you for many years. Would your event be possible without their hard work and dedication? They all deserve to be recognized just for the fact that they’re volunteering, but is there anyone who stands out above the rest; goes that extra mile to help you and your event? Someone that makes your life easier, just by volunteering to help your event! You thank your volunteers every day for all their hard work, but wouldn’t it be great if they could be thanked by the entire events industry with the IFEA Volunteer of the Year Award? After all, for all they do for your event - what’s a few moments of your time to jot down a few nice things about them and submit a nomination.

2020

Do something amazing today and submit a nomination for that hard-working volunteer to the 2020 IFEA Volunteer of the Year Award. Nominations are currently being accepted for the 2020 IFEA Volunteer of the Year Award. ABOUT THE AWARD: Whether an 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 by volunteers to our festivals and events deserve our heartiest congratulations and recognition. It is for that reason that the IFEA Volunteer of the Year Award was created. The IFEA Volunteer of the Year 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.

NOMINATION CRITERIA: To be eligible for consideration for the IFEA 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 HOW THE WINNER IS SELECTED: Once nominations have been received, the IFEA Volunteer of the Year Committee, comprised of members of the IFEA World Board of Directors, will review all nominations and select the Volunteer of the Year winner from all of the candidates submitted. Volunteer nominations submitted for the 2018 and 2019 Awards may be carried over into the 2020 competition with the permission of the nominator. The nominator will have the option to re-write the nomination if desired. HONORING THE WINNER: The winner of the 2020 IFEA Volunteer of the Year award will be honored at the 65th Annual IFEA Convention & Expo at the IFEA Awards Luncheon. As the guest of the IFEA, the winner will receive an all expense* paid trip to the convention to accept their award. Additionally, the winner will be promoted through local and national media releases, be featured in an issue of “ie” magazine, on the IFEA Website and in email promotions. *Includes 2 nights hotel, airfare and Convention registration. Each semi-finalist will receive a certificate of recognition and will be highlighted in an upcoming issue of “ie” magazine. PAST WINNERS: To view a complete list of past winners and their nominations, go to the Awards Section on www.ifea.com NOMINATION DEADLINE: Nominations should be submitted no later than 5:00 PM (MST) Monday, June 1, 2020 ENTRY FORMAT: Please EMAIL your nomination in a Word document.

SUBMIT ENTRIES TO: Nia Hovde, CFEE, Vice President/Director of Marketing & Communications at nia@ifea.com. QUESTIONS: Please contact: Nia Hovde, CFEE – nia@ifea.com +1-208-4330950 ext: 8140

THE NOMINATION PROCESS

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 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 volunteer’s 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: Please also submit the following with your nomination. 1. A high-resolution photograph of the volunteer you are nominating. (300 dpi or higher) 2. A local media list (up to 15 contacts) in order for IFEA to send Press Releases to your media. • Please submit in Excel format. • Please include: Name; Organization; City; State; Email

ADELMAN ON VENUES

WITH STEVEN A. ADELMAN

QUESTIONS

FOR A NEW DECADE

I do my best learning by deciding how to explain some weird situation to other people. Each fact feels like a piece of a big puzzle that I not only have to assemble myself, but also design the cover of the box. I enjoy this process. The more I work in the live event industry and hang out with smart professionals, the more I see patterns emerging that make each new puzzle a bit easier to solve. Which in turn allows me to work on harder puzzles. In the last few weeks, I have given presentations based on two particularly interesting and challenging legal puzzles. These were useful questions to consider over the holidays, as I think these themes will arise more often over the next decade. The Duty of Care for the Enablers of Risky Behavior At the Event Safety Summit just before Thanksgiving, I gave a presentation with Chicago attorney Bruno Marasso, based on a case we worked on together this year. Here are the basic facts. Three guys in their early 20s went to a nightclub on a Friday night. They had some drinks before they arrived, and bought more at the club. They walked around the crowded general admission dance floor, but couldn’t get close enough to the band. So, they climbed the stairs to the balcony level for a better view. As they walked around, they saw an unguarded, unmarked door that was either ajar or wide open, and remained so each time they passed. Eventually they entered. They walked through several small workspaces used by club staff, through three more unlocked, unmarked, unguarded doors, up a staircase, and onto a catwalk just below the club ceiling. They walked the length of the dance floor along the catwalk, sat down at a spot overlooking the stage, and watched the show there without incident. After 20 minutes or so, one of the young men stood up and began returning the way they had come. Apparently, he lost his footing and he fell. Fortunately, it was just two feet from the catwalk to the solid surface below; unfortunately, he landed on a piece of rebar laying amidst other debris that had been there many years. He was impaled, and died. Since the point of the exercise was to have attendees deliberate like jurors, we provided a few more relevant facts: the deceased was drunk when he fell; the door had been at least ajar for hours when the guys entered; no one ever before fell off the catwalk in the club’s decades of existence. Here was the conflict we wanted Summit attendees to consider. The young man certainly contributed to his own death by engaging in a series of ill-advised actions. On the other hand, it’s hard to 104

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blame someone for being drunk in a venue where alcohol is sold in multiple locations and evidently not closely monitored based on his post-mortem blood alcohol concentration. And it’s hard to claim surprise that young drunk people might want to know what’s behind an unmarked, unguarded, unlocked, open door. There is an element of reasonable foreseeability here, isn’t there? Isn’t one appeal of live events the freedom patrons enjoy to not think about their own safety for a while, to just kick back and play, knowing that sober professionals like us have removed the reasonably foreseeable hazards so patrons can enjoy the show? Isn’t this sort of patron the bread and butter of live events? Put another way, if event professionals are, in a sense, the enablers of certain foreseeably risky behaviors by providing venues where sober judgment is neither necessary or expected, is there a corresponding duty to provide an environment that is safe under those circumstances? Once people at the Event Safety Summit figured out the question, their answers were quite interesting. What do you think? Deconstructing the Gilroy Garlic Festival Lawsuit Last month, several victims of the July 28, 2019 Gilroy Garlic Festival shooting filed suit in Santa Clara (California) County Superior Court, seeking money damages from the festival association for their injuries. The civil Complaint is a fascinating snapshot of the legal arguments I anticipate us seeing more and more following acts of third party violence. Without getting you bogged down in legalese, the Complaint relies on three key arguments: 1. Broken Promises. The Festival’s own literature promised that “weapons of any kind” would be prohibited. Obviously, that promise was not kept, leading to the deaths of 6-yearold and 11-year-old children. 2. Grossly Deficient Security. The shooter cut through a chain link fence on a remote part of the Festival property that was not monitored and was concealed from view by woods adjacent to the fence line. A more secure fence and proper monitoring would have been cheap additions. 3. An Active Shooter Was Reasonably Foreseeable. Shooters are now so foreseeable at large public events that “professional sporting events, music concerts, and nearly every other organized large-scale public event that occurs daily” has monitored security perimeters, metal detectors, “and other appropriate security.”

In a presentation to the Association of Threat Assessment Professionals (in a room festively decorated for Christmas), I led the group through an analysis of these claims, and what it might mean for threat assessment professionals and the live event industry if these claims prevail. We concluded that the last phrase, “other appropriate security,” was especially important. The Complaint suggests some equivalency in the risk profile between San Francisco 49ers games at the fabulous new Levi’s Stadium versus a local event down the road in rural Gilroy, where the small crowds presented no documented history of anything like gun violence. The difference matters, doesn’t it? As an Adelman on Venues reader, you should already be thinking, ‘the duty is to behave reasonably under one’s own circumstances, not someone else’s.’ So liability in this lawsuit shouldn’t be based on whether gun violence is increasingly common in the United States (it is), or whether magnetometers are more common outside big stadiums and arenas because they’re such big targets (they are), but whether anything made the risk of an active shooter more reasonably foreseeable to the organizers of the 2019 Gilroy Garlic Festival itself. That’s a question for which discovery about previous incidents in Gilroy and other similar festivals should provide answers. Recognize, however, how hard it will be to keep your eye on that ball. Again, this is where two young children were gunned down. Promises were made! ‘Promises should be kept or children will die,’ you can hear some lawyer thunder during open statements to a jury. Lawsuits usually settle because lawyers

know that emotions sometimes overpower logic even among otherwise rational people. Would you want to take that risk? On the other hand (there’s always another hand), consider the implications if these Plaintiffs win. What does America look like if small local events with no history of trouble have to reinforce their security like the highest profile and high-risk events? I suggested to the ATAP people that they would first enjoy a massive spike in overtime work, followed by an even deeper decline as small venues closed and small events were cancelled due to prohibitive costs and frightened patrons. Within days after my presentation, a 67 year old art festival in northern California announced that it was cancelling its 2020 event for that reason. There’s a big picture to contemplate over the holidays… Steven A. Adelman is the head of Adelman Law Group, PLLC in Scottsdale, Arizona and Vice President of an international trade association, the Event Safety Alliance. His law practice focuses on risk management and litigation regarding safety and security at live events throughout North America, and he serves as an expert witness in crowd-related lawsuits. Steve Adelman is widely recognized as an authority on live event safety and security. He writes the monthly “Adelman on Venues” newsletter, he teaches “Risk Management in Venues” at Arizona State University’s Sandra Day O’Connor College of Law, and he frequently appears in national and local media for analysis of safety and security incidents at public accommodations. Steve Adelman graduated from Boston College Law School in 1994. He can be reached at sadelman@adelmanlawgroup.com.

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CONTROL FREAKS ANONYMOUS

WITH PENNY C. MCBRIDE, CFEE

EIGHT STEPS TO ACHIEVE SANITY & SUCCESS

THE VALUE

OF TRUST

Imagine a flying trapeze show with two acrobats, dangling from swings, high above the crowd. One is trained to catch. The other leaps from their swing, performs some crazy contortion, then blindly reaches out to be caught. Using this as a metaphor, I suspect far more of us in the event industry identify with the role of catcher over that of leaper. Both acrobats share a high level of competency and skill that has been honed by relentless practice and training. But the leaper’s safety is only secured if he/she is met by the precisely-timed hands of the catcher. It is a literal leap of faith. I have yet to meet an open and trusting Control Freak. Yet, without trust, there is no leadership. All the talent in the world will remain siloed and ineffective without the ability to welcome and accept help from one another. Strength in Vulnerability. The people for whom I have held the greatest respect in life shared a rare commonality – vulnerability. They are quick to admit when they don’t know something. They are open to evaluating the ideas and opinions of others. They actively recruit talent to fill in the areas of their own weaknesses and they consistently lean in at times when others display insecurity, competitiveness or jealousy. To harness a sum greater than the individual parts, they double down on trust and let others “catch.” Their dual confidence as both Catcher and Leaper allows them to create powerful teams because great people thrive under their leadership. Play the Passing Game Very early in my career, I benefited from an incredible mentor. Truth be told, I didn’t fully understand the impact of his mentorship for many years. He could be brutally tough and ridiculously demanding. I will never forget his response when I had enough and pushed back hard. He sat back in his chair, laughed heartily and proclaimed, “Finally!” I soon learned that he cared enough to understand my pleasing nature and help me learn to set healthy limits. It was not the last time we would clash, but I had learned that even conflict can be useful in the presence of trust. He challenged me to think bigger, to look past the first good idea in search of an even better one, to resist complacency. “If you are going to fail, fail big!” he would say. How willing are we to mentor others? It often requires passing the ball – and building the confidence of a future Catcher – over carrying it our self. Building Your Bank Balance In his 1989 best-seller, The Seven Habits of Highly Effective People, Dr. Stephen Covey described the concept of Emotional Bank Accounts to describe the amount of trust that has been built up in a relationship. Much like a financial bank account, we 106

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must first accrue a balance before withdrawals can be made. The Control Freak can unknowingly make huge withdrawals with a few careless words here and there. “I told them that wouldn’t work.” Or, “here, let me do that.” A trust-worthy leader would give others a bit of freedom to see what they can do or offer guidance instead of undermining words. The worst is when those words are spoken behind one’s back. In his book EntreLeadership, financial-guru Dave Ramsey defines gossip as discussing something negative with anyone who can’t help solve the problem. Sound familiar? I also like the version a friend of mine once offered, “If they say it to you, they will say it about you.” Gossip provides no resolution, but it can create a whole host of new problems. So how do we curb gossip and its toxic effect on organizational trust? At my work, I routinely use two very simple strategies that are both based on my belief that gossip exists only if there are lips to speak it and ears to hear it. My ears strategy I like to call “heard or know?” When a conversation turns gossipy with “I heard that Susan…,” I literally interrupt in mid-sentence and ask the question, “You heard or you know?” I will only continue to listen if what the person wants to say is factual. To help build a trusting culture around what the lips are saying, I use the “and what did she say?” strategy. A team member comes to me with a complaint about Susan. After listening carefully, I say something like, “I regret that you and Susan are having these difficulties. When you talked to her about it, what did she say?” The problem with Susan cannot be resolved without Susan, so I first try to coach the person on the trust-building value of face-to-face candor. If the problem persists, and the person complains again I use, “I’m so sorry you still feel that way. Let’s go to Susan’s office right now and sort this out.” The most damaging variety of Control Freak purposefully undermines trust to stay in control. The above strategies are also useful in ferreting out ill-intentions that have no place in our organization. Watch the Leapers for they are the first to spot this behavior and avoid the pseudo-Catchers at all cost. It’s perfectly normal to feel attraction to the confident role of Catcher. Just remember, the Leaper has to trust you and the only way to prove that trust is to be trusting. Penny C. McBride, CFEE is the President & CEO of the 900+ member Fredericksburg Chamber of Commerce in Texas. She serves on the faculty of the IFEA/NRPA Event Management School and on the boards of the Texas Festivals & Events Association and Hill Country Memorial, a Malcolm Baldrige Award winning hospital. She enjoys travel, cooking, writing, hiking and volunteerism.

WITH SEAN KING

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 sponsorship 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. Interested in becoming an Association Endorsed Partner? Contact Kaye Campbell, Director of Partnerships & Programs (208) 433-0950 ext. 8150 or kaye@ifea.com

Continued from Small Events, Big Sponsorships page 28

for you in the future. What typically happens is the event doesn’t think about recaps until after the event is over, and trying to find and collect everything after the fact makes the process harder and more time consuming than it should be. Our suggested process is simple. Create a digital folder for each sponsor. Any time there is a promotion, social media post, advertising spot, photo, or anything else the event does that relates to the sponsor, drop a copy or screen shot into the folder. If you do this throughout the year, it won’t make the recap so daunting after the event. I promise that if you recap your event with your sponsors, you will not only see a growth in sponsorships, but also in your relationships.

Teresa Stas is a national speaker, consultant, and workshop facilitator on the topic of sponsorships and event marketing. She is an accomplished marketing leader and CEO of Green Cactus, a boutique agency that specializes in event sponsorship sales and marketing. She has been named one of the 20 on the Rise Event Professionals by Honeybook and RisingTide.com. You can check out Teresa’s online sponsorship course at sellsponsorship.com. If you would like to get sponsorship tips to your inbox, you can sign up for the GC monthly newsletter at GreenCactusCa.com.

Continued from Succession Planning at Every Level for the Festivals and Events Industry page 59

of these organizations include The Council of Non Profits and Boardeffect.com. The Federal Reserve Bank of Kansas City has also put together a very comprehensive guide to the topic. Succession planning means change; sometimes change that we don’t want. But as we all understand, the most successful organizations in both the for-profit and not-for-profit worlds are those that manage change effectively and efficiently. Clearly, we need to be this type of organization.

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Ira L. Rosen; CFEE is an Assistant Professor with Temple University’s School of Sport, Tourism and Hospitality Management. He teaches several event management courses and is the Program Director for the School’s award-winning Event Leadership Executive Certificate Program. Additionally, for over thirty years he has owned and operated Entertainment On Location, Inc. (EOL), a full-service event consulting company based in New Jersey. EOL has done extensive production and consulting work for major events and clients throughout the world. Ira has spoken and done training programs around the world and he has written extensively on topics ranging from risk management to sponsorship to the financial and operational management of events. He has been a featured speaker at conventions and conferences around the world.

REPUTATION IS EVERYTHING…

WHAT ARE YOU DOING TO

PROTECT YOURS? In the new world of event safety and security concerns that we find ourselves operating in every day, proactively covering all of the bases to protect your attendees and your stakeholders, their families, their communities, their own reputations and their peace-of-mind, is simply professional common sense. Assuring them that you have done so is where we come in. FOR MORE INFORMATION, CONTACT: Warwick Hall, Dip OHSM, CFEE • Email: warwick@safetysc.com • Phone: (+64) 021 633 128 Note: The International Festivals & Events Association (IFEA World) offers safety training and the Event Safety Audit program as a service to the industry, in the interest of encouraging and increasing the safety of all events. Audit certification signifies curriculum and/or safety process/ component completion only. The IFEA does not represent or certify, in any way, the actual safety of any event, and assumes no responsibility as to the safety of any event or its attendees.

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INSURANCE

dfest ® – 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: Vanessa Van de Putte; Address: 1930 N. Pan Am Expressway, San Antonio, TX 78208 USA; Phone: (800) 356-4085; Email: sales@ dixieflag.com; Website: www.dixieflag.com.

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 USA; Phone: 800-821-7703; Email: carol.porter@hwins.com; Website: www.hwins.com.

COSTUMES HISTORICAL EMPORIUM – Historical Emporium specializes in authentic, durable, high quality historical clothing and accessories. Victorian, Edwardian, Old West and Steampunk for men and women. Since 2003. Contact: Noel Matyas; Address: 188 Stauffer Blvd, San Jose, CA 95125-1047 USA; Phone: (800) 997-4311; Email: amusement@historicalemporium.com; Website: www.historicalemporium.com DÉCOR/DISPLAYS/BACKDROPS ATOMIC – Set construction, backdrops, rental solutions, lighting and design. Packs small, plays BIG! Address: 1-Wynfield Dr., Lititz, PA 17543 USA; Phone: 717-626-8301; Email: info@atomicdesign.tv; Website: www.atomicdesign.tv YOUR-TYPE – Rent 3D, larger than life letters and stand out at your next event! Letters are available for purchase or rent in sizes from 2 ft. through 8 ft. tall to anywhere in the United States. Contact: Todd Hoffman; Address: 4970 Service Dr., Winona, MN 55987 USA; Phone: 507-454-7816; Email: contact@your-type. com; Website: www.your-type.com.

KALIFF INSURANCE – We insure the serious side of fun! Founded in 1917, Kaliff is celebrating 100 years of providing specialty insurance for festivals, fairs, parades, rodeos, carnivals and more. Contact: Bruce Smiley-Kaliff; Address: 2009 NW Military Hwy., San Antonio, TX 78213-2131 USA; Phone: 210-829-7634; 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 USA; Phone: 1-866-554-4636; Email: mark.herberger@kandkinsurance.com; Website: www.kandkinsurance.com. PROMOTIONAL PRODUCTS ALEXANDER GLOBAL PROMOTIONS – “The Gold Standard for Promotional Memories”. Customized, creative memories limited only by imagination. World Famous Bobblehead Company. Personalized Project Care. Expectations met and smiles delivered on-time, every time! Contact: Karen Kaye; Address: 12011 Bel-Red Rd. #101, Bellevue, WA 98005 USA; Phone: 425-637-0610; Email: karenk@alexanderglobal.com; Website: www.alexanderglobal.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 USA; Phone: 800-411-6200 Email: steve@ fabulousinflatables.com; Website: www.fabulousinflatables.com.

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SAFETY/SECURITY WEVOW – WeVow equips organizations and events of all sizes to build safety and trust into their cultures and give 100% clarity against sexual misconduct. WeVow has created a special program that will allow event organizations to protect their employees and volunteers year-round, and to gear up for shorter, selected time frames to protect and make a statement to all of those attending or working your event(s). Contact: Matt Pipkin; Address: P.O. Box 2308, Boise, ID 83702 USA; Phone: 208-830-3885; Email: matt@wevow.com; Website: www.wevow.com

SITE MAPPING

WEBSITE DESIGN

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 USA; Phone: 423-894-2677; Email: jerryw@videoideas.com; Website: www.pointsmap.com.

SAFFIRE – Saffire empowers clients with beautiful, unique and engaging websites that are easy to manage, with integrated SaffireTix ticketing and unlimited help when you need it. Address: 248 Addie Roy Rd, Ste B-106, Austin TX 78746-4133 USA; Phone: 512-430-1123; Email: info@saffireevents.com; Website: www. saffireevents.com.

SPONSORSHIP IEG – For nearly 40 years, IEG has delivered proprietary market intelligence, thought leadership and strategic counsel that empowers clients to make more informed sponsorship decisions. When sponsorship decisions are made, IEG is there to deliver a measurable impact. Contact: Penny Perrey; Address: 350 N Orleans St., Ste. 1200, Chicago, IL 60654 USA; Phone: 312-500-8960; Email: penny@iegworld.com; Website: www.iegworld.com TICKETING SAFFIRE – Saffire empowers clients with beautiful, unique and engaging websites that are easy to manage, with integrated SaffireTix ticketing and unlimited help when you need it. Address: 248 Addie Roy Rd, Ste B-106, Austin TX 78746-4133 USA; Phone: 512-430-1123; Email: info@saffireevents.com; Website: www. saffireevents.com. TRAVEL PLANNING (by Groups) TRIPInfo.com – Since 1996, first online reference for all segments of group travel planners – website and weekly newsletter and subject-specific digital magazines – including festivals. IFEA Member organizations included online. Contact: Mark Browning; Address: 4850 Gaidrew, Johns Creek, GA 30022 USA; Phone: 770-825-0220; Email: mark@tripinfo.com; Website: www.tripinfo.com.

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Partnership with the IFEA The IFEA Foundation provides an all-important source of support that allows the IFEA to confidently provide convention scholarships, host top-quality industry presenters, speakers and programming, and help raise the bar for everyone in our global industry. A very special thanks to all those who have contributed along the way, and we look forward to working with you towards the success of our industry for many years to come.

ie volume 31 issue 1

Articles inside

IFEA FOUNDATION BOARD LETTER

IFEA WORLD BOARD

CONTROL FREAKS ANONYMOUS

ADELMAN ON VENUES

I DON’T HAVE TIME FOR THAT! TIME MANAGEMENT HACKS FOR THOSE WITH ALL THE BALLS IN THE AIR

FESTIVALS WITHOUT BORDERS

THE SPONSOR DOC

WHY YOU’RE NOT GETTING THE MOST FROM YOUR TRAINING DOLLARS AND HOW TO StART GETTING A BETTER RETURN

MAY I HELP YOU?

5 CRITICAL STEPS TO BETTER MEETINGS

HOW TO RECESSION-PROOF YOUR SPONSORSHIP PROGRAM

EVERYONE’S INVITED INCLUDING PEOPLE WITH DISABILITIES

SUCCESSION PLANNING AT EVERY LEVEL FOR THE FESTIVALS AND EVENTS INDUSTRY

THE UN-COMFORT ZONE

FIRST AID FOR BURNED-OUT TEAMS

SMALL EVENT, BIG SPONSORSHIPS

LEADERSHIP AT ALL LEVELS

DRIVING FROM THE BACKSEAT

IFEA PRESIDENT’S LETTER

#EVENTPERMIT