4 Breaking the chains: tackling racism in policing cultural events
Leena Awad
6 Why do we take the knee?
Harry Bradshaw
8 The gig economy: a blessing or a curse for the event industry?
Gabriel Clark
10 Sound the alarm: the music industry’s high carbon emissions and the future of our planet
Charlie Curtis
12 When the music stops: confronting sexual harassment towards women at music festivals
Rebecca Dutton
14 Sexual violence against women at music festivals
Maria Georgiou
16 ‘Thanks for the warm up’ has the London 2012 Paralympic legacy created lasting change for accessibility in sport across the UK?
Jasmine Peek
18 Women and inequalities in football
Ruby Richards
20 How terrorism is reshaping music event management
Megan Thomas
22 Has the future for women’s football been kick-started?
Olivia Topham
24 From protest to profit: the commercialisation of Pride
Kate Wallington
26 Tackling racism in the world of football: performance or protest
Harriet Willis
Editorial
Welcome to the inaugural issue of Event Connections!
This new publication, another element of our Events Connect brand, is a showcase of work by our final year BA (Hons) Event Management students. As part of the unit Contemporary and Strategic Issues in the Events Sector, the students are tasked with writing a magazine article that highlights a contemporary challenge facing the events industry. These articles had to be written for an events industry audience, so I felt it was only proper that these brilliant pieces of work reached the people they were written for and not just sit in online marking software only to be read by the marking and moderation team.
This unit was delivered through lectures led by me but also by guest speakers from industry and academia. I wanted the students to see events as part of society – events do not happen in a vacuum; they are impacted by political and social change and have the potential to create change themselves. I also stressed that to understand events we need to take an interdisciplinary perspective. Yes, we are in a business school but to understand the issues we need to turn to criminology, sociology, human geography, legal studies, and beyond! The students were exposed to all of this through lectures and reading lists but also ‘ask the expert’ videos where I drew on the wider Manchester Metropolitan academic community to share their expertise and how it relates to event studies.
What you will find here are abridged versions of 3000-word assessments that achieved the highest marks. I have edited down the assessments to more user-friendly lengths so the core arguments can be more easily digested. However, the research and the arguments are 100% student-driven and their excellent work should be celebrated.
I hope you enjoy the articles, and we look forward to edition No2 next academic year.
Dr. Louise Platt
Breaking the chains: tackling racism in policing cultural events
Leena Awad
Cultural events that feature live performances are a way for individuals to break away from their everyday lives and get together from different backgrounds to socialise, enjoy music performances and artists, or simply attend music festivals. However, beneath the surface, a persistent challenge within cultural events lingers, racism within these spaces of freedom. This article will go into the problems and disputes with the way Notting Hill Carnival is policed, with a focus on black minorities in particular who feel they are unfairly singled out for racism and inequality. It will also shed light on a pervasive issue that has long required acknowledgement and reform, as the Casey Report in 2023 supports. It aims to explore the implications for both attendees and the Police and the impact on the events industry in the UK.
History of Notting Hill Carnival
Notting Hill Carnival was held indoors in 1959 and is now one of the biggest events held outdoors in Europe. The event was celebrated by newly arrived immigrants from the Caribbean. Yet, tension occurred, with white individuals showing hostility towards these new arrivals. Indeed, it could be argued that the carnival became a protest against racial segregation in the UK to gain a better understanding of Caribbean culture and community. Fast forward, by 1999 the carnival expanded drastically drawing in a staggering 1.2 million participants. Testament to the growing culture of the Carnival the event intends for people to unite as one, accepting and sharing different cultures.
Policing and racism
Now time to discuss the Met. Does police presence provoke attendees or allow them to feel safe? With every public event, police must reach the streets to protect members of the public or be on standby in case of an issue. In the case of Notting Hill Carnival, the area becomes swallowed by a wild overcrowded bunch. So, do police have a right to be there? And is that fairly acknowledged by the crowd? It seems not. Now this is why…there are deep historical conflicts between the black community and the Met in the UK and addressing racism is a must for the police.
The Race Relations Act 1965 was enforced as one of the first laws introduced into the UK, sought to protect individuals from discrimination based on colour, ethnicity, or race. Despite this law, the challenges of institutional racism and racial profiling towards black men are often subject to discussion, questioning whether black men face systematic barriers that limit their opportunities, finding themselves underrepresented. In 2023, the Casey Report concluded that the Met is institutionally racist especially towards black Londoners who had a higher probability of being stopped and searched or arrested due to colour, hence why 50% of the public don’t trust the Met.
How has the reputation of policing affected Notting Hill Carnival?
Black people are being searched 4.3 times more than individuals who are white. It is incidents like these that give the police a bad reputation at the Carnival, generating an environment for provocations and frustration causing the Met to be labelled as racist. So, the fraught history of inequality, exemplified by stop and searches and the 1958 Riots aren’t forgotten despite occasional positive portrayals perpetuating an environment of distrust and fear among attendees.
In 2017, Police officer Daniel Graham became an internet sensation for dancing at Notting Hill Carnival, with a crowd surrounding him who videoed and enjoyed this spontaneous unexpected action, with also his colleagues thanking him for portraying the Met in a positive light. The example of PC Daniel who is a white British officer proved to the black community and the Met that officers can enjoy the festival and be accepting of their culture.
Is Notting Hill Carnival as violent as it’s portrayed?
Controversy surrounding Notting Hill Carnival and police are often associated with violence and has been a topic for discussion throughout the years, regarding its portrayal in the media as well as varied perspectives from the Met and politicians. Police are responsible for keeping the community safe during public events. However, Metropolitan police commissioner Sir Mark Rowley stated that the carnival is an amazing event in many ways but isn’t pleasant for officers. Why?
An officer was sexually assaulted in the crowd in 2023 and 75 attacks have been recorded towards the Met. The issue with knife crime seems to be a recurring issue throughout the years. In 2022 on a Monday 7 people were stabbed, with one young man, 21-year-old Takayo Nembhard who unfortunately lost his life.
Conclusion
Because Notting Hill Carnival has expanded drastically, it is vital to ensure a platform of diversity and acceptance and, to tackle racism. Notting Hill Carnival contributes an amount of £93 million every year. Therefore, it is a must that there is an understanding of cultural events as they contribute significantly to the world of events. If there is a lack of diversity and understanding within cultural events, the cultural events sector will fall drastically with fewer participants. While instances of positive interaction between the Metropolitan Police and black attendees at Notting Hill Carnival exist, they are overshadowed by a pervasive lack of trust and fear rooted in personal experiences both within and outside the Carnival. The issue of racism, highlighted in The Casey Report 2023, indicates that 50% of black people distrust the police, particularly due to incidents like unwarranted stops and searches based on their colour and appearance. The events industry must undergo comprehensive training and adopt awareness programs to rectify these systemic issues. Rebuilding trust, especially among the 50% of black Londoners who currently lack it, is mandatory for cultivating inclusivity, especially in a city like London, a major tourism destination. This, in turn, contributes to the creation of cultural events as spaces of freedom, as opposed to environments tainted by discrimination and bias. To ameliorate the issues facing the Notting Hill Carnival in the future, a non-biased approach is imperative between the Met and the black community. Positive policing practices, such as building relationships with carnival goers, should be encouraged, and put into practice. By addressing racism through training and awareness, the events industry takes a significant step towards creating an inclusive space that aligns with the values of freedom and unity.
Why do we take the knee?
Harry Bradshaw
During the Covid-19 pandemic, George Floyd’s brutal murder by police sparked global outrage, birthing the Black Lives Matter campaign. The English Premier League rallied, displaying ‘Black Lives Matter’ on shirts and endorsing players’ ‘take the knee’ gesture for the 2019–20 season. These acts aimed to confront racial prejudice and foster a globally inclusive society. This campaign clearly seeks to eradicate racial prejudice wherever it exists, but how successful have the Premier League’s initiatives been in achieving the objective of creating a ‘global’ society of equality and inclusion? Is the ‘taking the knee’ a protest from the footballing body or merely just players following orders?
Many supporters booed the ‘taking the knee’ protest during England’s opening match at the Euro 2020 tournament on June 13 at Wembley Stadium. The England team, however, was unfazed by the jeers at the Euros and went on to make a statement in the 2022 World Cup in Qatar. Gareth Southgate stated, “It’s what we stand for as a team [and] we think it’s a strong statement that will go around the world for young people, in particular, to see that inclusivity is very important”. This demonstrates the players and staff’s opinion that young people can benefit from taking a knee to promote global inclusivity. According to a YouGov study, 39% of 547 English football fans were against the demonstration, while 54% of the followers supported it. Opinions on the ‘take the knee’ movement are sharply divided.
Rio Ferdinand sees ‘taking the knee’ as more than a football gesture; it’s about identity pride and utilizing a platform for change, aligning with Lamond & Spracklen’s theory of public events being a ‘platform’ for protest and change. Its continuity in the Premier League is a collective stand against racial injustice, sparking dialogue and symbolising the persistent fight for equality. However, footballers Les Ferdinand and Wilfried Zaha argue that ‘taking the knee’ has become diluted PR, losing its powerful message. Conservative politicians like Lee Anderson and Gillian Keegan, criticising the gesture as “pathetic virtue signalling” reflect this sentiment. Cammaerts contends that an “anti-woke culture war” by the right-wing media and politicians frames social justice movements as extremist, fuelling a moral panic against “wokeness.” Despite debates on its efficacy, ‘taking the knee’ maintains the focus on racism, and brings attention to the fact that it is not just a football problem.
Protest or performance?
‘Taking the knee’ embodies both protest and performance, reflecting the multifaceted nature of public expression in addressing social issues. Protests, focusing on vocal dissent and demanding change, contrast performances, which centre on artistic expression and entertainment with a typically passive audience. Athletes taking the knee primarily protest, seeking to highlight and address racial injustice, actively engaging spectators in a call for change. While performances navigate artistic constraints and attract less confrontation, protests, driven by social grievances, often face legal and security challenges, pushing against the status quo. As such then, ‘taking the knee’ exhibits characteristics of both a protest and a performance. Its categorisation may depend on the perspective from which it is viewed and the specific context in which it is employed. This ambiguity highlights the complex nature of such public expressions and their ability to serve multiple purposes simultaneously. This duality underscores the complex interplay between artistic expression and social activism inherent in such public expressions.
No Room for Racism
In 2021, the Premier League initiated the No Room for Racism campaign, focusing on eradicating racism and promoting inclusivity in football. The comprehensive plan involves raising awareness, educational programs, stakeholder engagement, and setting diversity targets. Key actions include enhancing BAME coaching representation, creating robust reporting systems, and implementing a recruitment code for diverse leadership roles, underscoring a committed approach to dismantle racism at all levels in the sport. Jermain Defoe and NFL’s Jack Crawford discuss in a Premier League video how sports unite diverse communities, transcending cultural barriers. Defoe recalls confronting racial jeers in Spain, contrasting with England’s inclusive fan base. The duo acknowledges strides in inclusivity within sports, highlighting the evolving support for young black athletes. They assert sports prioritize performance over race, a standard yet to be universally adopted in other sectors. Emphasizing sports figures as role models stresses athletes’ responsibility in promoting inclusivity, suggesting ‘taking the knee’ influences young fans to uphold these values and tackle racial prejudice.
Two years into the Premier League’s ‘No Room for Racism’ campaign, progress is evident with increased diversity in the League’s workforce and educational initiatives. However, contrasting trends emerge: Premier League reports a decline in racist abuse, aligning with increased ‘taking the knee’ gestures, while grassroots and EFL football see a rise in racial incidents, suggesting differing impacts across football tiers.
Conclusion
‘Taking the knee’ embodies a nuanced blend of protest and performance, predominantly advocating societal change and keeping the spotlight on racism in football and beyond. The gesture, coupled with the Premier League’s ‘No Room for Racism’ campaign, drives conversations on racial injustice, underlining sports’ significant role in societal progression. Despite differing views, its enduring presence and alignment with grassroots efforts underscore a collective pursuit of equality and the inspirational impact on younger generations.
The gig economy: a blessing or a curse for the event industry?
Gabriel Clark
The nature of events
The event workforce is often described as ‘pulsating’, which refers to how the amount of staff needed increases rapidly in the lead-up to an event and then decreases even faster after the event. It is also argued that many parts of the event industry have become commercialised and purely focused on profit-making. This suggests that, while those who work in the event industry are important for events to take place, financial gains may sometimes take priority.
What is the gig economy?
Originating from musical ‘gigs,’ the gig economy embodies flexible, short-term work, contrasting traditional stable jobs. It predominantly engages young, often inexperienced individuals (56% aged 18-34), with a gender split of 54% men and 46% women. Educational levels vary, with 37% holding a degree. Post-COVID-19, 60% of event sector workers are industry newcomers. Work is usually sourced through digital platforms like Uber, offering task-based remuneration. While valued for flexibility, the gig economy faces criticism for underpaid, stressful jobs, contributing to in-work poverty and precarious employment conditions, highlighting a stark contrast between its perceived allure and harsh realities.
Contrasting the ‘standard employment relationship’ (SER), which safeguards employee benefits like income, sick pay, and healthcare, the gig economy often forfeits these rights, compromising the promise of flexibility and employment protection. Meanwhile, UK-specific zero-hour contracts, offering no guaranteed work, have grown from 2.4% to 3.2% of the labour market since 2005. Their prevalence, especially post-2008 financial crisis, contrasts with countries like Germany and Scandinavia, where stringent labour regulations preclude such contracts, prompting a re-evaluation of UK labour market regulation.
It’s all online these days
The rise of mobile tech has made it far easier to work remotely. Many companies have utilised this shift and created web-based applications that facilitate the provision of jobs for gig workers. High-profile examples such as Uber, Just Eat and Deliveroo have become household names and have more recently become synonymous with the gig economy. It is these start-ups themselves that make up the gig economy through their connecting of buyers and sellers. This suggests that the platforms are likely to hold a lot of power over gig workers.
Why not just regulate it?
There have long been calls for employment law reforms to include gig workers. There are different criteria to be classed as a worker or an employee. It is stated that workers are entitled to the National Minimum Wage and a minimum level of paid holiday. Employees, on the other hand, are entitled to all of the same benefits as workers as well as things such as sick pay, paid maternity and paternity and a minimum notice period for ending employment. There are some signs of hope for gig workers though. In contrast to its ruling on delivery riders, the UK Supreme Court ruled that Uber drivers, due to the level of control that Uber has over them, are classed as workers and therefore should be granted access to minimum wage and paid holidays. This is significant because it sets a precedent for the gig economy as a whole.
The gig economy in the event industry
The gig economy’s integration into the event industry, though little researched, is increasingly evident. Events’ shortterm, large-scale staffing needs often lead businesses to rely on external staffing agencies, offering a blend of valuable experience and flexibility for certain workers like students. However, these agencies are criticised for profiting from wages and contributing to job insecurity, mirroring gig economy traits. Amidst a tight labour market and rising freelance demand, the shift towards temporary employment in events raises concerns about worker productivity and operational efficiency.
The case of Edinburgh Fringe Festival
Unfortunately, this festival is not immune to the dark side of what the gig style of work can bring. A survey revealed that, contrary to Regulation 4 of the Working Times Regulations which stipulates a maximum of 48 hours of work in one week, nearly 50% of Fringe workers exceeded this limit, with many job advertisements requiring them to waive their rights to secure a position. On top of this, one event worker in a managerial position claimed that they received no training or contract before their employment, and the scope of their role continuously changed in the lead-up to the event.
It’s not all doom and gloom though. In 2017, an organisation called ‘Fair Fringe’ was set up by Scottish Labour Young Socialists, in coalition with Unite the Union and Better Than Zero. The focus of the organisation was to organise against zero-hour contracts as well as sexual harassment, pay and breaks. The organisation ran a campaign ordering that some of the Fringe’s biggest venues signed up to a ‘Fair Hospitality Charter’ which laid out specific demands around the main issues for workers. Moreover, the chief executive of the Fringe Society has pledged that the organisation will conduct a full investigation into allegations of serious breaches of workers’ rights and harassment, promising bans be put in place upon discovery of wrongdoing.
Conclusion
The event industry, labour-intensive and profitdriven, often overlooks workers’ health for financial gains. The gig economy, perceived as flexible, actually offers limited regulatory protection, leaving its predominantly young workforce prone to exploitation. However, positive legal steps, like reclassifying Uber drivers as employees, hint at progress. Amidst the cost of living crisis, safeguarding workers’ rights remains crucial. Collaboration between managers and workers could improve conditions and productivity, challenging the reliance on precarious employment like zerohour contracts.
Sound the alarm: the music industry’s high carbon emissions and the future of our planet
Charlie Curtis
With the Music Industry contributing £5.2 Billion to the UK economy and over 190,000 employees within the UK industry alone, music is an established part of our culture as well as the economy. Although the increase in participants has a positive impact on almost all aspects of hospitality, negative implications arise impacting the environment such as excessive wastage, high customer travel and mass digital streaming. Event organisers are now pressured into innovation, alignment, and implementation of technology to cooperate with procedures to enhance sustainability within the music industry. The focal point of sustainability within events has arisen due to millennials being highly interested in green initiatives and the climate crisis The music industry needs to respond in a proactive way to ensure there is innovation to reduce carbon emissions and prolong our planets future. Technological advances can work hand in hand to make the events industry more sustainable but is enough being done and is the future of the planet coming to an end?
Travel related emissions
Extensive touring has brought a huge problem along with it. It has been suggested that Taylor Swift is one of the largest celebrity polluters. Her private jet footprint was 1928 times the global average and puts into question the role models we have in our headlines. The excessive jet use will have lasting effects on the environment unless Swift takes accountability, finds better solutions and creates a better example as a global role model.
As well as intensive touring shows creating a high carbon footprint through production travel and vehicle fleets, festival attendees alone generate up to 126,860 tonnes of CO2 produced by travel with 55% travelling by car, equating to 49% of the ecological footprint per visitor. This is only a fraction of the 11.2 million music tourists who have contributed to the climate crisis when travelling to live events. On the other hand, with a £5.2 billion spend contribution and 190,935 full-time jobs sustained within the UK industry alone, live events are creating an economically sustained future. This being said, innovative sustainable solutions need to meet the industry’s demand for touring and audience travel, which in turn minimises a primary environmental impact, thus leading to a more sustainable future.
Environmental ethics vs. economic realities
Extremely high power consumption at events has attracted criticism over the years for generating power from fossil fuels creating a large carbon footprint. Large festivals using up to 30,000 Megawatts of electricity over a weekend, equating to that of a small city, the music industry’s dependency on mobile machinery has been a key cause for climate change, accounting for 2.5% of total UK greenhouse emissions in 2017. The impact of energy consumption on the industry’s carbon footprint shows that roughly 7 million litres of fuel is being used annually for festivals whilst 380 million litres are being used by the entire industry each year. However, current small-scale festivals will find this a near-impossible task when trying to create a profit as well as maintain this level of sustainability in the current climate. The constant battle between economic considerations and environmental ethics is due to the lack of synchronisation. There needs to be an innovative solution, which rethinks energy sources to adopt sustainable solutions which are cost effective and evolve event logistics.
Case study: Shambala
A festival that is committed to tackling the climate crisis is Shambala Festival. They are on a sustainability crusade aiming to smash the Vision 2025 objectives. Shambala is aiming to reduce biofuels by a third, using green tariff grid connections and batteries. Shambala currently has an average fuel consumption per person per day of 0.146L compared to the festival industry average of 0.5L. They are aiming to get this down to 0.1L. Shambala is constantly looking for innovative green initiatives to educate, collaborate and share ideas with other organisers and attendees.
Heads in the clouds
The majority of music listeners have no idea of the connection between music and the environment. Without realising, we as humans press play but don’t realise this has a huge detriment to the climate!
It is clear that a shift to a digital world doesn’t mean environmental issues disappear, with digital music requiring hardware and physical infrastructure, it has resulted in significantly higher carbon emissions than any other point in the history of music. 487 million people worldwide subscribed to a music streaming service which requires energy. Storage, server farms, transmission infrastructure as well as hardware, such as computers and routers, is all dependent on an electricity grid which is used to stream an album releasing greenhouse gases into the atmosphere. The answer isn’t to never listen to music again. One viable solution for everyday users is to download the music, this will reduce the amount of energy used and reduce the toll on Digital Service Providers (DSP).
Case Study: Coldplay ‘Music of the Spheres’ tour
Coldplay are now aiming to reduce direct carbon emissions by 50%, through innovative solutions. The tour has produced 47% less Co2e emissions than the previous 2016 attempt and have managed to run the entire show on electric battery systems which use 100% renewable energy, electric vehicles and alternative fuels whilst also reducing waste and plastic usage wherever possible. Coldplay have also committed to planting one tree per concertgoer, equating to five million trees restoring 5,000 hectares of land. Furthermore, one solar-powered river interceptor has been deployed removing 158 tonnes of waste and plastic since the start of the tour and the list goes on!
Conclusion
There needs to be a more direct focus on renewable energy over non-renewable resources, avoiding over-utilisation and being more efficient and effective in unsustainable processes. Continuously updated legislation is helping the industry to understand its targets and limit use in irresponsible operations.
The music industry has a chance to become the leader of change, being innovative and creating a positive impact, leaving a green sustainable legacy. Only through a group effort can the industry switch its primary focus from economic gain to preserving the planet for generations to come.
When the music stops: confronting sexual harassment towards women at music festivals
Rebecca Dutton
Breaking the silence
Located at the heart of the British summer, music festivals serve as major leisure events in the country. These events attract massive audiences, such as the 200,000 guests at Glastonbury this year alone; further emphasising the cultural significance and immense popularity of these events. However, while the spotlight shines on the pure joy and collaborative atmosphere of music festivals, it becomes necessary to confront a troubling undertone that could jeopardise the festivities: sexual harassment. The once carefree and liberating environment that previously defined music festivals has been tarnished by sexual harassment, which according to research findings, disproportionately affects women. Event organisers must take responsibility for these gatherings, and that duty of care goes beyond the stage. They must face the unsettling reality that their venues serve as environments for inappropriate behaviour.
Unpacking historical trends and alarming statistics
The summer of festivities in 2018 was a worrying discovery in the world of UK music festivals. YouGov’s survey in 2019 revealed the startling truth: one in every five festivalgoers has experienced sexual assault or harassment. As stated previously, the sad reality became even more evident for women, with figures revealing that one in every three female festivalgoers had been involved in such instances.
Additional research on sexual violence at Australian music festivals reveals a significant gap in the preventive and remedial measures taken by festival organisers towards sexual harassment. The study revealed a concerning pattern of men acting strategically and predatorily during festivals. The severity of sexual harassment is further supported by statistics, which show that over 40% of women under 40 had experienced unwanted sexual encounters at UK festivals. Women even describe being sexually harassed at live music events as ‘normalised’
Unravelling the dynamics of antisocial behaviour
A concerning trend that is worth noting is the association between substance abuse, particularly alcohol and drug use, and sexual violence. A festival setting that either encourages, subtly supports, or conceals violence is produced by the normalisation of high levels of drug and alcohol use. It needs to be recognised that the intentional use of drink and drugs to enable sexual assault is an unfortunate reality that cannot be disregarded.
It is also argued that festivals provide an ideal setting for antisocial behaviour. This includes sexual violence due to the high population density and chaotic atmosphere. The combination of big crowds, drunkenness, and the marketing of festivals as hedonistic and escape destinations raises the danger level. Which gives offenders an excuse for their abominable behaviour. Participants in recent research stated that men can easily grope in crowded places with little chance of being caught. But also in quieter settings, especially in campgrounds where there was often no security, little lighting, and no staff presence. This stresses the necessity of addressing the environmental factors that contribute to sexual violence in the festival setting.
Women’s experiences
Women view the festival grounds not just as places to party but as settings where a hidden threat prompts them to take extensive safety precautions. Research shows that these measures involve actions that may appear ordinary, such as restricting alcohol intake, avoiding places entirely, or remaining close to friends. This showcases the limited freedom that has been placed upon women within the festival settings. A survivor recounted a terrifying experience in which she was attacked during the euphoria of a mainstage performance. Highlighting the vulnerability that celebration can unintentionally reveal. In addition, two survivors of sexual assault at a music festival experienced a five-year trial delay for their case.
Silent Giants
Some of the UK’s biggest festivals, which include Glastonbury, Creamfields, Reading and Leeds, chose silence when confronted with the issue of sexual assault and harassment What is most significant about this is that while a proactive collaboration of certain UK festivals is happening, some of the major festivals are turning a blind eye to the problem. This highlights the need for an even bigger industry-wide reaction and poses questions about their position on dealing with this pressing matter. However, it is important to understand that this does not downplay how important the work other festivals have done towards making the festival environment safer.
Possible actions
The End of the Road Festival states that volunteers and workers of their festival are educated on proactive techniques for identifying and responding to incidences of sexual harassment and assault. This addresses how critical volunteer training is to stop sexual harassment towards women at music festivals. According to BBC News, stewards at The Green Man Festival are strategically placed and trained to report any acts of harassment or violence, enabling a thorough and effective investigation by festival security. This comprehensive approach creates an effective structure for improving safety and security at music festivals and should be carried out by all event professionals.
Furthermore, to initiate a more widespread cultural shift, festivals must confront issues of gender inequalities in line-ups and other areas. Most of the biggest music festivals in the UK, such as Creamfields, TRNSMT, Download, and Glastonbury, fail to include any female headliners. This needs to be considered as it is well recognised that situations including gender inequality are more likely to result in sexual violence Ultimately suggesting that some of the largest music festivals in the UK are putting women in danger from just the line-up choice. This is prominent as the gender inequalities within the line-ups are not only a representational issue, but also a critical first step in developing safer environments.
Sexual violence against women at music festivals
Maria Georgiou
A significant number of women have revealed the normalisations of unwanted attention, harassment, intrusive touching and violence when attending music festivals. Nowadays, harassment and sexual assault are no longer considered something women are simply expected to “put up with” and “a risk they have to take”. Despite that, women are still experiencing sexual violence when enjoying live music, and it hinders their ability to lose themselves in the music. There must be a prioritisation over social considerations instead of economic when making decisions about festival design, location, programming and alcohol provision to reduce the implications for gendered violence. The normalisation of sexual violence women are experiencing at festivals must be prevented, and proactive measures must be implemented. Regrettably, research has found that women experience a range of violent behaviours at festivals, including verbal and physical sexual harassment and catcalling, groping, sexual assault and rape.
A look at the stats
While women occupy increasing spaces at festivals, research has shown that they are not free to experience these events the same way men do. According to a YouGov survey conducted in 2018, sexual harassment is extremely prevalent at UK music festivals, with 43% of women under the age of 40 experiencing unconsented sexual behaviour at festivals. The survey found that unwelcomed, forceful dancing and verbal sexualised harassment were the most common forms of violence female respondents suffered at festivals.
In the UK, the Public Order Act 1986, Sexual Offences Act 2003, Protection of Harassment Act 1997, and Equality Act 2010 aim to protect women and girls in public spaces. However, underreporting persists due to fears of stigma and disbelief, highlighting a need for societal change in addressing public sexual harassment. The Protection from Sex-based Harassment in Public Act 2023 addresses behaviours like unwanted following and obscene comments. Despite legislative efforts, more actions are needed, especially in music venues where policies against sexual harassment are scarce. Some venues have adopted Safer Spaces policies, promoting awareness and mechanisms to prevent harassment, embodying a feminist approach to ensuring women’s safety and enjoyment in public entertainment spaces.
The festival space
Sexual violence at festivals is a critical issue, exacerbated by environments that normalize excessive alcohol and drug consumption, promoting vulnerability among female attendees. The commercial language around festivals often frames them as hedonistic spaces, leading to presumptuous behaviour towards women. Factors like ‘lad culture’ and hyper-masculinity further endanger women, with some men exploiting intoxication to diminish resistance and claim diminished responsibility. Victims report significant distress, prompting them to undertake ‘safety work‘ in the absence of adequate organizer response. Industry professionals must recognize that intoxication doesn’t excuse sexual aggression and enforce zerotolerance policies. Additionally, festival layout contributes to the risk, with isolated or crowded areas offering opportunities for harassment. Security measures, like those implemented at Download Festival with ‘Air Hub’ stands, and reimagined festival designs can help mitigate these risks. Collaboration with specialist agencies and input from affected women are crucial for creating safer festival environments.
Victims of sexual violence carry a burden within themselves, which has rippling effects on mental and physical well-being. When sexual violence is experienced, the body goes into long-term ‘fight or flight’ and heightens the chances of anxiety disorders, depression, PTSD and sleeping disorders. This impacts their daily routines and evidently increases their experience of psychological distress. Academics found that women who experienced sexual violence had stopped attending pubs and clubs as they were wary of unwanted sexual attention. Moreover, victims continued to express that they avoid particular music venues and events where incidents had happened. Resulting in women losing the ability to enjoy and feel immersed in the music. Enduring impacts have shown that women are losing out on the experience of live music altogether, creating an inequality issue.
The event industry plays a crucial role in fostering societal change, especially in addressing sexual violence against women. Initiatives like the #MeToo movement, which began in the US in 2017, have significantly raised awareness by encouraging women to share their experiences online. This movement, reaching 85 countries, underscores the global concern over sexual violence, prompting venues and festivals to seek effective prevention strategies. For instance, UK music festivals’ 2017 web blackout aimed to highlight the issue, mandating a zero-tolerance policy and better staff training against sexual assault. Despite these efforts, challenges remain, as evidenced by the need for more research and comprehensive training for event staff. High-profile artists and campaigns continue to advocate for safer spaces and gender equality within the industry, demonstrating the ongoing struggle against sexual violence and the necessity for systemic change.
Conclusion
On a final note, the industry will improve by if increasing efforts are made to create awareness and address sexual violence against women at music festivals. As expressed throughout this article, it is not just a matter of enhancing security measures; it is aiming to construct a cultural shift within the music industry. Industry professionals must strive to make festival spaces safe for everyone by fostering an environment of respect, empowerment and consent. By industry professionals starting the conversation around sexual violence, music artists, local authorities, and community groups will take action. Together we can coordinate safer spaces for women because ‘our voices are louder when we raise them together’
For further support regarding sexual assault, please visit Rape Crisis England & Wales or go to gov.uk/report-rape-sexual-assault
‘Thanks
for the warm up’ has the London 2012 Paralympic legacy created lasting change for accessibility in sport across the UK?
Jasmine Peek
The global popularity of sport makes it an excellent tool for removing barriers in society and fostering a community and ‘teamwork’ attitude. As famously quoted by Nelson Mandela ‘sport has the power to unite people in a way that little else does.’
The United Nations agree, suggesting that sport can transform attitudes about persons with disabilities by focusing on their skills and removing the tendency to see the disability rather than the person. The perceptions of disabled people by nondisabled people are paramount to the acceptance of this group. Ensuring good media coverage of parasports and representing disabled people in sport events and the media surrounding these assists with the change in perceptions and attitudes of nondisabled people beyond the events.
How is disability defined?
Disability Rights UK discusses in depth how the use of language, physical environment, attitudes, how organisations are run, and societal discrimination are all contributing factors to the disability of a person. The use of the social definition is important because it allows the disabled person to take control of what they distinguish as barriers, rather than policy makers with executive decision-making authority.
According to the World Health Organisation (WHO) there are currently 1.3 billion people globally who experience significant disability. It has long been known that accessibility for people with disabilities is an underrepresented issue within town and logistics management as well as within the events industry. Disablement is exasperated by the interaction of the social environment and how structures function to disable or enable a person The events industry has been critiqued for its ‘tunnel vision’ regarding operations and failure to adapt and create accessible solutions. Attitudes, social support, information, and physical structures all need to be addressed if the constraints and barriers faced by disabled people at sporting events and beyond are to be overcome.
Because major sporting events such as the Olympics and Paralympics are considered ‘special events’ bound by time and geographical space; they become a reflection of the host countries responses to societal norms at the time they take place. These events do not happen in a vacuum, and the accessibility of these mega sporting events for disabled people should show as reflection for the accessibility of the host city, and not be a ‘façade’ that is quickly shattered when a person leaves the hosts sporting venues.
Participation in sport events and accessibility at events
The 2012 legacy was endorsed by the International Paralympic Committee and over £11.5 million was set aside by various organisations to invest in new strategies for disability sports. The pledge made by organisations shows the commitment they were prepared to make to improve access and inclusivity for disabled people in sports events and in sports across the UK. Projects such as The Ripple Effect are breaking down barriers and encouraging more disabled people to get involved in both volunteering and participation in aquatic sports events. Similarly, charities such as The Wave Project and Laureus Sport for Good (City to Sea)- under the umbrella of Spirit of 2012- work with local communities and disabled people using surfing as a tool for rehabilitation, fun, and developing transferable skills in young people. These initiatives are fantastic for people with access to them and for encouraging more disabled people to take part in sport, however they do not assist with the issues still faced regarding the attendance of large sporting events and the wait list to attend these shows.
Studies show that disabled people are still twice as likely to be physically inactive compared to those without a disability. It has been argued that sports organisations were not adequately resourced to deal with the influx of new participants after the inspiration of 2012; and did not work hard enough to remove the barriers that prevented disabled people from staying and attending more events.
Business, transport, and employment
Since 2012, London’s transport accessibility has significantly improved, with over a third of Tube stations, all Elizabeth line stations, and over 60 Overground stations now offering step-free access, enhancing access to major sports events like the 2020 Euros and Women’s Euros 2022. Additionally, stadium upgrades, including at Wembley, have increased accessible ticket availability for disabled attendees. New legislation from 2018 mandates UK public sector bodies and businesses to adhere to Web Content Accessibility Guidelines, facilitating easier event ticket purchasing for disabled people. Efforts in the sports event
industry, exemplified by British Swimming’s employment practices, aim to improve accessibility and ensure disabled individuals are considered for jobs and involved in creating more inclusive event environments.
Attitudes and perceptions
Since the 2012 Paralympics in the UK, perceptions of disabled individuals have shifted positively, with significant media exposure making some Paralympians household names and Channel 4’s ‘Meet the Superhumans’ campaign marking a significant marketing achievement. Viewership for the 2016 Rio Paralympics soared to 28 million, reflecting growing interest. However, despite these advancements, criticism arises over the portrayal of disabled athletes as the ‘norm,’ potentially overshadowing the daily realities of disabled people. Contradictory findings between governmental statistics and disabled people’s organizations highlight a persistent gap in attitudes, with a notable percentage of disabled individuals reporting no improvement in societal attitudes, challenging the inclusivity of the UK sports industry and indicating a need for further progress.
Solutions and what needs to be done for improvements in the future?
Coming up to the Paris Olympics and Paralympic Games in 2024, it is hoped that disabled people are treated with inclusivity and that all people attending can have an equitable event experience. The lessons learned from London and Rio and the legacy that London 2012 has had on the city of London will hopefully be a lesson to Paris on how to assist disabled people and make a city more accessible and inclusive. It is clear from current literature that disabled individuals feel disconnected from the inspiration of the 2012 Paralympics and their everyday realities.
By adopting practical solutions, informing the public on this contemporary issue, and continuing to include disability across media and within decision-making processes; sports events can become a more accessible space for disabled people, and with that, the public perceptions will hopefully improve and society as a whole can become less ableist and both non-disabled and disabled people can enjoy an equal experience at events.
Women and inequalities in football
Ruby Richards
In 1921, alongside fighting for the right to vote, women were fighting for the right to play football, after the Football Association (FA) deemed that the game was unsuitable for females. Arguably, nowadays, women’s football has never been more popular. In 2023, the women’s World Cup official coverage was watched by around 2 billion people worldwide, which also broke the record for the highest TV viewers of a women’s World Cup final.
However, with this progress comes gender stereotyping, sexualisation and gendered pay gaps within the sport, which will be discussed in this article. Gender inequality can be defined as the lack of equal rights, responsibilities, and opportunities for women compared to men in social aspects of life. Indeed, we see examples of genderbased inequalities faced disproportionately by women in sporting events, making them a contemporary issue as it allows the inequality of women to be present in the events industry.
Gender pay gap
The Football Association states that they are committed to, and have been achieving, positive advances in inclusivity regarding gender balance. Research suggests there has been a significant positive change in equality for women’s football, based on introducing governing strategies, media attention, and funding. Despite these reported changes, a significant gender pay gap remains in place. The gender pay gap between men and women in the top leagues of the football industry persists and holds the title of being the largest gender pay gap in all sports with women’s pay being a small fraction of the pay that men receive. Megan Rapinoe, an American soccer player and activist for equal rights, asks the question as to why this is:
“You want stadiums filled? We fill them. You want role models for your boys and girls? We have them. We’ve done all of that, there’s no reason that we are underpaid for the exception of gender”
The pay gap can be down to several different aspects. It has been suggested that men’s football attracts a higher rate of viewers and therefore generates more profit than the women’s game. When looking at the statistics of viewing figures for Manchester United, the women’s team play at a ground where their viewing is limited to a maximum capacity of 12,000, whereas the men’s team plays at a ground where the maximum is 74,000. This data indicates that the current setup for spectators is capped, meaning that even if every seat in the women’s ground was filled, their games will only ever be able to be a sixth as popular as the men’s game by in-person attendance seating.
Alongside this, women footballers should be given opportunities to gain sponsorships and profit from these campaigns to help gain publicity to ultimately grow interest and viewership in the women’s sport. Big brands who are trying to establish inclusive marketing should consider equal investment to help women bring in the same amount of revenue into their respective clubs as men. The network business ‘ThreeUK’ have launched a platform called the #Weseeyounetwork, in the hopes of positively impacting women who are involved in any aspect of football by supporting them and offering experiences to help them develop in the industry. However, during the women’s World Cup 2023, the sports brand ‘Nike refused to sell replicas of the female goalkeeper’s shirt to the public, causing outrage to all.
Nike did not sell this shirt due to financial reasons resulting in an implicit assumption by the brand that it would not generate enough interest to make the replica profitable. This demonstrates the unfair exclusion specifically by big brands, who are presenting themselves as inclusive - their actions do not follow.
Sexism on and off the pitch
Women are generally stereotyped from an early age, being told that they should be feminine and affectionate and play with dolls, whereas boys should be strong, aggressive and aspire to be footballers. Gender stereotypes act as mechanisms of social exclusion for football-related roles. As women’s football has continued to become increasingly popular, the inherent inequalities have been exposed to more people than ever before. Sport in general, especially football can be labelled as a male dominated industry and as a result of this, women often feel undervalued in the industry and must fight for their right to be respected as equal. The rise of women in the sport is leaving men fearful, but ironically it has been argued that it is the women in the industry who are left fearful and are fearing away from careers in football in case they become victims to discrimination and sexualisation. The FA released a three-year strategy, in aid of protecting women against discrimination and focusing on making sure the game is an enjoyable environment for all (The FA, 2021). However, it is argued that this type of behaviour is still at large and there is still a long way to go in succeeding with change.
Barriers for women in football job roles
A recent report from Women In Football found that 82% of women in footballbased jobs have experienced some form of discrimination in the workplace, and 93% of women have faced an obstacle in their career because of their gender. The second-class treatment that women faced in the past has resulted in deep-rooted exclusion of women in society and a clear presentation that gender equality is not a reality in sports organisations. Due to this self-perpetuating cycle, women are lacking role models that they can relate to which adds greater barriers to progression, meaning there are fewer role models. The small number of women in these higher roles means that this has a knock-on effect on the younger generation of women in football who may struggle to be able to see themselves in higher job roles. Women are almost completely absent from the highest echelons of football governing bodies. Can we be sure that decisions made by a group of men are in the best interests of women?
Conclusion
In a society where men have been given a head start in progressing in the football industry whilst the women’s game was put on hold from 1921 to 1971, the progression of women in football has inevitably had a slower start compared to their male counterparts. However, it is unacceptable that in the year 2024 whilst there are equality laws in place the inequality of women is still at an all-time high, and the gender pay gap in football is the biggest of all sports. If this contemporary issue continues to grow, meaning that the pay gap, sexism, and discrimination are still present in the future, then women will face a lack of progress and job roles in the years to come. The rise in popularity of women’s football events such as the World Cup has spotlighted the need to end the mistreatment of women. However, if the attention is utilised effectively, it can help grow the women’s game closer to becoming equal to the men’s. The FA and football leagues of all levels must ensure that there is greater representation of women in all job roles within the industry. It is their responsibility to put in place regulations that allow women to be able to work confidently in football events.
How terrorism is reshaping music event management
Megan Thomas
Global threats and music events
Terrorism presents a significant challenge for event managers, particularly in the context of music events which can become targets for terror attacks due to their high visibility and large gatherings. The threat has intensified since events like 9/11, exposing more individuals to potential dangers. Terrorism, while varying in definitions based on individual perceptions and contexts, generally encompasses politically or religiously motivated acts of unlawful violence aimed at instilling fear and drawing attention. Given the complexity and evolving nature of terrorism, event managers must stay informed and adept in implementing effective safety measures to mitigate impacts and potentially save lives during such incidents.
Historical events, including the 1972 and 1996 Olympic Games, along with more recent attacks like the 2013 Boston Marathon bombing and the 2017 Manchester Arena bombing, underscore the persistent risk at public gatherings. These incidents highlight the paramount importance of event safety, as such attacks result in trauma, harm, and widespread fear and uncertainty.
Despite the vital role of music events in driving tourism and offering economic, social, and cultural benefits, their susceptibility to terrorist threats cannot be overlooked. The high concentration of attendees makes music events particularly attractive targets, emphasising the need for comprehensive safety planning by event managers. Acknowledging the unpredictability of such events necessitates a proactive approach to safety, considering various potential scenarios.
Safety at music festivals
While event managers strive to implement robust safety protocols, the inherent appeal of music events to terrorists remains a pressing concern. The industry must remain vigilant and proactive in addressing this challenge. The impact of terrorism on event planning and hosting, exemplified by the response to the Ariana Grande concert and the establishment of Martyn’s Law, highlights the importance of advanced safety techniques in safeguarding human lives during such events.
Safety at music events prioritises attendee and staff wellbeing, venue protection, and minimal disruptions. Robust safety measures positively influence attendee decisionmaking, emphasising its importance in event planning. However, there are challenges in implementing comprehensive safety due to event dynamics and diverse risks. Although essential in mitigating terrorism threats, safety measures can’t eliminate risks, necessitating ongoing adaptation and enhancement of safety protocols by event managers.
Despite the consensus on the necessity of multifaceted safety measures balancing visibility and unpredictability through strategies like entry searches, patrols, and CCTV is crucial. Nonetheless, as noted by Abbott & Geddie and UK Govt., while such measures decrease terrorism risks, they don’t negate the severe impact of a successful attack, highlighting the need for comprehensive risk management. Yet, Vierhaus cautions against the trade-offs of intensive safety measures, including heightened costs, public hostility, and potential compromise of attendee experience and other safety aspects, underscoring the complex balance between security and event atmosphere.
Manchester Arena Bombing, 2017
On May 22, 2017, a devastating terrorist attack at Manchester Arena during an Ariana Grande concert killed 22 and injured 59, marking the UK’s deadliest attack since 2005. The tragedy spurred extensive investigations, a reassessment of event safety, and tighter security measures at music events. Despite the sorrow, Manchester’s response showcased resilience and unity, prompting initiatives to support victims and advocate for anti-terrorism legislation. Martyn’s Law, a tribute to Manchester Arena victims, is set to revolutionise UK venue safety by 2024. Mandating risk assessments, security plans, and staff training, it aims to mitigate terrorism risks, especially after the 2017 attack. Balancing concerns of smaller venues through a tiered model, it ensures preparedness and prioritises attendee safety. Complementing existing measures like the Security Industry Act, it reinforces the industry’s standards and emphasises the importance of licensed, trained personnel in maintaining event security.
Can technology Help?
The role of technology in counterterrorism is vital for prevention, detection, and response, utilising tools like surveillance, data analytics, and biometric identification. However, terrorists also exploit technology, necessitating continuous innovation and collaboration between governments and tech companies. Event managers have options like the government’s Emergency Alert for immediate life-threatening situation guidance, or less intrusive event app notifications. The Safezone app provides a direct link to security teams, but considerations of signal issues and attendee responsiveness are crucial in choosing the right technological solution for event safety.
Challenges ahead
The significance of event safety, particularly in mitigating terrorism’s impact at music events, is undeniable. The Manchester Arena Attack underscores the necessity for comprehensive protective measures in such settings. Addressing terrorism involves a collaborative effort among event organisers, government, and law enforcement, with the primary responsibility lying on event organizers to ensure attendee safety. While effective measures are crucial, their overimplementation can lead to high costs and diminish attendee experiences, highlighting the importance of a balanced approach. Music events face the challenge of terrorism’s unpredictability and evolving tactics, making it hard for event managers to foresee and prepare. However, existing laws aim to address these challenges, ensuring the safety and duty of care for attendees, alongside technological progress and enhanced crowd management strategies.
Has the future for women’s football been kick-started?
Olivia Topham
Women’s football has made significant strides. Initially popular during World War I, women’s football faced a 50-year ban from 1921, stifling its development. The professionalisation of women’s football, often seen through the lens of conforming to male-dominated norms, contrasts with the men’s game, which focuses on legal structuring and commercialisation. Despite the ban lifting in 1971, professional opportunities for women remained scarce until the establishment of the FA Women’s Super League (WSL) in 2011, marking a pivotal shift towards professionalism. This evolution, while significant, still contends with outdated perceptions, underscoring the ongoing challenge of reshaping gender narratives in football and beyond.
The rise of major tournaments
Major football events fall under the mega events category, due to their international impact, dramatic character, and their huge level of popularity. For the men’s game, events in this category have been active for near to a century, with the World Cup taking place in 1930. However, for the women’s team, the FIFA Women’s World Cup did not begin until 1991. Despite being a sporting mega event, the 1991 FIFA Women’s World Cup was still treated as “an amateur spectacle rather than a professional mega event”, demonstrating the different perceptions between men’s and women’s football. The question is raised of; how can women’s football grow if the attendance does not have the ability to grow?
This exhibits one of the many issues regarding gender in football. Since the 1991 tournament, the gap between the men’s and women’s FIFA World Cups has become gradually smaller, in terms of the hosting stadiums and attendance figures. This is signified in the 2023 FIFA Women’s World Cup, with Stadium Australia hosting the final between England vs Spain, with a capacity of 82,500, representing the growth in the number of spectators willing to pay to travel and attend, and portrays the belief the organisers, FIFA and the local society have in the success of the women’s game. A continuation of this was demonstrated during the 2022 UEFA Women’s Euros, hosted in stadiums across England. This allowed spectators and the younger generation from across the UK and Europe, to watch England become European champions, with the final held at Wembley Stadium, a venue typically known for hosting men’s football. However, concerns are raised as to whether this growth will be sustained for future events, with the issues surrounding gender within football as a societal problem, reflecting on today’s society, as “sexism and misogyny continue to permeate everyday life”. Although this was the case historically, the recent FIFA Women’s World Cup, (2015, 2019 and 2023), and other women’s major football tournaments, may have kick-started the future of women’s football, in terms of the attendance and growth experienced within tournaments presently and in the future.
The impact of social media
The media coverage of women’s sport has become more widespread over recent years, however, is a recent phenomenon. Although the presence of social media within women’s football can be beneficial, athletes are required to be more open on their social media platforms, putting players at risk of receiving hate, misogynistic comments, and threats of violence. The mediation of misogyny through social media is signifies an “oppressive culture of misogyny”. This can be seen in a social study, with ex-footballers Jill Scott and Gary Neville swapping twitter accounts for 5 days, continuing to post about football under each other’s names, with Gary Neville receiving hate stating to “Get back in the kitchen” and “leave the football to the boys”, after his commentary being under Jill Scott’s name, and similarly, Jill Scott received supporting comments, when posting under Gary Neville’s name. Within a study, focusing on Manchester United and Burnley women’s teams, 4 key areas of gender-based violence were experienced by players on TikTok, with these areas being misogyny and a hatred of women, sexism, a want for a male only space and sexualisation of women, signifying that although the use of social media can be seen as a vital aspect in growing women’s football, players are put at risk of gendered violence as a result
While male footballers, like Mason Mount, publicly support women’s football, using their platforms to challenge gender-based hate and promote equality, as seen during the 2023 FIFA Women’s World Cup, misogynistic comments persist. This mixed reaction underscores the complexity of changing entrenched attitudes towards women’s football, even amidst highprofile endorsements.
Women’s football and broadcast media
Despite improvements, women’s football broadcasting still lags behind the men’s. The success of the England Lionesses at the 2022 Euros spurred calls for equal broadcasting quality. Major TV deals now air Women’s Super League (WSL) matches, yet coverage remains partial compared to the comprehensive broadcasting of men’s games. Contrastingly, the FIFA Women’s World Cup 2023 saw remarkable growth in viewership, signaling rising interest. However, broadcast rights disputes reveal a disparity in valuation and investment between men’s and women’s football, underscoring ongoing challenges in achieving parity in the sport.
Looking to the future
Efforts to reshape views on women’s football are underway, with a focus on increasing access and opportunities at grassroots levels. Despite 37% of girls lacking football access in schools, the Lionesses’ 2022 Euro victory catalysed support for change, prompting pledges from government leaders for equal PE access and mandated hours. This momentum highlights the need for sustained growth and support across all levels of women’s football, ensuring inclusivity and fostering talent from a young age
The question is also raised as to whether women’s football will have the ability to grow in the future, despite the introduction of more opportunities, due to a lack of funding. An increase in funding and revenue is deemed a necessity in terms of the growth and development of women’s football, in the future. Sponsors and other commercial groups within women’s football have taken an “accepting stance on the need for monetisation as a means of elite professional development.”, indicating the importance of generating money, to aid in the growth of the women’s game.
Despite challenges, women’s football is progressing notably, driven by the strategic organization of events and increasing spectator engagement. This growth, particularly in the Women’s Super League and major tournaments, is reshaping societal and media perceptions of the sport. Continued investment and attention from various event industry sectors, including media and marketing, promise to further elevate women’s football, aligning its stature and experience with that of men’s football.
From protest to profit: the commercialisation of Pride
Kate Wallington
Introduction
Pride parades have been taking place around the world for over 50 years and are some of the biggest and most joyous events. They allow expressive and progressive movements to come to light and create a huge domain for the celebration of inclusivity and diversity. Though Pride is now used as a celebration in many Western nations, it is crucial that we understand the history and reasons for Pride and not forget the hardships the LGBTQIA+ community faced and still faces today.
While brands often display support for the LGBTQIA+ community during Pride month, the authenticity of this support varies, with some engaging in ‘Rainbow Washing’ to gain customer credibility rather than offering genuine support. Social media facilitates superficial support through the easy addition of rainbow imagery to advertising. Moreover, the concept of the Pink Pound highlights how companies target the LGBTQIA+ market for profit. Although society progresses towards acceptance, some suggest we’re entering a ‘post-gay era,’ risking the marginalisation of LGBTQIA+ spaces and overlooking the ongoing struggle for rights. It’s crucial to balance recognition of Pride’s achievements with the need for continued advocacy.
Origins of Pride
LGBTQIA+ rights and Pride events globally celebrate love and freedom, originating from the 1969 Stonewall Riots, a pivotal moment for gay rights following police raids on LGBTQIA+ bars. These riots sparked the first Pride parade in 1970. Initially, Pride parades like New York’s Christopher Street Day Parade were political, reflecting the serious nature of LGBTQIA+ rights struggles. Consequently, the Sydney Gay and Lesbian Mardi Gras and UK Prides, from London to smaller towns, highlight the global spread and diversity of Pride celebrations. Despite different expressions, all Pride events trace back to the fight for LGBTQIA+ visibility and rights, underscoring the enduring significance of the Stonewall Riots and subsequent activism.
Current Pride
As the community is being more accepted into society, some now consider us to be in a ‘post gay era’. However, this has been challenged with academics identifying that this narrative could lead to a reduction in LGBTQIA+ specific events and safe spaces. So, despite the acceptance in many places of the LGBTQIA+ community, it does not diminish the importance of Pride events and safe spaces for the community as the LGBTQIA+ community still face widespread discrimination. It is also important to identify that there are different groups represented in the LGBTQIA+ community. And for the different groups, there are different levels of visibility and support provided. For example, black trans women continue to be the target of discrimination across the globe. Transphobia is still a major issue that needs to be faced and therefore, we still need to speak up ensure a safe society for everyone. It is reported that there was an
11% increase in trans hate crimes across England and Wales in 2022. This is just one of many reports that show we still have a long way to go. We mustn’t forget why Pride events first started. It now makes it more important than ever, that Pride events continue to fight for justice for all. Assuming that we are in a post-gay era is dangerous for the LGBTQIA+ community.
The commercialisation of Pride
When it comes to Pride, the world is full of rainbows everywhere you turn, both in the parades and in our everyday lives. It’s great to see brands and companies showing support to the LGBTQIA+ community. However, understanding the authenticity and intention of this marketing can help us identify the difference between a supportive and progressive company and one that is rainbowwashing for their benefit.
It is not only brands that can profit from Pride events. Host cities themselves are now starting to utilise the pink pound and turning celebrations into marketing and profit opportunities. For example, Manchester Pride has received some backlash after its controversial increase in ticket prices. The Guardian reported that it was £70 a ticket to attend the Manchester Pride Parade in 2019. Not only this, but it was £10 to enter Gay Village, which is open all year round for free. By creating these expenses capitalises on what is normally a safe space for the community, it suddenly changes the use of the space and its importance of it. Unfortunately, Manchester is not the only location to do this.
Sydney Mardi Gras has also faced some negative press with the pricing of their tickets, making the full experience of Mardi Gras week to be extremely expensive. Increasing the price of tickets limits those who can attend the event. Therefore, this changes it from being an inclusive celebration to a more exclusive one, and because of this, it discredits the original protests and Pride.
What is the future of Pride events?
It is important to establish how we can move forward positively and not detriment the amazing work of Pride movements and their effect on society so far. Identifying the troubles that are still faced today helps us to recognise that we are not in a ‘post-queer era’, but instead we need to protect the movements already made and continue to fight for justice. The main goal established from this article is not to suggest we remove sponsorships by brands, it is always going to happen, and it is beneficial to events. Instead, we should educate companies and brands on the importance of Pride and how to meaningfully support the community. As brands reflect on their actions and expand their awareness, it will allow for better empathy and ultimately benefit their branding activities. For the event organisers, they must align themselves with the correct companies that show support and integrity rather than commodifying Pride. Tickets are also important when it comes to events but being aware of the impact pricing can have on those who want to be involved in and take inspiration from companies who are already showing ally-ship. Make those conversations within the workplace and encourage others to do the same. By unifying as a society we can help protect the future for the LGBTQIA+ community and Pride events. Brands and companies using the pink pound for their benefit rather than as a support and ally-ship towards the LGBTQIA+ community.
One day, we hope to live in an equal and inclusive world, but for now, there is still a fight, and it is still important to establish how far Pride has come in the last 50 years and protect its future.
Tackling racism in the world of football: performance or protest
Harriet Willis
Football, with over 3.5 billion fans globally, is not only a unifying force but also a platform for highlighting major social issues, including the pervasive issue of racism within the sport Despite recent actions by clubs and governing bodies against racism, the issue remains prevalent. This raises the question, is the action being taken against racism within football performative or protest? Racism, characterised by discrimination and oppression based on physical appearance and cultural background, manifests in various forms, from overt interpersonal acts like verbal abuse to systemic racism embedded in societal structures, policies, and ideologies, which often remain invisible and unaddressed. The rise of the internet and social media has further complicated the issue, providing a platform for overt racism to thrive and normalising racist behaviours. This digital shift makes it incredibly difficult to put an end to systemic racism and highlights how deeply racist ideologies are engrained in society.
Off the pitch and onto the internet
While overt racism in football stadiums may have decreased due to fines and convictions, online racism is surging, with reports of online abuse tripling in 2022/23. Social media’s growth provides platforms for fan interaction but also facilitates the formation of racist groups and the spread of racism, with 80% of fans acknowledging its role in enabling previously unavailable communication of racism. Scholars applying Goffman’s (1959) dramaturgical metaphor to online hate suggest the internet creates a new ‘stage’, blurring frontstage (public) and backstage (private) behaviours.
This ambiguity, alongside the far-right’s influence on acceptable online language and behaviour, fosters ‘echo chambers’ and radicalization, indicating a need for stricter online regulations to curb the spread of misinformation and racist behaviour.
Kick it out!
Launched in 1993, ‘Let’s Kick Racism Out of Football’, now ‘Kick It Out’, aims to eradicate football racism at all levels. Despite education and reporting initiatives, scepticism remains about its impact. Limited funding and the political dynamics in football challenge its effectiveness, as key stakeholders are criticized for inadequate investment in anti-racism efforts, reflecting broader issues of representation and commitment within the sport.
Taking the knee
Taking the knee has become a prominent social and political symbol within sports to protest racism. In 2016 American NFL player Colin Kaepernick took a knee during the national anthem to protest the oppression of people of colour gaining mass media attention while some applauded his protest against racism others argued that his behaviour was unpatriotic and disrespectful. This symbol of protest was adopted by athletes worldwide in 2020 to show solidarity with the Black Lives Matter Movement and the EPL began to use English football’s global platform to protest racial injustice. Whilst the act of taking a knee has raised awareness for and sparked important conversations about racial injustice in football and on a global scale, the high-profile peaceful protest has been met with controversy. Eight months into the protest football fans began to boo players as they took a knee. Some saw it as a tokenistic act in response to the mass media attention that the Black Lives Matter movement received in 2020 and that it is an example of ‘abstract liberalism’ when predominantly white institutions make statements about social justice without addressing the issues within their institutions such as systemic racism. This shows that football organisations are creating a visage that they are actively fighting against racism, preventing them from being held accountable for the fact that there is little real action being taken to reform the issues within these institutions that allow systemic racism to prevail.
The
‘grass ceiling’
Despite increasing pitch diversity, football remains institutionally white, with systemic racism leading to ethnic minorities’ underrepresentation in coaching and leadership roles. In 2023 it was revealed minimal black representation in managerial and executive roles, reflecting the sport’s structural issues. Informal recruitment processes and unconscious bias further marginalize ethnic minorities. The Football Leadership Diversity Code aims to address this by setting diversity targets, yet progress is slow, with clubs not meeting set goals, indicating a reluctance to genuinely embrace change. This continued systemic racism and lack of substantial progress in diversity initiatives not only limit football’s efficiency but also perpetuate online discrimination, emphasizing the need for genuine, impactful actions to create a truly inclusive environment.
Championing change
Despite anti-racism initiatives, reports of discriminatory behaviour in football have surged by 65.1% in 2022/23, reflecting deep-seated systemic racism and a pervasive colour-blind ideology. Tackling this requires prioritizing diversity and education in leadership roles, enhancing organizational efficiency, and dismantling institutional biases. However, efforts like The Football Association’s Leadership Diversity Code falter as clubs overlook the importance of diversity and the detrimental effects of systemic racism. Addressing this demands mandatory equality targets for key football organizations and stricter online regulations to combat the spread of hate and misinformation.
