Eco-friendly Music Festivals in Germany

Bachelor Thesis International University of Applied Sciences Bad Honnef 路 Bonn Event Management

Eco-friendly Music Festivals in Germany

A Communication Platform for Sustainable Development?

Vanessa Vogel Student ID: 9076208 Weiherstr.17 56203 H枚hr-Grenzhausen

Supervisor: Prof. Dr. Ulrike Schaub Date of submission: November 25, 2010 Words: 16.035

Abstract Sustainability is a determinant factor used in almost every aspect of our lives. It is not only influencing the decision making of businesses but also gaining importance to private households. Since change is needed to conserve the world for future generations every single person has to be involved.

The role of the cultural sector can play a major role in educating people. This thesis has a special focus on eco-friendly open air festivals that lead by example. Describing the festival landscape of Germany the dissertation shows which festivals are environmentally friendly and how they are awarded. It takes several environmental approaches into consideration and outlines different types of sponsorship. Further, scopes of sustainable management are explored and compared in a case study. The research findings are obtained by secondary data from literature review and primary qualitative data by a survey and an in-depth interview.

Finally, the conclusion will show the different efforts of the festivals and give recommendations how to improve the way of communicating the message of sustainability to the festival’s audience and how education for sustainable development could be implemented into a eco-friendly music festival.

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Table of Contents 1. Introduction ...........................................................................................................................1 1.1 Background and Motivation...............................................................................................1 1.2 Overall Aims and Objectives ..............................................................................................3 1.3 Structure...............................................................................................................................3 2. Methodology...........................................................................................................................4 2.1 Research Design...................................................................................................................4 2.2 Data-Collection Methods ....................................................................................................5 2.2.1 Questionnaire Design ..................................................................................................5 2.2.2 Interview.......................................................................................................................6 2.3 Limitations and Bias............................................................................................................6 3. Music Festivals.......................................................................................................................7 3.1 The Impacts and Role of Music..........................................................................................7 3.2 Short Overview of the Music Industry ..............................................................................9 3.3 Definition of Music Festival ..............................................................................................10 3.4 Short Overview of the Festival Development in Germany ............................................12 3.4.1 Music Tourism ...........................................................................................................13 3.4.2 Music Festival Sponsoring ........................................................................................14 3.5 The Festival Market in Germany.....................................................................................16 3.6 Impacts of Festivals ...........................................................................................................17 3.6.1 Social and Cultural Impacts......................................................................................17 3.6.2 Political Impacts ........................................................................................................19 3.6.3 Environmental Impacts .............................................................................................20 4. Environmental and Sustainable Management..................................................................23 4.1 Sustainable Development ..................................................................................................23 4.2 Sustainable Management ..................................................................................................26 4.3 Environmental Management and Management System................................................27 4.3.1 EMAS and ISO 14001 ...............................................................................................28 4.3.2 Environmental Management Approaches in Germany ...........................................30 4.4 Eco Labeling.......................................................................................................................30 4.5 Green Washing ..................................................................................................................32

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5. Eco-friendly Music Festivals...............................................................................................33 5.1 The Social and Environmental Responsibility of the Cultural Sector..........................34 5.2 Green Visitors ....................................................................................................................34 5.3 Associations, Initiatives, Awards......................................................................................35 5.3.1 Green’n’Clean Award ...............................................................................................36 5.3.2 Sounds for Nature .....................................................................................................36 5.3.3 Green Music Initiative...............................................................................................36 5.4 Scopes of Sustainable Management .................................................................................37 5.4.1 Traffic and Transport ................................................................................................37 5.4.2 Waste ..........................................................................................................................38 5.4.3 Water ..........................................................................................................................39 5.4.4 Energy ........................................................................................................................40 5.4.5 Purchasing and Resource Use ..................................................................................42 5.4.8 Communication and Education ................................................................................43 6. Case Studies .........................................................................................................................44 6.1 RhEINKULTUR Festival .................................................................................................45 6.2 Taubertal Festival..............................................................................................................45 6.3 Das Fest...............................................................................................................................45 6.4 Comparison of Environmental Efforts of Case Studies .................................................46 7. Conclusion and Recommendation......................................................................................49 8. References.............................................................................................................................52 9. Appendices ...........................................................................................................................59

Eco-friendly Music Festivals

1. Introduction The first chapter gives a short overview about the background and motivation of discussing the topic of eco-friendly music festivals and its opportunity to serve as a communication platform for environmental awareness and education. Furthermore, the overall aim and objectives of the paper are outlined followed by an overview of the thesis structure.

1.1 Background and Motivation Music has a very high significance across all cultures and times. It is an important communication tool to share emotions and thoughts within in a group. Furthermore, it increases perception, sensitivity, and expressiveness and promotes social behavior (Wicke, 2005). Particularly in youth culture music bear a “social and cultural force of identification and presentation” (Laughey, 2006). Therefore, it does not astonish that concerts and music festivals are steadily gaining popularity, especially by younger generations. A survey from GfK Panel Services Deutschland (GfK) shows that the event market had a total volume of 3,173 million euro in 2009, whereof 2,266 million euro were realized by music events, consisting of concerts, festivals and musicals (GfK Panel Services Deutschland). The figure is provided in Appendix A. According to Franz Willnauer (2006), from the German Music Information Centre (MIZ), approximately 360 festivals are captured in the online data base what from one-third belong to the field of contemporary music.

Climate change, environmental protection and sustainability are current terms today and concern everyone and every branch as every single human is a part of the environmental system. Especially the creative industries which strengthen its economic growth in the last few years (German Commission for UNESCO, 2007) have a special social end environmental responsibility - and therefore the event and live music industry which attracts million of people every year around the world to participate. Given that music festivals with its large crowds are often located in the nature it is quite obvious that environmental protection is an important topic. The media which consistently prefer to report how much waste or energy a festival produced linked with the increasing environmental public awareness put additional pressure on festival organizers. The article “Wenn die Musik im Müll versinkt”, of the Stern Magazine show for example that the Rock im Park festival consumed more than 120,000 kilowatt hours of electricity in 2007, which would be enough to power a small city (Senfleben,

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Eco-friendly Music Festivals 2007). Besides the high power consumption of a music event, the biggest emitting activity within a festival is the emission produced by the visitors travelling to and from the festival (Sound Emissions, 2009). In addition, tons of waste will not only damage the environment and its surrounding but also be more cost-intensive to the host. Considering only some of the negative environmental impacts give cause for serious concern about holding such an event.

Therefore, the role and significance of music festivals in our culture as well as their environmental impacts will be examined in this thesis.

A few festivals in Germany demonstrate that it is possible to bring together music and humans in nature in an eco-friendly and collective way. The RhEINKULTUR Festival in Bonn, Germany set a very good example. They even published an environmental management handbook for open-air festivals and became awarded several times amongst others by the Federal Agency for Nature Conservation Germany (BfN). Many European festivals already implemented several aspects of environmental management into their organization, which turned out at the Green Events Germany, an international eco-conference for the live music industry in November, 2010. For that reason, fundamental knowledge of environmental and sustainable management will be explored and of even greater importance the scopes of sustainable festival management.

Nevertheless, the effort of an

“If you want one year of prosperity, plant corn.

ecological organization

If you want ten years of prosperity, plant trees.

is insufficient without

If you want one hundred years of prosperity, educate people.�

circumspection of the

(Chinese proverb, n.d.)

visitors. Therefore, it is necessary to indicate the public on the special effort and to appeal their assistance. Thus, it is important to know what content should be communicated and which tools can be used in order to motivate the audience. Continuing that thought – would an eco-friendly music festival not be the perfect platform communicating to future generations an understanding of ecological consciousness in a directly tailored, entertaining and informing way? Could it even be a platform for environmental and sustainable education by non-governmental (NGO) and governmental organizations?

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Eco-friendly Music Festivals 1.2 Overall Aims and Objectives The overall aims of this thesis are on the one hand to describe the significance, coverage, and advantages of sustainable management within the music festival design; and on the other hand it provides an outline how the overall communication can be improved and how environmental education of visitors could be reached. To facilitate the overall aims following research objectives were generated:

1. Acquire basic knowledge about the role, impacts and development of music and music festivals.

2. Acquire detailed background information of environmental management and the linkage to sustainability and events.

3. Identify the reasons, scopes and benefits of sustainable management within the festival organization.

4. Examine environmental performance of the music festivals: RhEINKULTUR, Taubertal Festival and Das Fest.

5. Compare and identify differences and similarities of these music festivals.

6. Provide an outline of the main aspects to improve festival communication and environmental education of visitors.

1.3 Structure The thesis is divided into seven chapters. The first chapter gives a general overview of the paper by giving background information and outlining the overall aim and objectives.

Chapter two describes the methodology of the research, including the research design and the data collection method chosen. Moreover, the questionnaires which were set up and the interviews which were hold as well as the limitations and bias are short portrayed.

The third chapter introduces to music festivals by first illustrating the importance and impacts of music and a short overview of the music industry. Afterwards the term and development of music festivals are described followed by further descriptions of music tourism and festival sponsoring. In order to complete the festival development the recent festival market in Germany is described. The further description of the major impacts

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Eco-friendly Music Festivals (according to the thesis topic) of music open-air festivals explains the reasons for development.

Chapter four introduces to environmental management by giving a short overview of environmental management approaches, systems and its constraints in Germany. Moreover, sustainable development and sustainability are explained to create a linkage to environmental management followed by an explanation of sustainable management. To complement this chapter the meaning of eco-labels and the risk of green washing are explained.

In the fifth chapter sustainable management and music festivals come together. First the social and environmental responsibility of the cultural sector is analyzed followed by illustrating different festival eco-awards and interested organizations and giving a description of sustainable events and ‘green’ visitors. Furthermore, the several scopes of sustainable event management are explained in particular. In the end, possible benefits of sustainable management are outlined.

Chapter six examines the RhEINKULTUR Festival, the Taubertal Festival and Das Fest and their environmental performances. In order to identify differences and similarities the three festivals are compared with each other.

The last chapter draws a conclusion and gives a recommendation.

2. Methodology This chapter deals with the research design and the data collection methods used in this research. Furthermore, the questionnaires and interviews with their limitations and bias are demonstrated.

2.1 Research Design A research design is “the framework or plan for a study that guides the collection and analysis of data” (Churchill & Brown, 2004). In order to analyze the opportunity of ecofriendly music festivals to serve as an education platform for sustainable development, exploratory research was chosen to gain insights of the role of music festivals, its current environmental efforts and develop ideas how environmental communication and education could work. Furthermore, exploratory research increased familiarity with fundamental

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Eco-friendly Music Festivals knowledge of music festival and its impacts as well as environmental and sustainable management.

Subsequently, in order to evaluate current environmental efforts of eco-friendly music festival organizers, a descriptive research design was chosen as it describes “the characteristics of a certain group.” Therefore, the three German Green’n’Clean awarded festivals were chosen for the cross- sectional study as a sample, “measured at a single point in time” (Churchill & Brown, 2004).

2.2 Data-Collection Methods After choosing a research design data has to be collected via secondary data or primary data. According to the overall research aim secondary data, which is data not gathered for the immediate study, as well as primary data, which are “information originated by the researcher” was adopted (Churchill & Brown, 2004).

Secondary data was collected using external data, which were obtained from published and commercial sources. Therefore, information from associations, books, journals, magazines, data bases, newspaper articles, television reports and several web sites and documents provided profound knowledge on the topic and the structure of the thesis.

Primary data were collected via two personal interviews and one mail questionnaire with the festival organizers of the RhEINKULTUR (Bonn), the Taubertal festival (Rothenburg) and the Das Fest festival (Karlsruhe) to get an insight of current environmental efforts of eco-friendly music festivals and how they communicate their efforts to the audience.

Furthermore, the Green Events Conference for the Live Music Industry (3. -4. November, 2010), where festival organizers from across Europe participated, allowed a deeper insight to the efforts and problems of environmental management within a festival. Compared to the case studies common problems can be pointed out. The questionnaires and the transcript of interviews are provided in Appendix L, M, N.

2.2.1 Questionnaire Design In order to measure current environmental efforts of music festivals a semi-structured questionnaire was set up. The questionnaire consists mainly of open-ended questions, because the “respondents should be free to answer in their own words” (Churchill & Brown, 2004).

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Eco-friendly Music Festivals Moreover, some close-ended questions are provided in the questionnaire. Furthermore, the questionnaire was divided into four parts:

I. General Information about the Organizers II. Background Information about the Festival III. Background Information about Environmental Activities IV. Tangible Environmental Efforts

The questionnaire was sent via e-mail as an attached file to the KARO Agentur, the organizers of the Taubertal festival in Rothenburg after a telephone call. Question that arose after receiving the filled survey were answered via e-mails correspondence. The selfcompleted questionnaire of the Taubertal festival is attached in Appendix L.

2.2.2 Interview The interview with Sabine Funk, production manager of the RhEINKULTUR in Bonn was held at the 18th October, 2010 in the Office of the Rheinkultur GmbH, which is also in Bonn. Prior the interview, the questionnaire was sent out to Sabine Funk via e-mail to give her an insight of the length of the interview as well as to give her the opportunity to prepare herself. Furthermore, the interview was recorded by a video camera to have a fluent conversation and afterwards documented. The transcript of the interview is attached in Appendix M. The interview with Michael Kozak, responsible for the environmental issues of the Das Fest festival in Karlsruhe was held at the 4th November, 2010 in the Wissenschaftszentrum Bonn. The questionnaire built the basis for the interview. The completed questionnaire is attached in Appendix N.

2.3 Limitations and Bias One problem during the literature research was the inaccurate definition of several terms like the term festival. In Germany festivals are known as ‘Festivals’ and as ‘Festspiele’.

Most data available about festivals cover traditional and regional festivals, while studies on modern music festivals according to the topic are relatively rare. Furthermore, the terms

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Eco-friendly Music Festivals sustainable management and environmental management as well as environmental management and environmental management systems are mixed in literature. Therefore, the scopes of environmental management within the festivals changes after literature research as sustainable management suited better to the overall research aim.

Furthermore, the interview held with Michael Kozak from Das Fest, was in a tight timeframe and due to the fact that the Das Fest GmbH just exist since 2010, no recorded material was available. Due to the fact that the Taubertal festival organizer had no time for a telephone interview the questionnaire was sent out to the KARO Konzert Agentur. However, the questionnaire was not filled out by the CEO or environmental expert of the festival but from the assistance Angelika KrĂźger. The general result of recent environmental performances of eco-friendly music festivals would be of higher quality if every interview would have been performed face-to-face or more time would be available for them. Although, as already mentioned the Green Events Conference provides a general overview and insight of environmental performances and problems of music festivals across Europe.

3. Music Festivals The following chapter acquires profound knowledge of music festivals. First short descriptions of the role of music and the music industry are given followed by the development of music festivals and a demonstration of the actual festival market in Germany.

Furthermore, the major impacts of festivals concerning the research topic are described.

3.1 The Impacts and Role of Music Since human beings develop musical skills, music is a constant companion of daily life. Music has a big impact across all cultures and times. According to a survey of GfK Panel Services Deutschland in 2008, about twothirds of the German population state that

"Without music, life would be a mistake."

music has a high to very high significance

(Friedrich Nietzsche, 1844 – 1900)

(GfK Panel Services Deutschland).

The cultural and religious function of music can be lead back to the ceremonies and rites of the indigenous people. Music bears and communicates cultural activities. The church (chants, passions, mass and cantatas) and the royal courts (minnesingers, musical

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Eco-friendly Music Festivals entertainment, festivals and dance music) were the most important institutions in the past European music culture (Baumann, 2005).

Prof. Dr. Max Peter Baumann (2005), music ethnologist and anthropologist, wrote that “music is art and science, education and entertainment, religion and religion substitution, a matter of thinking and experience, a motivation for physical activity, a medium of selfawareness and self-expression.” Music affects every individual whether playing, teaching or learning an instrument. Furthermore, music is able to communicate emotions and thoughts and therefore it promotes social behavior due to increasing sensitivity, perception and expressiveness in handling with each other. These social functions are also a reason for the development of many diverse subcultures as means of expression, like for example gothic music, heavy metal or punk-rock. Even national hymns are means of identification. Music can also fulfill a political function by demonstrating authority or protest. Although music can not directly induce social change, it can concentrate and coordinate reactions on social states and can set free social energy which can have an arresting or activating effect (Baumann, 2005).

Based on the high emotional impact of music it is often used in combination with selling products and services. Music goes along with TV commercials, video games, movies and mobile ring tones. Furthermore, the power of artists should not be undervalued. Derived from their charismatic authority, musicians are often seen as role models to younger generations.

The increase of live performances which is further shown in the next chapter, also results from the development of popular music, which basic essentials are being part of “playing music” and the immersion into a network of social relationships that can be only experienced within a live performance. Today more than 90 percent of music covered in the media belongs to the genres of popular music, which are pop, rock, hip hop, rap, techno, dance, jazz, hit, folk music, brass and chanson (Wicke, 2006). Therefore, in all German states popular music becomes in one form or another an inherent part of cultural support like for example the Rockstiftung BW, the Rockbüro NRW or the Popkomm (Wicke, 2002). Even in a coalition motion of the parliamentary parties SPD and CDU/CSU, the delegates request the federal government to foster popular music stronger (Deutscher Bundestag, 2007). This shows that music has still today not lost its cultural and social importance as it is even part of our cultural industry (German Commission for UNESCO, 2007).

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Eco-friendly Music Festivals 3.2 Short Overview of the Music Industry The music industry in the narrower sense consists of self-employed composers, publishers, manufacture and duplication of sound carriers, manufacture of musical instruments, retail of musical instruments and music (including sound carrier retail), music and dance ensembles, theatre and concert promoters, recording studios, private theatres, opera houses, concert halls, clubs and the like (Söndermann, 2008). Appendix B gives further details on the turnovers in particular.

Due to the upcoming of the internet, the digitalization of music and the related development of peer-to-peer (P2P) networks, the whole recorded music industry market changed by the new millennium (Bhattacharjee, Gopal, Marsden, & Sankaranarayanan, 2009).

This innovation led to a lot of illegal music downloads and precipitated a crisis in the recorded music industry (Appendix C).

Though, a paradigm change can be denoted in the music industry in 2003 as revenues of live music industry overtake revenues of record sales. Live music generated revenues of about 2.9 million euro in 2007 and in 2009 about 66.6 million tickets were sold (GfK, 2007 & 2009). In other words: “The hot money is in live performance” (Johnson, 2009). Live performance may have a direct effect on increasing record sales. In 2005, the Daily Mirror reported, that after the Live8 concert of Pink Floyd in London the album “Echoes: The Best of Pink Floyd” denoted a sales growth of 1,343 percent (in Stern.de, 2005). The unique experience of an event is surely the main reason for the live music development in today’s society. Unfortunately, as it can be seen in detail in Appendix D, live music does not avoid the decreasing of the total music revenue.

A further example for the development of the music industry is the biggest entertainment company in the world, Live Nation Entertainment. Concert promotion, venue operations, sponsorship, ticketing solutions, e-commerce and artist management are the five businesses of the entertainment company. Jay Z, Madonna and Lady Gaga are just some ‘stars’ who are signed in. Live Nation Entertainment wrote in its company profile (n.d.): We seek to innovate and enhance the live entertainment experience for artists and fans: before, during and after the show. In 2009, Live Nation sold 140 million tickets, promoted 21,000 concerts, partnered with 850 sponsors and averages 25 million unique monthly users of its e-commerce sites […] connecting 200 million fans to

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Eco-friendly Music Festivals 100,000 events in over 40 countries which has made Ticketmaster.com the number three eCommerce website in the world.

After Live Nation Entertainment fused with Ticketmaster Germany it opened its headquarters in Hamburg in 2010. The expansion of Live Nation means keen business competition for the ticketing agency CTS Eventim and more competition on the German market which possibly can lead to better offerings for concertgoers (Kulturnews, 2010).

This development is a clear evidence for the importance of live music and events within the music industry as ‘All-round-Entertainment’ agencies start to combine artist management and event management.

3.3 Definition of Music Festival According to Getz (2005) all planned events “are temporary occurrences with a predetermined beginning an end. Every such event is unique, stemming from the blend of management, program, setting and people.” Planned events are cultural celebrations, business or trade events, sport or recreational events, educational or scientific events, political or private events. Any of these events can be considered as special event. Goldblatt (2008) defines special events “as unique moment in time celebrated with ceremony and ritual to satisfy specific needs.” As stated by Bowdin, Allen, O’Toole, Harris & McDonnell (2006), the aim of those ceremonies and rituals is “to achieve particular social, cultural or corporate goals and objectives”. Attributes like a festive spirit, uniqueness, quality, authenticity, tradition, hospitality, theme, flexibility, multiplicity goals, tangibility, affordability, convenience and symbolism create a sense of specialness (Allen et. al., 2006 & Getz, 2005). Numerous of these ‘special’ attributes can be assigned to festivals. Festivals as part of cultural celebration are described by Getz (2005) as “public [and] themed celebrations.” According to Willnauer (2010), the characteristics of a festival are specific and admirable offerings, specific character of performances and independent impressions through an idea or flair. South East Arts (1998) developed seven categories for festivals: • High-profile general celebration of the arts; • Festivals that celebrate a particular location; • Art-form festivals;

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Eco-friendly Music Festivals • Celebration of work by a community of interest; • Calendar, Cultural or religious festival; • Amateur arts festival; • Commercial music festival (in Allen et al., 2006).

On the basis of this developed categories, commercial music festival can be related to music festivals in terms of the research topic. According to Mintel (2004), 71 to 73 percent of music concerts and festivals market belong to pop or rock music, 24.8 percent to classical music and 2.8 to Jazz music (in Allen et al., 2006). Therefore, one characteristic of music festivals is the genre of music performed at the event, but not always one music genre is performed. Mixed genres are preferred especially by major music festivals, like for example the Rock am Ring festival, which also offers some hip hop, pop or electronic music acts besides the main genres rock and heavy metal music. Further more specific characteristics for classifying art and entertainment events were developed by Getz (2005): • Professional versus amateur artists; • Mixed or single genre; • Single or multicultural; • Paid or free performances; • Regularly scheduled, periodic, or one-time; • Temporary versus permanent.

Willnauer (2006) defines music festivals as event, where multiple artists (at least two) perform live music. In the majority of cases German festivals present 5 to 20 different musicians. Festivals endure from one day up to several but sequenced days, for example a weekend. Taking a view on the homepage of Festivalhopper.de shows that most of the music festivals are hold in the summer months from June to August in rural areas. Besides professional artists, major festivals also offer amateur artists to perform on a smaller stage sometimes designed as a contest. Most music festivals are multicultural in terms of artists but also in terms of visitors. Ticket prices vary from festival to festival. In 2011 for example Rock am Ring will cost about 150 euro, the Wacken Open-Air about 120 euro and the Area4 festival

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Eco-friendly Music Festivals about 99 euro. All this prices are early bird rebates; therefore prices will increase (Eventim, 2010). Although, some festivals are for free, like the RhEINKULTUR Festival, the Umsonst und Draußen Stuttgart, the Open-Air Werden or the EselRock.

Essential for economic success, especially for those free-entrance festivals, is a dependable and long-termed core funding. According to Willnauer (2010), the three most important forms of financing a festival are:

1. Revenues from ticket selling and media coverage; 2. Subsidies from the public sector and; 3. Donations from sponsors or initiatives.

Hence, a music festival consists of many different Stakeholders. “Stakeholders are people or organizations who have invested in an event […] A stakeholder does not have to invest money […].Emotional, political, or personal interest” is a kind of investment, too (Goldblatt, 2008). Adequately, as described by Larson and Getz (2003), actors of a festival network are the festival organization, the audience, the city or municipality, the sector, restaurants, market vendors, voluntary associations, the media, suppliers of goods and services, sponsors, cooperates like security agencies, and the public ( in Larson, 2009).

3.4 Short Overview of the Festival Development in Germany Festivals and events have long existed as significant cultural practices devised as forms of public display, collective celebration and civic ritual (Goldblatt, 2008). Originally, festivals developed between the 17th and 19th century from courtly events and its historical anniversary celebrations or music festivals. After the Second World War festivals became a determining factor of the music scene. Through international exchange of artistic performances a base for peaceful togetherness should be created. Caused by aim many new festivals flood central Europe. A second creation wave of festivals can be detected at the beginning of the nineties after the big political turn, the Fall of the Wall. Further details are shown in Appendix F. Festivals are an expression for the spirit of time. Festivals as we know them today are an ‘invention’ of the 20th century (Willnauer, 2006).

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Eco-friendly Music Festivals Willnauer (2006, 2010) criticized the new type of festival as it refers rather to a touristic mass audience than to cultural elites. Jones (1998) exclaimed: „Today’s festivals […] seem to be more about making money, flogging products and squeezing in punters than peace, love and harmony“ (in Gibson & Connell, 2005). Festivals became a kind of commercial enterprise as they turned out to be an important marketing tool for the tourism, product and service industry. Therefore, the terms music tourism and festival sponsoring are described more detailed in the chapters below (3.4.1 and 3.4.2).

3.4.1 Music Tourism Cultural tourism was

“How much sweeter music sounds at the end of a day of

defined by Lord Cultural

walking, bathing, sunning, sipping, than a day of

Resources Planning and

working! Music, of course, is a holiday from the mind.”

Management (1993) as “visits

(Bernard Levin, 1928 - 2004)

by persons from outside the host community motivated wholly or in part by interest in the historical, artistic, scientific or life style/heritage of a community, region, group or institution” (in Getz, 2005). According to Becker, Steinecke and Höcklin (1997), the main characteristics of cultural tourism are tourists’ cultural interest, visitation of cultural facilities, and participation on cultural events and the central role of professional information brokerage (in Steinecke, 2007). Event tourism is an extension of the conventional cultural tourism and is described as “destination development and marketing strategy to realize all the potential economic benefits of events” (Getz, 2005). On the basis of these definitions, it is obvious that music tourism is part of cultural tourism and a form of event tourism. Gibson and Connell (2005) explain music tourism as the travel of people, “at least in some part, because of music”.

The first distinctive form of music tourism was the Bayreuth festival by Richard Wagner, in southern Germany in 1876. Since the sacred drama “Parsifal” could only be performed in Bayreuth tourist from great distances travel to the theatre to hear it (Willnauer, 2010; Gibson & Connell, 2005). The change in values towards identity, hedonism and adventure leads to a great dynamic in the tourism market in the 1990s (Steinecke, 2007). For these reason further sites, sights and experiences are needed to meet the personal requirements

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Eco-friendly Music Festivals of tourists. Therefore, niche tourism with music tourism as part of it increase in importance over the last decades of the 20th century (Gibson & Connell, 2005). One very good example for the growth of music tourism is Metal Travel a special offer of Mondial Events&Travel.

Their aim is to create tours with a special metal-atmosphere, consisting of worldwide short trips to strongholds of metal or an all-inclusive bus trip to metal events. Furthermore, Metal Travel organizes shuttle busses, or a train connection called the Metal Train to the Wacken Open-Air metal festival in Itzehoe, Germany. Special features of the Metal Train are a booked seat or couchette coach during the roundtrip, a bus shuttle between train station and the festival site, a Metal Train CD and a tour guide (Metal Travel GmbH, n.d.). These offers are also available in the driving directions on the official homepage of the Wacken Open-Air festival.

3.4.2 Music Festival Sponsoring As already mentioned in the music festival description above, sponsoring is one of the most important financing methods of festivals besides subventions and/or own revenues by for example ticket or beverage selling. Some festivals could not even be held without the support by sponsors, like for example the Rheinkultur Festival in Bonn (personal communication). As stated by BDS Sponsorship Ltd. (2005) sponsorship is “a business relationship between a provider of funds, resources or services and an individual, event or organization which offers in return some rights and association that may be used for commercial advantage in return for sponsorship investment” (in Allen et al., 2006).

Changes in consumer demand and distinction problems of products caused by assimilation in functionality forced marketing professionals to go beyond McCarthy’s marketing mix of product, price, place and promotion (Allen et al., 2006, Borremans, 1998 in Blythe, 2006; Lucas & Matys, 2003). Therefore, the term promotion was revised to the term Integrated Marketing Communication (IMC), which “considers all sources of contact that a consumer has as potential delivery channels for messages and, makes use of all communication methods that are relevant to the consumer” (Shimp, 2003 in Allen et al., 2006). Sponsoring became a critical element in the integrated marketing communication mix, besides public relations, advertising or sales promotion (Appendix G). According to the International Events Group Inc. of Chicago, sponsoring is the fastest growing form of

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Eco-friendly Music Festivals marketing (in Hoyle, 2002). As stated by Nufer (2006), there are five different basic types of sponsoring: • Sport sponsoring • Cultural sponsoring • Socio sponsoring • Eco-sponsoring • Media sponsoring The Fachverband für Sponsoring e.V. (FASPO) reported that in 2009, Germany spent approximately 4.2 billion euro on sponsorship. 2.6 billion euro belonged to sport sponsoring (2010). Since 2000 investments on cultural sponsoring are on a constant level of circa 300 million euro (Kearney, 2010). This might be caused by the several aims of several sponsorship types. The main aims of sport sponsoring are increasing brand awareness and the improvement of the brand image where in contrast the aims of socio, eco and cultural sponsoring are the expression of social responsibility and image improvement (Nufer, 2006). This reflects the recent change in consumer values towards more social responsibility. Therefore, music festivals are an ideal platform to reach a young target market in their own themed environment (The Sponsor People GmbH, 2010). Sponsoring an eco-friendly music festival for example combines cultural, socio- and eco-sponsoring, which makes a music festival to an additional attractive communication platform.

The RhEINKULTUR Festival is sponsored by Natural American Spirit because of their environmental effort which matches the philosophy of the tobacco company (personal communication, 2010). Jan Thiessen, marketing director of Santa Fe Natural Tobacco Company Germany GmbH states: “Where many people get together, waste will remain at the end. That’s an important subject we want festival visitors to be aware of” (Marketing-Guide, 2010). Hence, they did not just appear as an exclusive partner for tobacco products but engaged in cooperation with the organizer concerning environmental protection and waste management. They handed out eco-friendly garbage bags, pocket ashtrays and sold metal storage boxes whereof 60 percent have been donated to VivaConAgua, in order to finance a drinking water project (Marketing-Guide, 2010).

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Eco-friendly Music Festivals Furthermore, renewable energy providers start to sponsor eco-friendly festivals. For instance NaturWatt cooperates with the RhEINKULTUR Festival and Bredenoord cooperates with the Taubertal Festival. Other festivals like the Das Fest festival start to search for such sponsors (personal communication, 2010). These three German festivals are described circumstantial in chapter 6.

In the last few years companies like Heineken, T-Mobile, Jägermeister or Coca Cola started to create their own music events and festivals. The Coke Live Music Festival in Poland even promotes environmental care. A music festival has a positive effect on the young target group and the additional environmental efforts a special positive effect on the media. Event marketing became an important term to many marketers in the past few years because sponsors want to be recognized as originators of festivals and events (Nufer, 2006). The term and recent development of event marketing is too extensive and is not explored in this thesis.

3.5 The Festival Market in Germany Europe is the largest and most blooming festival marketplace and it grows fast with more than 3,000 events across 45 countries with over 50 million visitors each year (Yourope, 2009). The number of music festivals in Germany nearly tripled since the reunion (Deutscher Musikrat, 2007). According to the Allensbacher Markt- und Werbeträgeranalyse (AWA, 2009), about 12 million people in Germany were interested in rock and pop festivals.

Furthermore, festivals are the most popular event form of 16 to 29 years old people (in Marketing-Guide, 2010), which is shown in Figure 1.

A survey of The Sponsor People GmbH in 2009 shows that over 80 percent of festival goers were between 16 and 29 years old. The distribution between the sexes is on average balanced. More than 60 percent of the visitors have a high education degree, the Allgemeine Fachhochschulreife (A-level) or even finished university (The Sponsor People GmbH, 2009).

The number of visitors increases steadily (Appendix H), especially on major festivals.

In 2009 for example Rock am Ring counted 85,000 visitors and its ‘subsidiary’ festival Rock im Park counted 82,000 visitors. In 2007 the RhEINKULTUR Festival even reached a ‘record’ attendance of approximately 200,000 visitors (The Sponsor People GmbH, 2009).

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Eco-friendly Music Festivals

Figure 1: Interests Source: Marketing-Guide (2010) adapted from AWA 2009

3.6 Impacts of Festivals The significance of festivals in music tourism and festival marketing is not astonishing considering the social, cultural, physical, environmental, political and/or complex economic impacts of events. Allen et al. (2006), adapted from Hall (1989) positive and negative impacts of events, which can be seen in Appendix I and which are transformed to the festival context in the following chapter. The social, cultural, political and especially environmental impacts are of more importance according the research topic therefore the tourism and economic impacts are not further described.

3.6.1 Social and Cultural Impacts Social and cultural impacts of music festivals can simply be the shared experience of music together with like-minded people and the outcome of community pride. Music festivals with different genres and sometimes unknown artists, confronted the audience with new challenges or ideas. Additionally, many festivals and initiatives offer talented but unknown artists the chance to perform on stage or to demonstrate their proficiency within a contest.

Furthermore, festivals often give social or environmental initiatives the chance to act on the festival with a low priced information booth or the possibility, to collect returnable cans or bottles and then donating the money to aid organizations (personal communication, 2010).

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Eco-friendly Music Festivals Viva con Agua, an initiative for drinking water supply in the developing world, collects returnable cans and builds standpipes in less developed countries (Viva con Agua de Sankt Pauli, 2010). Through international exchange of music and the multicultural audience cultural perspectives of visitors, stakeholders and citizen can be expanded. Live concerts or festivals may even influence visitors to cultivate themselves and learn how to play an instrument.

Furthermore, music festivals often develop a corporate feeling between the festival visitors, especially on the camping site this phenomena can be recognized. Sometimes the preparation of festival goers starts days in advance to the actual festival. Little groups of people who want to visit the festival together meet before the event and plan their group trip to the festival. The camping site can be compared to a small city laced with many little tent groups like domiciles and a pavilion in the middle serving as a ‘recreation room’, where the festival goers cook, barbecue, talk and drink. There are even festival visitors who build wooden houses, bring carpets or the whole living room furniture. According to a NDR television reportage of the Hurricane festival many visitors stated that the camping site is extremely important to them as they can be there together with their friends and have ‘just a good time’. It could be said that festivals even developed something like their own culture.

The drinking game Flunkyball which can be observed at several festivals in 2010 and television reports shows that the ‘festival culture’ has its their own rites which are shared among several to several music festivals in Germany. A further example for a kind of festival tradition is reflected in the exclamation “Helga!” shouted by the audience, which can be heard across Rock am Ring and Rock im Park since decades. Moreover, many festival visitors of the Hurricane festival stated in the NDR television report that the festival means to them something like having holidays. They save money for this event and want to leave everything behind them even their good behavior which sure can cause problems.

Therefore, festivals can carry negative social impacts, too. The resident community is sometimes bothered by the mass of visitors, bad behavior, noise or waste. In some extents, festivals conform to such complaints, like Das Fest, which closes its doors at 11 p.m. because of a hospital near by the festival site (M. Kozak, personal communication, 2010).

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Eco-friendly Music Festivals 3.6.2 Political Impacts Festivals may also represent political attitudes or messages. For example the Friedensfestival in Berlin which will be held for the 3rd time in July 2011 by the Förderverein Friedensfestival Berlin e.V. (FB e.V.). The Friedensfestival lives from the creativity of highly engaged volunteers. They want to provide common information, motivation and activation.

Together with social expertise of politics and economy the festival simply joins the aim to transpose the human rights according to the Charter of the United Nations with the help of information booths, speeches, talks and music (FB e.V., n.d.). The Festival Musik und Politik, in Berlin, provided a meeting place for politically involved musicians from around the globe with a like-minded audience (Lied und Soziale Bewegung e.V., n.d). In 2005 the Live 8 concerts, which are taking place in ten venues in nine different countries, estimated 3 billion people coming together to share one message: “make poverty history”. Thereby, the concerts weren’t about getting donations but about collecting signatures. “We don’t want your money, we want your name!” (Live8, n.d.). The global media attention should force leading politicians of the G8 to enact a debt cancelation for the developing world (Rapp, 2005). Certainly the political input of Live8 was also criticized. Rapp (2005) wrote in the article “Cui bono außer Bono?”: Denn ein Spektakel handelt von nichts anderem als sich selbst. Von seiner Größe […], von seiner Fähigkeit Menschen in Bewegung zu setzen […] und von der medialen Darstellung all dessen […] Die Inhaltsleere von einem Spektakel wie "Live 8" zeigt sich in seiner schlichten Folgenlosigkeit. Wären mit "Live 8" tatsächliche Konsequenzen verbunden, Konsequenzen jenseits der Bitte an die Mächtigen, doch nicht ganz so böse zu sein, es könnte niemals diese Dynamik entwickeln […]

Politics have an impact on events and festivals due to several laws and regulations which can also lead to event failure. Furthermore, many festivals depend on public funds.

Therefore, a misallocation or cut-back of funds can drive festivals into a dilemma (personal communication, 2010). It even can be the end of a festival. The political power of an event may also be misused for propaganda purposes thinking of diverse right-wing extremist concerts in the underground that legitimate their ideology in their circles. If the political

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Eco-friendly Music Festivals statement is not clear or the evaluation of set aims is not transparent, politics can lose its community ownership and control.

3.6.3 Environmental Impacts Every summer, when the festival season in Germany starts, ten thousand music fans celebrate on grasslands, fields and other places in the nature. Therefore, it is not astonishing that a music festival and its visitors have a negative impact on the environment. The numerous activities on an event, in the end can be refined to resource use or emission. According to Jones (2010) the main areas of impact are: •

Use of natural and renewable resources;

•

Use of non-renewable resources;

•

Use of synthetic resources;

•

Emissions to air;

•

Emissions to water;

•

Emission to land (waste).

CO² (Carbon Dioxide) emissions play a major role in the growing issue of climate change which is further explained on the website timeforchange.org, by Ann-Kristin Peterson and Jürg Rohrer: When you drive a car, the engine burns fuel which creates a certain amount of CO², depending on its fuel consumption and the driving distance. When you heat your house with oil, gas or coal, then you also generate CO². Even if you heat your house with electricity, the generation of the electrical power may also have emitted a certain amount of CO². When you buy food and goods, the production of the food and goods also emitted some quantities of CO².

For that reason several organizations and initiatives promote sustainability and environmental care to musicians, festivals and events. Julie’s Bicycle (JB), a non-profit company in the United Kingdom consisting of a broad coalition of music, theatre and scientific experts work with the creative industries to co-ordinate and catalyses best practice in

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Eco-friendly Music Festivals sustainability (JB, 2008.). Besides transport of utilities, electrical power, food and packaging, most CO² emission are related to visitors travel. According to JB, 68 percent of the CO² emissions in 2008 came from audience travel. Moreover, the Association of Independent Festivals (AIF) surveyed that 60 percent of the 3,300 asked visitors travelled by car while 44 percent of those had three or more passengers in 2009 (IQ, 2009). The OpenAir St. Gallen, in Switzerland, compares its audience travel in 2009 to the UK research of 2008, which is shown in Table 1 below.

Table 1: Comparison of Travel Emission UK Festivals 2008

OA St. Gallen 2009

Travel by car

70 %

33%

By bus

15%

15%

By train

15%

42%

169 km

55 km

Ø occupancy of car

2.6

2.9

≤ 2 person per car

44 %

12 %

Travel distance

Waste on festivals is a further, more visible issue than travel emissions. For this reason, the media often reports about the waste problem of festivals, like for example the headline of Stern.de shows in 2007: “Wenn die Musik im Müll versinkt”. Furthermore, waste disposal is one of the most costly expenses for festival organizers (A Greener Festival Ltd., 2010). In 2009 the RhEINKULTUR Festival declares that 34 tons of waste was collected on the festival area (Rheinkultur GmbH, 2010). Waste costs can cause serious problems to organizers, as for example the Love Parade, an electronic dance music festival, which celebrated love and hedonism in Berlin from 1989 to 2003. The high volume of waste and pollution left after the parade, which was to that time billed as a political demonstration, creates high waste disposal and cleaning costs for the city of Berlin. In 2001 the courts decided that the Love Parade had become a commercial event and therefore became responsible for paying the waste disposal. This leads the Love Parade to a dilemma because it was an entrance free and non profit festival. Most of the festival organizers attending at the

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Eco-friendly Music Festivals Green Events conference for the live music industry, state that their main problem is the waste produced by visitors and the according recycling costs. In this context festival organizers mentioned the waste on the camping site created amongst others by left tents, chairs and tables. 23.3 percent of festival goers have left their tent on a festival (IQ, 2009), which are difficult to recycle due to the mix of materials. One reason could be the low prices for tents and the attitude of visitors, who do not want to take a dirty tent back home to wash it there.

A further negative environmental impact of festivals is the noise. Noise affects animals, worker, visitors and residents. Therefore, Germany, but also most of the other countries set out noise regulations. Noise can not only seriously harm hearing but also disturb the welfare of the surrounding fauna. Therefore, “Environmental Health Department of local authorities currently set and monitor noise levels during events to ensure that agreed levels are not exceeded” (A Greener Festival Ltd., 2010).

Due to the mass of visitors on the green field sites, land damage and wild life damages are a further environmental impact. If the camping site for example is not correctly fenced, the visitors may make their own trails and will even walk through the wood or nature protection areas.

Music festivals offer amounts of water, especially if there are a camping sites included with toilets, showers and basins etc. Environmental impacts regarding water “could be unnecessary wasted water, poor disposal of waste water, and potential pollution of water courses” (A Greener Festival Ltd., 2010).

At the ratio of negative environmental impacts the positive impacts are to a lesser extent, but not less important. Holding a festival in the nature provides the opportunity to showcase the environment and may increase environmental awareness. Furthermore, it may provide the possibility to act as a model for best practice if environmental care is put in to the festival organization.

In general, festivals have more negative environmental impacts than positive impacts.

Therefore, festivals could be called into question. However, the role of festivals for the tourism industry and for marketing as well as the cultural and social impacts should be kept in mind.

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Eco-friendly Music Festivals

4. Environmental and Sustainable Management Chapter 4 explains the term sustainability and sustainable development. Furthermore, a short description of sustainable management follows which is subsequently linked to environmental management and environmental management systems. In addition, common environmental management systems (EMAS, ISO 14001) are described as well as a short description of environmental management approaches in Germany. In the end, the application of eco-labels is described, followed by an explanation of the risks of green washing and which criteria have to be considered.

4.1 Sustainable Development According to the World Commission on Environment Development in 1987 “sustainable development meets the needs of the present without compromising the ability of future generations to meet their own needs” (in Jones, 2010). Nowadays the term sustainability is ubiquitous and of utmost importance to all of us and future generations. In 1992, the first international Earth Summit was held in Rio de Janeiro, Brazil. More than 100 governments discussed critical problems of environmental protection and socio economic development and signed the Agenda 21 document, “a 300 page plan for achieving sustainable development in the 21st century” (United Nations, 2010). The document contains topics like the protection of the atmosphere, waste management, the protection of the quality and supply of freshwater resources, and environmentally sound management of toxic chemicals (Bowdin et al., 2006). In order to ensure full support for implementation of Agenda 21, the Commission on Sustainable Development (CSD) was created in 1992 and held annual meetings since 1993 to enhance action by Governments, businesses, industry and other NGOs (United Nations, 2010). In 2002, the second World Summit on Sustainable Development was hosted in Johannesburg. “In a climate of frustration at the lack of government progress, the summit promotes ‘partnerships’ as nonnegotiated approach to sustainability” (International Institute for Sustainable Development (IISD, 2010). A further milestone in the history of sustainable development was in 2005, where the Kyoto Protocol enters into force and legally binds developed countries to reduce greenhouse gas emissions and to establish the Clean Development Mechanism for developing countries (IISD, 2010). In 2007 public attention to climate change had considerably increased due to U.S Vice President Al Gore’s documentary,

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Eco-friendly Music Festivals An Inconvenient Truth, which had won an Academy Award and which alarming forecasts about climate change and the planet’s health made headlines across the worldwide media (IISD, 2010).

In order to create an effective strategy for sustainable development the government as well as the civil society and the private sector have to work together towards a common goal (Leko-Simic & Skoric, 2005). The successful implementation of sustainable strategies depends also on the challenge which issue is best addressed at which level (OECD, 2001 in Leko-Simic & Skoric, 2005). On a decentralized level social and environmental issues are most effectively dealt with whereas globalization demands for global rules and regulations (Leko-Simic & Skoric, 2005). Therefore, the 2009 renewed key elements of EU Sustainable Development Strategy (EUSDS) which was developed in 2006 by European Council are opposed in Table 2 to the indicator areas and the several indicators of the German National Sustainable Development Strategy (NSDS) of 2009 which was developed in 2002 by the German Council for Sustainable Development (RNE).

Table 2 EUSDS Key Elements

NSDS Indicator Areas NSDS Indicators

- Climate change and

Intergeneration equity

- Resource protection - Climate protection

clean energy

- Renewable energies - Conservation and

- Land use

management of natural

- Species diversity

resources

- National debt - Provision for future economic stability - Innovation - Education and Training

- Sustainable transport

Quality of life

- Economic prosperity - Mobility

- Sustainable

- Farming

consumption and

- Air quality

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Eco-friendly Music Festivals production

- Health and nutrition

- Public health

- Crime

- Social inclusion,

Social cohesion

- Employment

demography and

- Perspectives for families

migration

- Equal opportunities - Integration

- Global poverty

International

- Development cooperation

responsibility

- Opening markets

Source: European Commission (2010); Press and Information Office of the Federal Government (PIOFG), (2010)

The German government aims, at two-year intervals, to indicate what progress has been made in sustainable development in Germany and where further action is needed. The Progress Report 2008 for a Sustainable Germany focused on climate and energy, the sustainable management of raw materials, the social opportunities posed by demographic change and food for the world. Furthermore, the German government adopted new indicators relating smoking and obesity and pointed out that the education sector needs further improvement. Participation was also an inherent part of the German SDS therefore the Federal Government invited all German citizens to make proposals on the webpage “Dialog Nachhaltigkeit� which topics should be discussed in the Progress Report 2012 (PIOFG, 2010).

The milestones in sustainable development as well as the key areas on the several levels (UN, Europe, and Germany) show very well which areas are affected within sustainable development: environmental, social and economic issues (see Figure 2). In order to understand sustainable development the world has to be Figure 2: The Three Spheres of Sustainability Source: www.generation-europe.eu

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seen as a system that connects

Eco-friendly Music Festivals space and system that connects time. The air pollution from North America for example affects air quality in Asia or pesticides sprayed in Argentina could harm fish stocks in Australia (system that connects space). Decisions made for example by our forefathers regarding farming affects agriculture practice today (system that connects time) (IISD, 2010).

So if there is no system which connects spaces, there will also not be a system that connects time. This explains the importance of environmental aspects in the overall sustainable development. As the negative environmental aspects of festivals predominate and therefore have to be improved first to become more sustainable, the following chapter (4.2) only briefly defines sustainable management while environmental management is described in more detail in Chapter 4.3.

4.2 Sustainable Management Sustainable management can be related to the aims of sustainable development and to the overall definition of management. According to the IISD (2010) sustainable management means “adopting business strategies and activities that meet the needs of the enterprise and its stakeholders today while protecting, sustaining and enhancing the human and natural resources that will be needed in the future.“ Many organizations already use social, financial and environmental criteria to assess sustainable products and services, which are shown in Table 3 below (The Dictonary of Sustainable Management, n.d.).

Table 3 Social Criteria

Financial Criteria

Environmental Criteria

•

Socially desirable

•

Economically sustainable

•

Environmentally Robust

•

Culturally acceptable

•

Technologically feasible

•

Generationally Sensitive

•

Psychologically nurturing

•

Operationally viable

•

Capable of continuous learning

Regarding the overall research topic, a closer look on the three criteria of sustainable management underscores once more that sustainable festival management firstly has to focus on the environmental criteria and secondly on the social criteria concerning the negative environmental impacts and the social and cultural significance of music festivals explored in

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Eco-friendly Music Festivals Chapter 3. Furthermore the IISD (2010), developed seven steps that are required for managing a business according to sustainable development principles:

1. Perform a stakeholder analysis 2. Set sustainable development policies and objectives 3. Design and execute an implementation plan 4. Develop a supportive corporate culture 5. Develop measures and standards of performance 6. Prepare reports 7. Enhance internal monitoring process

These seven requirements can be related to environmental management system, which are explained in the following chapter.

4.3 Environmental Management and Management System Minton & Rose (1997) as well as Schlegelmilch, Bohlen & Diamantopoulos (1996) stated, that “the trend towards increasing consumer awareness of environmental issues is established and, in some contexts, supported by buyer behavior findings (as cited in Allen et al., 2005). Therefore, environmental management becomes more important to the industry.

Kolk (2002) simply described environmental management as “the way in which firms deal with environmental aspects.” According to the BusinessDictionary.com (WebFinance, 2010), environmental management is an “administrative functions that develop, implement, and monitor the environmental policy of an organization.” An environmental policy is a public statement of the philosophy, intentions, and objectives of an organization regarding the environment. The environmental policy establishes the objectives and action principles of a company regarding the environmental protection. On the one hand an environmental policy represents the basic principles for decisions and planning from an environmental point of view and on the other hand it demonstrates the environmental responsibility of an organization to the public and staff (EcoSMEs, 2004). Therefore the environmental policies should be recorded for example in an environmental handbook, a process description or a job description. In order to make the policies visible to the public, the handbook for example

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Eco-friendly Music Festivals could be available on the official homepage of the company or the environmental policies could be implemented to the overall philosophy of the company. While environmental management deals with the internal environmental policy and the legal environmental regulations, environmental management systems (EMS) ensure environmental sustainability of products and processes within an organization as well as environmental orientated leadership.

According to the European Economic Community (1993), Environmental Management System (EMS) is that „part of the overall management system which includes the organizational structure, responsibilities, practices, procedures, processes and resources for determining and implementing the firm’s overall aims and principles of action with respect to the environment“ (in Kolk, 2000). The most common elements of an EMS are the identification of environmental influences and legal requirements, the improvement or creation of a management plan, the allocation of responsibilities as well as the monitoring of the actions (Kolk, 2000).

The most important EMS standards are the Eco-Management and Audit Scheme (EMAS) with approximately 1,400 registered German members in 2010 and the ISO 14001 adapted by the International Organization for Standardization with more than 4,000 registered German members in 2007 (Kolk, 2000; EMAS, 2010; Glatzner, 2007). In order to enable small or medium sized enterprises (SME) different environmental management approaches exist used by approximately 2,000 enterprises in Germany (BMU & UBA, 2005). In the following, EMAS, ISO 14001 and environmental management approaches in Germany are shortly described.

4.3.1 EMAS and ISO 14001 EMAS is an unsolicited scheme for companies and organizations in the EU, Norway, Iceland, Liechtenstein and the Candidate Countries for EU Membership who engage themselves to evaluate, manage and improve their environmental performance (European Commission, 2008). The ISO 14001 implement, maintain and improve an environmental management system on an international level (ISO, 2010). According to Freimann and Walther (2001), both standards “do not focus on results of actions in form of material objectives and limits but on setting up organizational structures and managerial processes”.

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Eco-friendly Music Festivals Furthermore, both systems have specific objectives to avoid pollution and damages to the environment and concentrate on the main goal to improve the environmental performance of companies. Even if EMAS and ISO almost share the same objectives they differ in some ways. Therefore, the European Commission developed a list with the main differences, which can be seen in Appendix K. Although, differences are also noticeable in the different requirements they set. According to ISO (2010) the requirements of ISO 14001 are: •

Implement, maintain and improve an environmental management system;

•

Assure itself of its conformance with its own stated environmental policy;

•

Demonstrate conformance;

•

Ensure compliance with environmental laws and regulations;

•

Seek certification of its environmental management system by an external third party organization;

•

Make self-determination of conformance.

However, the European Commission (2010) stated that “EMAS is currently the most credible and robust environmental management system on the market” by adding further requirements to these of ISO 14001: •

Continual improvement of environmental performance;

•

Compliance with environmental legislation ensured by government supervision;

•

Public information through annual reporting;

•

Employee involvement.

Adding those requirements shows that EMAS is more comprehensive than ISO 14001.

This is especially reflected in the enforcement of the publication of the environmental statement and the commitment for continual improvement of environmental performances. In contrast, ISO 14001 is primarily an internal management tool for companies to improve their system, legal certainty and innovative ability (Freimann & Walther, 2001). Thus, due to the adjustment of both management systems, an already implemented ISO 14001 can easily be added to EMAS. The differences of ISO 14001 and EMAS are described in more detail in Appendix K.

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Eco-friendly Music Festivals 4.3.2 Environmental Management Approaches in Germany According to a study of the Federal Ministry for the Environment, Nature Conservation and Nuclear Safety (BMU) and the Federal Environment Agency (UBA) in 2005, approximately 2,000 enterprises in Germany have integrated one of 16 different environmental management approaches (EMA). The several EMA are shown in Appendix J. The market of environmental approaches can be divided into four areas: eco-profit, environmental certifications, branch-oriented approaches and miscellaneous approaches. More than 1,300 of the enterprises use eco-profit. Several EMA developed in recent years with a few exceptions as for example eco-profit. Most of these approaches are not nationwide dispread and are commonly aligned to a certain target group. In 2005 more than two-thirds of the enterprises with EMA had their headquarters in North Rhine-Westphalia and Bavaria (BMU & UBA, 2005). On the one hand a high share of approaches deal exclusively with environmental aspects but on the other hand more and more approaches are linked to quality management (BMU & UBA, 2005). For some approaches own institutions exist with clear rules concerning the cooperation of several stakeholders. However, other approaches are operated without or just with few institutional structures which are very attractive to small and medium sized enterprises (SME) as costs of institutionalization are relatively high. Most of the approaches are verified by external parties, although cost-saving solutions are often in favor (BMU & UBA, 2005). Therefore, voluntary appraisers or internal environmental consultants are deployed instead of approved environmental experts. The research also shows enterprises which implemented EMA, were also interested or already involved in further environmental management systems like ISO 14001 or EMAS (BMU & UBA, 2005).

4.4 Eco Labeling Nowadays the society demands more and more clear information about the origin, ingredients, and production of products. Transparency gains more importance and so are labels which enable the customer to distinguish products from another. Bjørseth, author of the Environmental Handbook, defines eco-labels as “a product label, given based on measurements of the cradle to cradle environmental impact of products” (2008). Further, the site states that “the product should impact the environment as little as possible during its production, when it’s used, and when it’s disposed of”. According to Jones (2010), “the

30

Eco-friendly Music Festivals common goal of the eco-labeling organizations from each country is to establish third party environmental performance recognition, certification, and labeling�. With the approach of third party certification the threat of misleading information by the producers is minimized.

Eco-labels are not just important to the single customer they are also crucial for the purchasing decision of festival organizers. Especially when it comes to catering the eco-label can help to find suppliers of organic food. Moreover, the organizer can use signs to inform the audience about the percentage of organics used. This method is already used at the Peats Ridge Festival in Australia (Jones, 2010). In order to obtain organic food the festival organizer has to stick to suppliers of sustainable agriculture. The Rainforest Alliance is a non-profit organization which certifies farms which reduce environmental footprints, protect wildlife, waterways, soils, and welfare of workers (Jones, 2010). Here one can see the dimensions and impacts the purchasing decisions can have on several parties involved. Eco-labels are an important tool for eco-friendly festivals in order to improve the environmental protection and to increase the audience’s awareness for sustainable products and companies. Of course there are lots of different eco-labels around the world with different dispersion. In Figure 3 some eco-labels are shown.

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Eco-friendly Music Festivals

Rainforest Alliance (USA) Certifies Sustainable Farming

AB (France) Certifies Organic Farming

EU (Belgium) Encourages Businesses to market environmentally friendly Products and Services

Blue Angel (GER) Environmentally friendly Products and Services

EMAS (EU) Environmental management System

ISO 14001 (International) Environmental management System

Figure 3 Eco-Labels

4.5 Green Washing When a festival decides to be environmentally friendly it needs to be aware of green washing. In times of increasing public awareness on environmental issues a lot of companies use terms as ‘eco’, ‘green’, ‘natural’, or ‘biological’ but have no proof to back up their claims.

Dictionary.com (2010) explains green washing as “the practice of promoting environmentally friendly programs to deflect attention from an organization's environmentally unfriendliness or less savory activities.”

If festival organizers promote their environmental effort they should stick to the truth in order to not mislead the audience besides people will start looking for mistakes in the environmental practices. Negative reactions can evoke from hiding behind green ideals when festivals exaggerate their endeavors. TerraChoice, an environmental marketing agency, conducted a survey and put together a list of “The Six Sins of Greenwashing”:

32

Eco-friendly Music Festivals 1. Sin of the hidden trade-off; e.g. energy efficient electronics that contain hazardous materials.

2. Sin of no proof; e.g. shampoos claiming to be certified organic, but with no verifiable certification.

3. Sin of vagueness; e.g. products claiming to be 100% natural when many naturally occurring substances are hazardous, like arsenic and formaldehyde.

4. Sin of irrelevance; e.g. products claiming to be CFC-free, but CFCs were banned 20 years ago.

5. Sin of fibbing e.g. products falsely claiming to be certified to internationally recognized environmental standards.

6. Sin of lesser two evils e.g. organic cigarettes or environmentally friendly pesticides (in Jones, 2010).

According to TerraChoice, 98 percent of all ‘green’ marketing promises can’t convince in all of their claims (Domke, 2010). Especially, after the NGO report “Don’t be fooled 2005”, which listed the top ten green washing ad campaigns in America (Johnson, 2004) honesty and transparency are of utmost importance. However, most eco-friendly festivals actually do not have to think about a green washing issue as they do not promote their efforts as much as they should even if they have an approved and awarded sustainability concept.

5. Eco-friendly Music Festivals In the following chapter sustainable management and music festivals are brought together. Therefore, first the role of the cultural sector and the view point of visitors are described. Furthermore, some initiatives and awards whose aim is to support sustainable development in the music and festival industry are described. Afterwards, the several scopes of sustainable management within the festival are outlined and possible approaches to problem-solving are provided.

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Eco-friendly Music Festivals 5.1 The Social and Environmental Responsibility of the Cultural Sector Especially mega-events attracted the attention of environmental interest groups. The first documented protest against the staging of a public event takes place in 1976 in Denver, Colorado where the Winter Games should be held (Chernushenko, 1994 in Bowdin et al.

2006). Environmental concerns still persist today; they even have increased in the last few years according to current discussions about climate change and sustainable development.

Furthermore, due to sustainable development strategies on an international or national level forced developed countries to act sustainable. Therefore, the creative industry and the cultural sector, which had strengthen its economic growth in the last few years (German Commission for UNESCO, 2007) have a special social end environmental responsibility. The range of positive effects and the significance of music and festivals in every culture should be reason enough to reconsider each area of festival operation, minimize the negative environmental impacts and maximize the social and cultural ones. However, it is not just the responsibility of the organizer to act environmentally “Perhaps it is music that will save the

friendly but also the responsibility of all

world.”

other stakeholders within the festival

(Pablo Casals, 1876 - 1973)

environment like for example sponsors,

artists and in particular the audience. Although, a festival organizer can not ‘save’ the world by oneself, a festival could be the beginning of a chain of environmental actions. If each individual takes care of environmental and social issues as much as possible, all small contribution together can have a big impact.

5.2 Green Visitors A survey of 1407 festival visitors across Europe (UK, Finland, Germany, Netherlands) conducted by Buckinghamshire New University in 2008 showed the increasing environmental awareness of festival goers (A Greener Festival Ltd., 2010). From the perspective of UK visitors (507 respondents), the major negative environmental impacts are travel and transport (84 percent), waste (82 percent), noise (80 percent) followed by concern with water (60 percent), CO² emissions (56 percent) and land damage (53 percent). It should be pointed out that the respondents had chosen between those given categories, therefore this survey reflects

34

Eco-friendly Music Festivals the ranking on visitors perception of environmental impacts and not exactly their knowledge on causes or impacts.

Furthermore, 88 percent of the European visitors thought that firstly the festival organizer should be responsible for minimizing environmental damage and secondly the festival goers (57 percent). On the one hand this result shows that most of the festival visitors expect that minimizing negative environmental impacts is mainly the organizers responsibility but they also accept their responsibility therefore see themselves as a link within the ‘chain’ of environmental pollution and may be as a link within the chain of environmental sustainability.

In addition 80 percent of the Europe sample visitors would travel by public transport to a festival if it was provided within the ticket price. This response demonstrates the willingness of visitors to act environmental friendly but does not show how many visitors actually travel by public transport. Nevertheless, a positive attitude towards public transport exist which has to be supported by communication or incentives.

However, 88 percent of the EU visitors would still visit a festival if their favorite band performs even if the festival is not environmental friendly. This result highlights the responsibility of the music industry and in special of the artist and their management.

A further interesting result of the survey is that 39 percent of the UK visitors stated that food stalls should use re-usable crockery while 36 percent disagreed. What are the arguments for not using re-usable crockery? This could also be a sign of inconvenient handling of reusable dishes or for insufficient knowledge about the advantages.

In the end, the survey points out that there is a general environmental awareness across festival visitors but a lack in knowledge of their role within the festivals impact.

5.3 Associations, Initiatives, Awards The emergence of music festivals and the global significance of sustainable development led to the formation of professional associations or initiatives providing communication and networking within the industry and even developed guidelines, standards, certifications or awards to support organizers in their sustainable development.

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Eco-friendly Music Festivals 5.3.1 Green’n’Clean Award The European Festival Association Yourope launched environmental guidelines in 2006 for music festivals. A corresponding web tool to the booklet provides customized solutions to reduce negative environmental impacts and awarded festivals that achieve a defined number of criteria in terms of environmental measures with the Green’n’Clean Award. The RhEINKULTUR Festival, the Taubertal Festival and the Das Fest festival are the three German festivals that get awarded with the Gree’n’Clean Award. Since 2009, Yourope offers special discounts for two seminars about sustainable management at Bucks New University (Yourope, 2009).

5.3.2 Sounds for Nature Sounds for Nature (SfN), is a cooperation project of the Federal Agency for Nature Conservation (BfN), the music agency K.O.K.S, the German Rock-musik-Stiftung and the Institute for Environmental Communication in Bonn (IfU). SfN is a registered brand name which ensures quality in the developing of ecological strategies at major events. Furthermore, SfN provide a guideline for open-air festivals with hints and suggestions to create an ecofriendly festival. Within this guideline SfN focuses on the negative environmental impacts of a festival and how they can be reduced or even avoided, how to handle public relations and sponsorships as well as the legal framework in Germany (SfN, 2010).

5.3.3 Green Music Initiative The Green Music Initiative is a project of the independent Think-Do-Tank THEMA1 in Berlin and Brussels.

The Green Music Initiative is a national platform that promotes a climate-friendly music and entertainment industry due to the initiation and realization of common activities with the aim to reduce CO² emissions in all areas. Therefore, events like Green Music Dinners or Roundtables are hold to bring several stakeholders from the music industry and scientific institutions together. Furthermore, the Green Music Initiative performs and supports several projects like for example the Green Music Fahrrad Disco an Off Grid Experiment where the

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Eco-friendly Music Festivals visitors have to produce power via bike riding so that the DJ can play music. As long as the audience produces power, they will get music (Green Music Initiative, 2010).

5.4 Scopes of Sustainable Management Remembering the negative environmental impacts of a festival leads to the scopes of environmental management within the festival organization: traffic, waste, water, energy, noise, packaging and resource use. Furthermore, communication and education are relevant areas within the sustainable development of a festival and therefore an important part of sustainable management. As already mentioned in Chapter 4 about sustainable and environmental management monitoring the impacts and developing policies for every area is a first crucial step in order to change things to become more sustainable.

5.4.1 Traffic and Transport Music festivals have a CO² footprint of a small town. Traffic and Transport are the largest CO² contributors of a festival. Almost 68 percent of the whole festival CO² emission is produced by audience travel (JB, 2008 in IQ, 2009). Besides the audience also equipment, food, staff, goods and artists need to get to and from the event. Therefore, the festival organizer has to find ways to change transport behavior of all stakeholders and should search for innovative transport solutions to be more sustainable (Jones, 2010). It is important to appeal the assistance of the people by offering alternatives and to communicate the environmental impact of the several transport options on a comprehensible and not scientific level.

Furthermore, to encourage public transport use, the festival organizer has to provide detailed information on public transport and should offer a platform or link for lift sharing.

This will also make public transport use more attractive as it is simple to plan the travel and therefore easier to handle in general. The organizer should also offer bus shuttles between the train or bus station and the festival site. If the parking space of a festival is reduced or even parking fees have to be paid by visitors, they may perceive public transport as more comfortable. This content has to be communicated to the visitors on the one hand to prevent frustration when they arrive at the festival and on the other hand it may activate thinking as the visitors do not want to be stuck in traffic or drive circles to find a parking space. Using public

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Eco-friendly Music Festivals transport can also be entertaining and part of the festival like for example Metal Travel offered at the Wacken Open-Air Festival (see also Chapter 3.4.1). Furthermore, travelling by train, bus or filling up every seat of the car could provide incentives for visitors. These incentives could be a lower price on train ticket or a travel ticket is already included in the festival ticket.

Some festivals like for example the RhEINKULTUR festival offer their visitors to compensate their emissions via internet by giving detailed information on their travel option and distance (personal communication, 2010). The Shambala Festival in England encourages 250 people to cycle from five major cities to the festival site one to three days long including camping (IQ, 2009).

However, also stallholders, caterers, volunteers, staff and artists have to be encouraged to rethink their travel behavior. The organizer can use sustainable transport companies. Shiply Limited (2010) is an online market place that connects “people needing to move goods with transport companies going there anyway.” Since June 2008 the company has saved 15,047,247 miles, this is about 601 times around the world. Furthermore, they reduce CO² emission by 7,971,110 kg, which is the same emission like flying 13,110 times from New York to London (Shiply Limited, 2010). Moreover, to reduce transport miles the festival organizer could use local transport companies or even regional suppliers. Besides reducing the negative environmental impact it will support the regional economy, thus have a social impact.

In the end all the emissions should be measured. Therefore, the organizer should ask stakeholders to measure their performance; evaluate the percentage of arrivals of visitors and other stakeholders within the festival and the average travel distance (Jones, 2010).

5.4.2 Waste Every festival will produce a considerable amount of waste. Therefore, waste management is inevitable. According to dictionary.com waste management is “the process involved in dealing with the waste of humans and organisms, including minimization, handling, processing, storage, recycling, transport, and final disposal”. Further, waste management deals with the analysis of the number and size of bins, effective placement, and an appropriate signage (Jones, 2010). Jones further argues that waste is produced by two main sources. Firstly, it is production waste including batteries, machinery oil, scrap metal, and packaging material. Secondly, it is audience waste which mainly includes food packaging,

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Eco-friendly Music Festivals drink cups, bottles, and flyers. Of course waste management undertakes specific measures in order to optimize the minimization of waste production. The first step is waste prevention.

Waste prevention deals mainly with paperless ticketing and reducing the volume of distributed flyers. By reducing the amount of printed material the organizer saves money and resources and does not has to bother with its disposal if people throw the promotional material away (Jones, 2010). Moreover, giveaways should be chosen wisely as most of the time due to a lack of functionality or creativity people can make no use it and will dump it in the trash. Audience waste such as bottles or cans can be reduced by regulating the entrainment of beverages to the festival venue. Another fundamental measure of waste management is recycling. People are already use to recycling as it is part of their everyday life. Still it is advisable to use certain incentives to make visitors recycle their waste. For instance visitors could be charged a deposit on bottles and cups which they get back as soon as they return the bottle or cup to the seller. A further incentive could be the handover of a voucher in exchange for a full garbage bag. With that measure litter on-site is also minimized. When talking about recycling one should point out two remarkable methods to dispose biodegradable waste. The first method is simple composting. Compost offers natural fertilizer and therefore can improve plant growth. The second method is anaerobic digestion. This method is composting biodegradable waste in the absence of oxygen (Jones, 2010). A result is biogas which can be used to generate electricity and heat. Eventually waste management should work towards the goal of having no waste at all. This is the vision of the zero waste movement. The idea is to optimize waste systems and disposal strategies in order to reduce waste to a minimum (Jones, 2010). Once again people can share a vision, motivate each other, and pursue a collective goal.

5.4.3 Water Music festivals, especially those which last several days and offer a camping area can use a huge amount of water for running toilets, showers, basins or water provided for catering.

Unnecessary wasted water, poor disposal of waste water and potential pollution of water could be environmental impacts of festivals.

In order to conserve water, water consumption can be reduced due to water saving devices or taps which turn off automatically when not in use (A Greener Festival Ltd., 2010).

Furthermore, rain water can be captured and use for toilets if they are not waterless urinals or

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Eco-friendly Music Festivals compost toilets (Jones, 2010). Some festivals like the Sunrise Summer Celebration festival or the Standon Calling festival, both hold in England, used 100 percent compost toilets including the crew toilets (IQ, 2009). Furthermore, should encourage cleaning with mop and bucket instead of using high pressure hoses (Jones, 2010).

To manage waste water sustainable, grey water can be captured and then used for non contact activities like toilet water. Grey water is water that was already used for example by showering or washing. Emissions to water can be caused by personal products of festival visitors, cleaning products, paint wash-up water and urination. In order to reduce emissions to water biological or chemical-free cleaning products should be used. Furthermore, the audience can be encouraged to use environmental friendly shampoo, body wash products or hand wash products. To request land protection where the festival is held “excessive urination direct to the land or water ways� has to be prevent. Thus, enough toilets should be provided especially where a large amount of people get together. Besides, dark areas could be lightened to prevent urination (Jones, 2010).

Therefore, it is important again to encourage the audience to save water via signs on the festival and camping site or by providing information on water scarcity and hints for responsible water use within the festival which can be communicated before the event on the webpage and during the event between the live performances on screens if available.

Moreover, all other stakeholders, especially catering and food stalls should be encouraged to reduce water consumption. It has been estimated that by 2025 1.8 billion people live in water scarce areas, for this reason it is essential that a festival reduces its water consumption and optimizes its waste water handling to enhance the sustainable development (Food and Agriculture Organization, 2005).

5.4.4 Energy Foremost, energy use should be minimized and monitored. “When using generators it is important to get correct size, otherwise excess power will be burned off as smoke (IQ, 2009). In addition, the placement of generators play an important role as well as providing secondary generators that are switched on only at peak times (Jones, 2010).

To meet the requirements of sustainability festival organizers have to look for alternative ways to provide power (Jones, 2010). Innovative technologies but also the nature

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Eco-friendly Music Festivals can provide best practice examples to power a music festival. According to IQ (2009), 39 percent of the European festivals used partly sustainable energy sources in 2008, which are wind power, solar power, green tariff suppliers and the more regularly used bio-diesel (A Greener Festival Ltd., 2010; IQ, 2009).

Nevertheless, using such fuels also means to be aware of the supply chain as more and more people are informed about the problem of inter alia rainforests are being used for biofuel crops which leads to potential food shortages and environmental damages in those countries (IQ, 2009). Perhaps, a local refinery convert waste vegetable oil or even collects used oil from caterers. The BRAL Reststoff-Bearbeitungs GmbH and the VITAL Fettrecycling GmbH in Berlin for example convert old cooking fat from the gastronomy to bio-diesel (BRAL Reststoff-Bearbeitungs GmbH, n.d). 2,500 tons are sufficient to produce 2.5 million liter of bio-diesel (ShortNews GmbH & Co. KG, 2007). Nonetheless, using bio-fuels builds demand for renewable fuels and encourages the market to invest in new technologies (Jones, 2010).

Moreover, the festival can offer financial incentives like discounts to stallholders for reducing energy use. Besides, the festival organizer can develop restrictions and quotas to achieve the desirable goal of a minimum energy usage. These restrictions and quotas have to be communicated to the stallholders and the compliance has to be audited. Using energy efficient bulbs, like LED, is a further method to reduce energy (Jones, 2010).

But also the visitors can be involved in reducing energy consumption by producing the energy themselves, like for example the Green Music Fahrrad Disco mentioned in Chapter 5.3.3. To show the effort of the festival organizer, the alternative energy sources should be as visible as possible. Furthermore, the visitors can be indicated to the additional effort of the festival via campaigns that promote the festival energy savings and invite festival visitors to implement some energy saving actions at home.

However, also artists and artist management has to be involved. For instance if bands that are supposed to be a strong pull factor for visitors use a lot of energy to support their show and are not willing to sacrifice it, the festival organizer is in a paradoxical situation as long as not everyone feels responsible for sustainable development (Green Events Conference, 2010).

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Eco-friendly Music Festivals 5.4.5 Purchasing and Resource Use A vast number of materials are needed to run most events, therefore the right choices need to be made in order to reduce the impacts of consumption. The by-product of consumption is waste and waste connoted to affect climate change. But the end product and its disposal is just ‘the tip of the iceberg’, because behind every products lies a story (The Story of Stuff Project, 2007). According to Jones (2010), it is a story “of resource extraction, toxic waste, energy consumed and fuel burnt, snowballing waste at every step, and possibly a large number of underpaid workers, displaced communities and destroyed ecosystems.” Hence, it is essential to ask whether the product the organizer wants to purchase can be recycled, re-used, composted or even returned to the manufacturer. Furthermore, to reduce the impact of consumption the organizer can be aware of buying regional food, products with low carbon footprint or fair trade products (Jones, 2010). Choosing local suppliers will also reduce transport impact. In addition, purchasing socially and environmentally products or searching for innovative sustainable solutions will increase demand for these products. And if demand increases, price may decreases. Several eco-labels (see Chapter 4.4), carbon reduction labels or certifications like the Cradle to Cradle® Certification, a multi- attribute eco-label that assesses products safety to humans and environment (MBDC, 2010), could help the festival organizer to make the right choice although he has to be aware of the quality of such labels.

Therefore, the European Commission provides an online catalogue of European eco-labels to help consumers to identify environmental friendly products of high quality (European Commission, 2010).

Moreover, it is important to consider how many things are needed and if they are really needed. This refers to promotional flyers, food packaging as well as merchandising products.

Therefore, stallholders can be obligated to not use or just rarely use flyers and packaging. This could also be part of the requirements within the contract. There are already many suppliers that offer biodegradable plates, trays, bowls, cups and a range of packaging made of waste potato starch (PotatoPak NZ Ltd., 2010) or for example of Arecanut Palm Leaf which is fallen naturally from the tree and having no other artificial additives or chemical ingredients (Eco Palm Leaf Industries, n.d.). Using fairly traded products and ethically produced products can also be part of the requirements within the contract with the participants. The policy of the reggae festival Rototom Sunsplash for example bans Nestlé and Coca Cola at the event and

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Eco-friendly Music Festivals uses the fair trade alternative Ubuntu (cola) and local suppliers for their bars (IQ, 2009).

Merchandise products, like festival t-shirts or wristbands could be from organic cotton or factories with fair labor practices. The organizer has also to be aware from where the timber products for building and construction, decoration, paper etc. is from (Jones, 2010).

5.4.8 Communication and Education A very important aspect that has to be addressed regarding the scopes of sustainability is the communication. If a festival has undertaken measures in order to be sustainable it should not hesitate to communicate the particular efforts. Therefore, the process of information and communication starts with the positioning (Jones, 2010). Branding is essential for positioning in order to get people’s attention as well as highlighting key campaigns that promote sustainable actions. According to Jones partnering with NGOs can be an effective way to learn more about sustainability and to increase the credibility of the festival’s projects. Partnerships create synergies when combining resources and talents. It improves the festival’s performance by linking partners across different disciplines and at different levels (Commission on Education and Communication, 2004). Further, in order to attain media coverage of the sustainable efforts a press release is a useful tool. Other common communication tools are newsletters, websites, and information sheets. Jones states that the newsletter should be tailored for the different stakeholders to provide every one of them with suitable information.

A website is available for everybody that has access to the internet and can provide a well equipped archive of information. In addition the website can be used to receive feedback of the audience. To keep all stakeholders involved in the process of creating sustainability information sheets can be handed out summarizing the main aims and initiatives. Moreover, information sheets are also a good tool for on-site communication for staff. The sheet can be place in the general handbooks or information kits of the staff. Further, signs can be placed in the headquarters or office of the staff (Jones, 2010). Of course information and communication is supposed to have an educational concern. Sustainability demands for longterm actions and needs the support of each individual. Therefore, it is of utmost importance to involve the audience in the educational process. Jones separates two phases of audience communication: the pre-event communication and at the event messaging. Pre-event communication includes audience travel, purchasing and preparation, and at-event

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Eco-friendly Music Festivals participation. The audience needs to be informed whether there are incentives e.g. discount to travel with the public transportation system or shuttle busses. When people are preparing to go to the festival they should know what they can purchase on-site and what they are not allowed to take with them to the festival venue. In the same breath the organizer should remind the audience to be responsible in the decision making of purchasing. Arriving at the festival venue the audience needs to be involved in active participation as waste separation or reduction of water consumption. In accordance with Jones common tools to communicate with the festival’s audience are again newsletters, publicity and media releases, promotional material, and the website. In the at-event messaging phase the tools for communication of course differ.

As visitors are on-site they can see how much waste is produced by bordering an area just for waste. The presentation of the extent of waste may be an effective way to enhance waste reduction. Further, many festivals have teams of volunteers that engage in face-to-face communication. Volunteers can not only inform people about environmental efforts but also convince visitors to take part in other sustainable actions and think critically about their behaviour. The Commission on Education and Communication wants people to think critically in order to recognize bias, identify roots of problems, and enable themselves to develop a sense to shape their own lives. For people who have a strong interest in sustainable issues the festival can set up a special area with information booths, demonstration, discussion forums, and interactive activities where people can exchange and share experiences (Jones, 2010). The sense of communication is not only to inform people about sustainability but also to provide them with the ability of envisioning and systematic thinking (Commission on Education and Communication, 2004).

6. Case Studies In the following chapter the three Green’n’Clean awarded German festivals RhEINKULTUR festival, Taubertal festival and the Das Fest festival are shortly described.

Afterwards their recent environmental efforts are summarized and compared with each other in table format. Information was collected via questionnaires, interviews and the festival’s homepages. In the end, an evaluation identifies similarities and differences of the festivals environmental management.

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Eco-friendly Music Festivals 6.1 RhEINKULTUR Festival The Rheinkultur festival is hosted in the city of Bonn since 1983. It is the largest festival in Germany that is free of charge with some 170,000 annual visitors. The current organization Rheinkultur GmbH was founded in 2003. Working with four full-time employees and three interns the organizers provide a wide range of music types on five stages. Further, the festival provides its guests not only with well established artists but also gives newcomers the opportunity to perform in front of a large crowd. Due to the fact that the venue is an area for recreation the festival had to achieve environmental obligations since the first holding (personal communication).

6.2 Taubertal Festival The Taubertal festival is organized by the KARO GmbH since 1996 employing only one full-time worker and one freelancer. Every year more than 30,000 people attend the three different music stages. With its special location in the city of Rothenburg the festival tries to position itself as a premium festival with a well-balanced price performance ratio and a high quality program. Further, the organizer put special effort on establishing a close relation of music artists and the audience. Instead of getting involved in the competition to be the largest festival Taubertal wants to be the “clubshow� among the festival landscape (personal communication).

6.3 Das Fest The Das Fest festival is staged in Karlsruhe since 1985 with approximately 150,000 to even 244,000 visitors in 2010. What distinguishes Das Fest from other festivals is the extensive offer for various target groups including sports and family areas. Children can play across the festival venue at special stations where they are looked after. In the sports area there are possibilities for skate boarding and BMX riding. To address the best ager generation as well art, culture, and classical music are an essential part of the festival program. In 2010 the Das Fest GmbH was founded to take over the operation after the Stadtjugendausschuss. The GmbH employs eight people that take care of business. In 2010 the festival charged for the first time an entrance fee of five euro for attending the music stages also because in 2009 the

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Eco-friendly Music Festivals festival was overcrowded. However, the sports and family area were still free of charge as well as the entire program on Sunday.

6.4 Comparison of Environmental Efforts of Case Studies

Scopes

RhEINKULTUR

Taubertal

- cooperation with public

- shuttlebus from the city - less than 30

transport, - extra trains

- recommend visitors to

percent parking facilities

- Green Card (whole day

use public

- special busses and

travel and entrance to the

transportation via

trains

RhEINKULTUR lounge)

internet

- offer lift sharing Traffic

to festival site

Das Fest

- Coca Cola and Becks

- link to lift sharing on homepage

regional transport - encouraged security firm to lift share (what they do since years) - co2mpense, visitors have the chance to compensate their travel emission and all production emission are compensated

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Waste

Eco-friendly Music Festivals - waste management

- deposit for rubbish

- 500 euro deposit

zonation

- ‘waste’ scouts

for rubbish of

-‘Guidosillos’ (fence

collect waste during

triangle to collect waste)

and after the festival

- waste separation - night shift that control the

stallholders

- ban on flyers and - waste seperation

give always

remove of stallholders and their waste

- waste separation

- reusable cups - ‘waste’ scouts

Water

- provided sewer for waste

- ban on fuel, gas bottles

water in consultation with

or other water

water authority

polluting materials on

- no rinse at stalls

the camping site

- waste water collect in cubes

- fence of shrubberies to

Energy

avoid urination - green electricity

- ban on generators on

- sponsored by

- cooperation with Natur

the camping site

EMBW, energy

Watt, green energy

- cooperation with

supplier

supplier

Bredenoord - for safety reasons and to complement emergency power diesel aggregates are provided

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Eco-friendly Music Festivals

Catering / Food stalls

- pledge food stallholder

- reusable cups

- next step is a ban

not to use plastic ware or

on useless

paper plates

packaging for

- reusable cups

stallholders,

- cooperation with the bio-

because there are

super-market-chain Basic

enough who wants

(vegetables and fruits for

to act on the festival

crew catering)

- reusable cups

- scouts collect deposit

activities

activities of environmental

Communication

Social

- regional suppliers - selling of wristbands

bottles and donate the total

for 1 euro, which is

sum for charity

give for charity

- internet (HP/ Greenrocks)

- internet

- Green Card online

- pocket planer

- internet

available - Green Rocks Label - RhEINKULTUR newspaper

The comparison shows that environmental performances differ significantly although all three festivals were awarded in 2010 with the Green’n’Clean Award by the festival association Yourope. The RhEINKULTUR festival is the only festival that has developed its own environmental handbook in 2005 to record measurements, methods and several aims for every year. The development of the environmental handbook and the continual improvements recorded within are a sign for the sustainable development of the RhEINKULTUR. The handbook is online available and therefore transparent to the public. Furthermore, the RhEINKULTUR created their own eco-label to communicate their efforts to the audience.

This shows that the Rheinkultur GmbH understands that their effort would be more effective if their audience would help them. In contrast to the RhEINKULTUR festival, the Taubertal festival and the DAS Fest festival, are at the beginning of environmental performances. The overall problem of music festivals that care about their negative environmental impact is the

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Eco-friendly Music Festivals communication to the audience. This problem was identified during the interviews with the festival organizers as well as at the Green Events Conference for the Live Music Industry in Bonn. Summarized, waste is a major problem of music festivals from the organizer view also financial aspects are a reason for thinking about how to appeal the audience. Most of the festivals provide information on their environmental efforts and how visitors can make their contribution in the sustainable development prior to the event on their internet homepages.

However, during the festival communication on environmental issues are not provided, are rare or will not be perceived by the visitors. This can be seen for example in the offer of the RhEINKULTUR festival to visitors to compensate their travel emission online for free.

Approximately only 40 people of 60.000 visitors used this tool. Furthermore, the RhEINKULTUR communicates directly on their homepage to the visitors what they could do to make the festival more environmental friendly while the other case studies provide only short information on the Green’n’Clean Award and that an arrival by public transportation would be more eco-friendly. Therefore, it is important to improve communication to audience and stakeholders.

7. Conclusion and Recommendation Sustainability and sustainable development is one of the most important issues in the 21st century. Therefore, it is important that the cultural sector is aware of its role within sustainable development strategies. According to the National Sustainable Development Strategy, education is one aspect of high importance to fulfill the requirements of sustainable development which were set up on a global and local level.

Due to the fact that music festivals have huge negative environmental impacts they could be called into question in the first instance. However, the role of festivals for the tourism industry and for marketing as well as the cultural and social impacts should be kept in mind.

Festival visitors share common interests and attitudes. It seems that organizers could easily address this relatively homogenous target group with messages of sustainability. Though, this target group is not easily accessible. Often visitors regard the festival as a mean of recreation.

They do not want to face serious issues as they are either not in the mood for it and feel disturbed or are simply intoxicated and are not able to understand the efforts undertaken anymore. Festival organizers on the other hand often under promote key messages and their

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Eco-friendly Music Festivals own efforts. Due to their good will and modesty they do not want to show-off and market sustainability. This is a fundamental error in pushing the sustainable development to the next level. People need to be aware of the fact that they are in charge of changing habits and minds.

Festival visitors often behave reckless especially on the camping site where they leave garbage, tents, and even furniture. It is of utmost importance to educate people. The cultural sector should take responsibility and motivate people to reconsider the current development.

When it comes to the education of people it is necessary to do it in an entertaining and informing way and not by reproaching people.

Furthermore, the audience should be involved into the sustainable development efforts of the festival. This can be achieved for example with a common festival culture. As mentioned before, several approaches of a festival culture among the visitors can be seen in the way they plan their festival weekend together in a group or the development of rites and traditions. Therefore, the sustainable management steps in Chapter 4 are a further device that creating an event culture will make access to visitors easier.

Sustainable Management Steps: 1.

Perform a stakeholder analysis

2.

Set sustainable development policies and objectives

3.

Design and execute an implementation plan

4.

Develop a supportive corporate culture

5.

Develop measures and standards of performance

6.

Prepare reports

7.

Enhance internal monitoring process

A common event culture should not only exist among the festival goers but also between the organizer and the visitors. If a strong community feeling is build, everyone within the festival feels responsible to act. Therefore, it is important to provide information and knowledge to the visitors; otherwise they will not react as they do not perceive the efforts of the festival’s organizer.

The visitors must know that they are a part within the sustainable development and that every little step, by every person can lead to be more sustainable. Communicating the

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Eco-friendly Music Festivals environmental impacts of the festival and the current efforts against those impacts is a responsibility of the organizer. Communication is the only chance for visitors to understand their role and perceive what they can do locally to act globally. The organizer in this case is the beginning within the chain of education for sustainable development.

Nevertheless, musicians and music agencies, as well as all other stakeholders within a festival have to be informed about the special efforts and should be encouraged to participate.

Since musicians or food stall holders do not perceive their role within the aim of becoming more sustainable, the festival organizer is not able to manage it. Especially musicians could have the ability to talk to younger generations as they often serve as a role model.

The three case studies and the participants at the Green Event Conference showed that some organizers are already aware of their role within sustainability. However, in order to spur a sustainable development in the cultural sector more organizers have to be convinced of green ideas as well as they have to develop a consciousness of their role and responsibility during this process. Simultaneously the festival goers have to be conscious of their role at the festival, too. Further the organizers have to make the festival goers think and act sustainable with the help of sufficient information. If that information is communicated in an entertaining and not instructive way the music festival has the opportunity to serve as a communication platform for sustainable development.

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Eco-friendly Music Festivals

8. References A Greener Festival Ltd. (2010). Summary of research. Retrieved October 23, 2010 from http://www.agreenerfestival.com/summary.html Allen, J., O’Toole, Bowdin, G. A. J., W., Harris, R. & McDonnell, I. (2006). Events management (2nd ed.). Oxford: Elsevier Ltd. Bhattacharjee, S., Gopal, R. D., Marsden, J. R., & Sankaranarayanan, R. (2009). Re-tuning the music Industry –can they re-attain business resonance [Electronic version].

Communications of the ACM. 52, (6), 136- 140 Baunmann, Prof. Dr. M. (2005). Musik als kunst, bildung und wissenschaft [music as art, education and science]. In Wicke, Prof. Dr. P. (Ed.). Duden Basiswissen Schule Musik (chapter 3)[Duden basic knowledge school music]. Berlin: Duden Paetec GmbH Bjørseth, H. (2008). The environmental handbook for festivals and outdoor events. Retrieved September 8, 2010 from http://www.environmental-handbook.com/ BRAL Reststoff-Bearbeitungs GmbH. (n.d). Speisabfallentsorgung [Food waste disposal].

Retrieved October 19, 2010 from http://www.bral.de/speiseabfall.php Brown, T. J. & Churchill, G. A. (2004). Basic Marketing Research (5th ed.). Ohio: South Western, part of the Thomson Corporation Bundesministerium für Umwelt, Naturschutz und Reaktorsicherheit. (2005).

Hintergrundpapier zur studie: umweltmanagementansätze in deutschland [Environmental management approaches in germany]. Retrieved September 12, 2010 from http://www.ums-fuer-kmu.de/upload/Downloads/Hintergrundpapier_final.pdf Commission on Education and Communication. (2004). Engaging people in sustainability.

Retrieved September 5, 2010 from http://www.unece.org/env/esd/ information/Publications%20IUCN/engaging%20people.pdf Connell, J. & Gibson, C. (2005). Music and tourism – on the road again. Aspects of Tourism (19). Florence: Florence Production Ltd. CTS Eventim AG. (n.d). Festival ticket. Retrieved on October 30, 2010 from http://www.eventim.de/cgi-bin/tickets.html?affiliate=GMD&doc =category&fun= kategorieliste&detailadoc=erdetaila&detailbdoc=evdetailb&showFilter=yes&hkId=1& kategorieKuerzel=4C&nurbuchbar=true&tipps=yes

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Eco-friendly Music Festivals Deutscher Musikrat. (2007). Musik Allmanach- ausgewählte daten und fakten zum musikleben in deutschland. Retrieved September 14, 2010 from http://www.miz.org/download/miz_daten_und_fakten_zum_musikleben.pdf Dictionary.com LLC (2010). Greenwash. Retrieved October 23, 2010 from http://dictionary.reference.com/browse/greenwash Domke, B. (2010). Auf einen blick – welche ökobegriffe sie kennen sollten. Retrieved October 20, 2010 from www.harvardbusinessmanager.de/heft/artikel/a-665923.html Eco Palm Leaf Industries (n.d.). Disposable areca nut palm leaf plates. Retrieved October 20, 2010 from http://ecopalmleafplates.com/ EcoSMEs (2004). Was ist ein umweltmanagementsystem [What is an environmental management system]. Retrieved November 1, 2010 from http://www.ecosmes.net/cm/navContents?l=DE&navID=envManagementIntro&subNa vID=1&pagID=3 EMAS (2010). Was ist emas? [What does emas mean?]. Retrieved November 1, 2010 from http://www.emas.de/ueber-emas/was-ist-emas/ European Commission. (2010). Sustainable development. Retrieved on November 7, 2010 from http://ec.europa.eu/sustainable/welcome/index_en.htm Fachverband für Sponsoring e.V.(2010). Sponsor Visions 2010. Retrieved October 22, 2010 from http://www.faspo.de/marktdaten/314-sponsor-visions-2010.html Festivalhopper.de. (2010). Festivals 2011. Retrieved November 2, 2010 from http://www.festivalhopper.de/festivals-2011.php Food and Agriculture Organization. (2005). Global forest resources assessment update 2005terms and definitions. Retrieved October 19, 2010 from http://www.fao.org/forestry/7797-0f7ba44a281b061b9c964d3633d8bf325.pdf Freimann, J. & Walther, M. (2002). The impacts of corporate environmental management systems. Greener management international (36),p. 91-103 Friedensfestival Berlin e.V. (n.d). Ziele [Aims]. Retrieved October 17, 2010 from http://www.friedensfestival.org/Unterseite_Ziele.htm German Bundestag. (2007). Populäre musik als bestandteil des kulturellen lebens stärken [improve popular music as inherent part of cultural live]. Köln: Bundesanzeiger Verlagsgesellschaft mbH

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Eco-friendly Music Festivals German Commission for UNESCO. (2007). Culture and creative industries in germany (M. Müller, Trans.). Bonn: Federal Foreign Office of the Federal Republic of Germany Getz, Ph. D. D. (2005). Event Management & Event Tourism (2nd ed.). New York: Cognizant Communication Corporation GFK Panel Services Deutschland. (2009). Bedeutung von musik-/nicht –musikveranstaltungen [Significance of music/non-music events]. Retrieved October 15, 2010, from http://www.idkv.de/gfk GFK Panel Services Deutschland. (2007). Bedeutung von musik-/nicht –musikveranstaltungen [Significance of music/non-music events]. Retrieved October 15, 2010, from http://www.idkv.de/gfk Glatzner (2007). Iso 14001 neu [The new iso 14001]. Retrieved November 1, 2010 from http://www.emas.de/ueber-emas/was-ist-emas/ Goldblatt, Dr. J. (2008). Special events- the roots and wings of celebration (5th ed.).

Hoboken, New Jersey: John Wiley & Sons, Inc. Green Event Conference for the live music industry (November 3-4, 2010). Bonn: Wissenschaftszentrum Green Music Initiative (2010). Die mission [The mission]. Retrieved November 4, 2010 from http://www.greenmusicinitiative.de/about/die-mission-2/ Hoyle, L. H. (2002). Event Marketing- How to successfully promote events, festivals, conventions, and expositions. New York: John Wiley & Sons, Inc. International Institute for Sustainable Development (2010). The sustainable development timeline [Electronic Version] IQ Magazine (2009). European festival report- green shots. Retrieved October 25, 2010 from http://www.agreenerfestival.com/pdfs/IQ_Claire_Q42009.pdf Johnson, L. (2009, March 3). The hot money is in live performance. Retrieved November 8, 2010, from http://www.lukejohnson.org/columns-detail.php?id=230 Jones, M. (2010). Sustainable event management – a practical guide. Sterling, London: Earthscan Julie's Bicycle (2008). About JB. Retrieved October 28, 2010 from http://www.juliesbicycle.com/about-jb Kolk, A., (2000). Economics of Environmental Management (1st ed.). Great Britain:

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Eco-friendly Music Festivals Prentice Hall.

Kulturnews.de (2010). Veranstalterriese live nation expandiert nach Deutschland [Event organizer giant live nation expands to germany]. Retrieved November 2, 2010 from http://www.kulturnews.de/knde/artist.php?artist=Live%20Nation Larson, M. (2009). Festival innovation: complex and dynamic network interaction [Electronic version]. Scandinavian Journal of Hospitality 9 (2.3), 288-307 Laughey, D. (2006). Music and youth culture. Edinburgh: Edinburgh University Press Ltd. Lied und Soziale Bewegung e.V (2010). Home. Retrieved October 17, 2010 from http://www.songklub.de/ Live Nation Entertainment (n.d.). About live nation. Retrieved October 22, 2010, from http://www.livenation.com/h/about_us.html?tm_link=tm_i_aboutln LIVE 8 Live (n.d.). The story so far. Retrieved October 18, 2010 from http://www.live8live.com/whathappened/ Lucas, R. & Matys T. (2003). Erlebnis Nachhhaltigkeit- Möglichkeiten und Grenzen des Eventmarketing bei der Vermittlung gesellschaftlicher Werte [Experience sustainability- opportunities and constraints of communication of social values] Wuppertal: Wuppertal Insitut für Klima, Umwelt, Energie GmbH Leko-Simic, Ph. D. M. & Skoric B. Sc. M. (2005). Ecologically and economically sustainable development: research of consumers’ knowledge and behavior and the role of marketing. Sixth international conference on enterprise transition. Retrieved August 29, 2010 from EbscoHost database (AN 26508825).

McDonough Braungart Design Chemistry, LLC (2010). Certification overview. Retrieved October 20, 2010 from http://www.mbdc.com/detail.aspx?linkid=2&sublink=8 Metal Travel GmbH (n.d.). Über uns [About us]. Retrieved October 16, 2010 from http://www.metaltravel.de/?go=about&lang=de Norddeutscher Rundfunk (2010, July 5). Hurricane festival 2010. Woodstock in der nordheide [Television Braodcast]. Retrieved October 12, 2010 from http://www.ndr.de/fernsehen/media/nordreportage332.html Nufer, G. (2006). Event-marketing: theoretische fundierung und empirische analyseunter besonderer berücksichtigung von imagewirkung [Event marketing: theory and practice

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Eco-friendly Music Festivals in consideration of image transfer] (2nd ed.). Wiesbaden: Deutscher Universitäts – Verlag/ GWV Fachverlage GmbH Peterson, A.K. & Rohrer, J. (n.d.). Carbon dioxide. Retrieved October 27, 2010 from http://timeforchange.org/global-warming/carbon-dioxide PotatoPak NZ Ltd. (2010). 100 percent biodegradable products. Retrieved November 2, 2010 from http://www.potatoplates.com/ Press and Information Office of the Federal Government (2010). The national sustainability strategy. Retrieved November 7, 2010 from http://www.bundesregierung.de/nn_208962/Content/EN/StatischeSeiten/Schwerpunkte /Nachhaltigkeit/nachhaltigkeit-2006-07-27-die-nationale-nachhaltigkeitsstrategie.html Rapp, T. (2005). Cui bono außer bono [Cui bono instead of bono]. Retrieved on October 14, 2010 from http://www.taz.de/1/archiv/archiv/?dig=2005/07/02/a0139 Senfleben, M. (2007). Wenn die Musik im Müll versinkt [If music sinks in waste]. Retrieved October 15, 2010, from http://www.stern.de/kultur/musik/open-air-festivals-wenn-diemusik-im-muell-versinkt-594145.html Shiply Limited (2010). Shiply matches you with thousands of green transport companies already making similar trips. Retrieved November 10, 2010 from http://www.shiply.com/eco-friendly-transport.php ShortNews GmbH & Co. KG (2007). Autosprit aus der Imbissbude - Aus Frittenfett wird Biodiesel [Fuel from food stalls- from french fries oil to bio-diesel]. Retrieved October 17, 2010 from http://www.shortnews.de/id/687919/Autosprit-aus-der-Imbissbude-AusFrittenfett-wird-Biodiesel Sound Emissions (2009). Festival- reducing emissions. Retrieved October 15, 2010, from http://www.soundemissions.com.au/site/ Sounds for Nature (n.d.). Informationen über sounds for nature [Information about sounds for nature. Retrieved October 12, 2010 from http://www.bfn.de/sounds/spip.php?article6 Söndermann, M. (2008). Unternehmen und umsätze in der musikwirtschaft und im phonomarkt in deutschland 2000-2008 [Business and Turnovers of the German Music Industry 2000-2008]. Retrieved October 16, 2010, from http://www.miz.org/intern/uploads/statistik45.pdf

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Eco-friendly Music Festivals Steinecke, A. (2007). Kulturtourismus: marktstrukturen, fallstudien, perspektiven [Cultural tourism: market structures, case studies, perspectives. Oldenburg: Wissenschaftsverlag Stern.de, (2005). ‘Live 8’ füllt die taschen der stars [Live 8 fills pockets of stars]. Retrieved October 16, 2010 from http://www.stern.de/kultur/musik/benefiz-konzert-live-8-fuelltdie-taschen-der-stars-542645.html The Dictionary of Sustainable Management (n.d.). Sustainability. Retrieved November 1, 2010 from http://www.sustainabilitydictionary.com/s/sustainable_management.php The Sponsor People GmbH (2010). Basisunterlagen Festivals 2010 [Basic documents festivals 2010]. Retrieved October 25, 2010 from http://www.sponsorpeople.de/files/09_11_19_festivals_2010_-_v.1.1_2.pdf The Sponsor People GmbH (2010). Marketing guide für die festivalsaison 2010 [Marketing guide for the festival season 2010]. Retrieved October 25, 2010 from http://www.sponsorpeople.de/files/marketing_guide_2010_1.pdf United Nations (2010). Earth summit. Retrieved on November 2, 2010 from http://www.un.org/esa/earthsummit/ Web Finance (2010). Environmental Management. Retrieved September 17, 2010 from http://www.businessdictionary.com/definition/environmental-management.html Wicke, P. (2002). Populäre musik [Popular music]. In Deutscher Musikrat gemeinützige Projektgesellschaft mbH (Ed.). Musikalmanach 2003/04 daten und fakten zum musikleben in deutschland (6th ed.) [Musikalmanach 2003/04 facts and figures about music industry in germany]. Kassel: Bärenreiterverlag, Gustav Bosse Verlag Wicke, P. (2006). Populäre musik [Popular music]. In Deutscher Musikrat gemeinützige Projektgesellschaft mbH (Ed.). Musikalmanach 2007/08 daten und fakten zum musikleben in deutschland (7th ed.) [Musikalmanach 2007/08 facts and figures about music industry in germany]. Regensburg: ConBrio Verlagsgesellschaft Willnauer, F. (2006). Musikfestspiele und festivals [Music festivals and festivals]. In Deutscher Musikrat gemeinützige Projektgesellschaft mbH (Ed.). Musikalmanach 2007/08 daten und fakten zum musikleben

in deutschland (7th ed.)[Musikalmanach

2007/08 facts and figures about music industry in germany]. Regensburg: ConBrio Verlagsgesellschaft

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Eco-friendly Music Festivals Willnauer, F (2010). Musikfestspiele und festivals [Music festivals and festivals]. Retrieved October 4, 2010 from http://www.miz.org/static_de/themenportale/ einfuehrungstexte_pdf/03_KonzerteMusiktheater/willnauer.pdf Yourope (2009). Virtual festivals europe. Retrieved October 23, 2010 from http://www.yourope.org/virtual_festivals.aspx

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9. Appendices Appendix A: Importance of Music/ Non-Music Events 2009

Source: GfK Panel Services Deutschland (2009), retrieved from http://www.idkv.de/gfk

Appendix B: Business and Turnovers of the German Music Industry 2000-2008

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Appendix B:

Source: Sรถndermann, Statistisches Bundesamt (2008) retrieved from www.miz.org

Appendix C: Music Sales in Germany

Source: Bundesverband Musikindustrie (2010) retrieved from www.miz.org

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Eco-friendly Music Festivals Appendix D: Development illegal Music Downloads/ Brennerstudie 2010

Source: GfK Panel Services Deutschland (2009), retrieved from www.miz.org Appendix E: Live Music Industry in Comparison to the Recording Industry

Source: GfK Panel Services Deutschland (2007), retrieved from www.miz.org

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Eco-friendly Music Festivals Appendix F: Founding years of German Festivals

Source: Deutscher Musikrat (2007) retrieved from www.miz.org

Appendix G: The Integrated Marketing Communication Mix

Source: http://www.nikki_c.dsl.pipex.com/images/b202/Communication_mix.jpg Appendix H: Development of Visitor Number

Source: Marketing-Guide (2010) adapted from The Sponsor People GmbH

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Eco-friendly Music Festivals Appendix I: Impacts of Events Sphere of event Positive impacts • Shared experience • Revitalizing Traditions

Social and cultural

Physical and Environmental

Political

Tourism and economic

• Buliding a community pride • Validation of community groups • Increased community participation • Introducing new and challenging ideas • Expanding cultural perspectives • Showcasing the environment • Providing model for best practice • Increasing environmental awareness • Infrastructure legacy • Improved transport and communications • Urban transformation and renewal • International prestige • Improved profile • Promotion of investment • Social cohesion • Development of administrative skills • Destination promotion and increased tourist visits • Extended length of stay • Higher yield • Increased tax revenues • Business opportunities • Commercial activity • Job creation

Source: Bodwin et al. (2006) adapted from Hall (1989)

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Negative impacts • Community alienation • Manipulation of community • Negative community image • Bad behaviour • Substance abuse • Social dislocation • Loss of amenity

• Environmental damage • • • •

Pollution Destruction of heritage Noise disturbance Traffic congestion

• Risk of event failure • Misallocation of funds • Lack of accountability • Propagandizing • Loss of community ownership and control • Legitimating ideology • Community resistance to tourism • Loss of authenticity • Damage to reputation • Exploitation • Inflated prices • Opportunity costs • Financial management Financial loss

Eco-friendly Music Festivals Appendix J: Environmental Management Approaches in Germany

Source: BMU & UBA (2005) Appendix K: Comparison of EMAS and ISO 14001

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Source: European Commission, 2008

Appendix L: Fragebogen: Taubertal Festival/ KARO Konzert-Agentur Rothenburg GmbH Im Rahmen meiner Bachelorarbeit über umweltfreundliche Musik-Festivals in Deutschland, möchte ich mit diesem Fragebogen den aktuellen Stand der Umweltbemühungen seitens der Veranstalter ermitteln. Der Fragebogen ist in 4 Teile unterteilt: I. Allgemeine Informationen zu Ihrem Unternehmen (S.1) II. Hintergrundinformationen zu Ihrem Festival (S. 1-3) III. Allgemeine Informationen zu Ihren Umweltaktivitäten/Maßnahmen (S.3-4) IV. Konkrete Umweltmaßnahmen (S.5-6) Der vierte Teil kann auch beantwortet werden, indem relevantes Material, (wie ein eigenes Umweltmanagement-Handbuch, den beantworteten Fragebogen des Green’n’Clean Awards bzw. des Sounds for Nature Projekts) mit geschickt wird.

I. Unternehmen : KARO Konzert-Agentur Rothenburg GmbH 1. Die KARO Konzert-Agentur Rothenburg gibt es seit:

Taubertal-Festival seit 1996

2. Wie viele Mitarbeiter beschäftigt die KARO GmbH:

1 Angestellte, 1 freier Mitarbeiter

3. Wie ist die Organisation aufgebaut?

Position/ Abteilung

Name(n)

Geschäftsführer

Volker Hirsch

Marketing

Florian Zoll

Assistenz

Angelika Krüger

Freier Mitarbeiter

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Aufgaben im Rahmen des Taubertal Festivals Booking, Planung, Entscheidungsträger in allen Bereichen Marketing, Merchandise, Sponsorenakquise Besucherbetreuung und Assistenz

Eco-friendly Music Festivals

4. Wieviele Personen beschäftigen sich mit dem Umweltthema?

II. Festival: Taubertal Festival 1. KARO GmbH organisiert das Festival seit:

1996

2. Vorher wurde das Festival organisiert von:

---

3. Was sind die Besonderheiten des Taubertal Festivals verglichen mit anderen Festivals?

Gelegen im wunderschönen Taubertal mit einem fantastischen Blick auf die historische Stadt Rothenburg o.d.T. bietet die Eiswiese eine eindrucksvolle Kulisse für das Taubertal-Festival.

Neben der einmaligen Lage unterscheidet sich die Veranstaltung auch sonst von manch anderem Freiluftspektakel.

Statt sich an einem Wettkampf um den größten Sommerevent zu beteiligen werden lieber gesund gewachsene Strukturen gepflegt.

Eine durchdachte Organisation und die qualitativ hochwertige und gut gemischte Programmauswahl bieten den Besuchern ein unvergessliches Wochenende im "Tal".

Wichtig ist dabei, dass die Beziehung zwischen Publikum und Band immer direkt und greifbar bleibt. Das Taubertal-Festival soll eine Art "Clubshow unter den Festivals" sein.

4. Wie ist das Veranstaltungsimage?

Das Taubertal-Festival steht für eine schöne Location, ein überschaubares Gelände, ein ausgewogenes Preis-Leistungs-Verhältnis und Programmqualität. Auch die Nähe zwischen Besucher, Bands und Veranstalter wird immer wieder von Besuchern gelobt.

5. Wie wird das Taubertal Festival finanziert? durch Ticketverkäufe und Sponsoringeinnahmen

6. Wie definiert sich die Zielgruppe des Taubertal Festivals? junge Erwachsene (gibt es hierzu evtl. Besucheranalysen aus der Vergangenheit?)

7. Wie hoch ist die Besucherzahl im Durchschnitt?

8. Wie funktioniert die Sponsorenakquise?

Aktiv

x

Passiv

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10500 pro Tag

Eco-friendly Music Festivals

8.1 Sind Ihre Umweltbemühungen Anreiz für Sponsoren? x

Ja

Nein

8.2 Werben sie mit Ihren Umweltbemühungen bei Sponsoren? x

Ja, indem wir

Ein Sponsoring-Info-Package verteilen

Nein 8.3 Sponsoren des Taubertal Festivals sind: (bitte ergänzen, bzw. korrigieren) 2010: on3, Fränkischer Anzeiger, Antenne 1, Sounds For Nature, Becks, Emergenza, MTV, Festivalguide, Visions, event., laut.de, Bayern3

9. Sind die Künstler über die besonderen Umweltbemühungen des Festivals informiert? x

Ja, in Form von

Durch den Bekannheitsgrad

Nein 9.1 Gab es in der Vergangenheit Künstler, die Ihre Umweltbemühungen auch nach außen getragen haben?

Ja, z.B. Nein n7 III. Umweltaktivitäten 1. Was waren die Beweggründe für eine umweltfreundliche Gestaltung des Festivals?

Wann kam es zu ersten Maßnahmen? Was waren die ersten Maßnahmen?

Umweltschutz war uns schon immer wichtig, gerade und auch weil unser Festival in einer sensiblen Naturzone statt findet. Wir zeigen hier, dass eine Verbindung zwischen Musik, jungen Leuten und Naturschutz bestehen kann.

2. Seit acht Jahren besteht eine Kooperation mit SfN. Wie kam es dazu? sh. III.1.

3. Wann hat das Festival das erste Mal den Green’n’Clean Award erhalten? Wie oft?

2008 (Icon auf HP aber noch keine Kommunikation auf HP), 2009, 2010 (Umweltschutz Register auf HP und Kommunikation von Green’n’Clean Award)

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Eco-friendly Music Festivals

4. Gibt es einen eigenen Umweltbeauftragten?

Ja, und zwar ein

x

ein externer Mitarbeiter

ein interner Mitarbeiter

Nein 5. Ist es Ziel der Veranstaltung das Publikum für den Umweltschutz zu sensibilisieren? x

Ja Nein 5.1 Wenn ja, was ist der konkrete Lerninhalt?

5.2 Wie werden diese Lerninhalte kommuniziert? über das Festival (während dessen) mit einem Sounds-For-Nature-Stand und durch Werbung auf der Homepage, mit Plakaten und einem Pocketplaner

6. Wie werden Ihre Umweltbemühungen Ihrerseits nach außen getragen? (Publikum, Stadt, Sponsoren) Werbung

IV. Konkrete Umweltmaßnahmen Wie sehen die konkreten Umweltmaßnahmen in den jeweilgen Bereichen aus?

1. Verkehr Shuttlebus von der Stadt ins Tal, Empfehlung öffentliche Verkehrsmittel statt Pkw zu nutzen, Kommunikation vor allem über Internet.

2. Abfall

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Eco-friendly Music Festivals Müll-Pfand, Müll-Truppe, die während gesamtem Festival + danach Platz säubert, MüllTrennung.

3. Abwasser

4. Energie Verbot von Groß-Strom-Aggregaten für Festivalbesucher am Zeltplatz Berg, am Zelplatz Tal komplettes Stromaggregat-Verbot für Festivalbesucher. Zusammenarbeit mit Bredenoord.

(Nur noch als Sicherheit und zur Ergänzung der Energieversorgung stehen Dieselaggregate bereit. Wir blasen schon lange keine Unmengen von Treibstoff mehr in die Luft. Pocketplaner2010)

5. Lärm Lärmpegelmessungen und eingebaute Limiter (Auch Lärm ist Umweltverschmutzung! Es ist also nicht gestattet, Bereiche zu beschallen, die größer sind als das eigene Camp! Wir werden Großbeschallungen nicht dulden und die Betreiber gegebenenfalls des Platzes verweisen. Pocketplaner)

6. Campingplatz sh. Energie + Aufsplittung: Zeltplatz Tal naturverbundener, daher ist hier Verbot Großraum-Zelte / großer Besuchergruppen. (auf dem Campingplatz „Tal“ erlaubt, auch kein Treibstoff, keine Gasflaschen oder sonstige gewässerschädigende Stoffe. Pocketplaner)

7. Verpflegung

8. Information und Kommunikation

Ich bedanke mich für Ihre Zeit und Ihre Unterstützung!

Da viele Besucher lieber ein Stoffarmbändchen haben möchten, bieten wir diese zum Preis von 1,00 € an. Der Erlös aus den Stoffarmbändchen wird einem guten

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Eco-friendly Music Festivals Zweck zugeführt! Zu haben sind die Bändchen an einem Stand auf dem Basar WICHTIG: Als Zugangsberechtigung gilt weiterhin nur das Kunststoffband!

Ein Einlass nur mit Stoffarmband ist NICHT möglich! (pocketplaner2010)

Appendix M: Interview Transcription RhEINKULTUR, Sabine Funk, 18.10.2010 Seit 1983 gibt es die Rheinkultur in den Rheinauen, Bonn. Wie entstand der umweltbewusste Gedanke bei den Veranstaltern?

In erster Linie ging es uns [...] darum, [...] die Auflagen der Stadt zu erfüllen. Die Rheinaue ist ein Freizeit- und Erholungsgebiet [...] mit speziellen Auflagen. Die Rheinaue ist auch ein Wasserschutzgebiet, [...] Das war der Ursprungsgedanke. [...] Wenn man in so einem Ambiente veranstaltet, hat man natürlich auch ein Gefühl dafür und will das es nach der Veranstaltung auch noch gut aussieht. [...] angefangen hat es natürlich aus der Not geboren, d.h. wir mussten bestimmte Auflagen erfüllen bzw. haben wir es finanziell sehr schmerzhaft zu spüren bekommen, wenn wir es nicht getan haben. Wir haben früher z.B. die Blumenbeete nicht eingezäunt, sodass viele pflanzen zertrampelt wurden und wir somit die Beete neu bepflanzen mussten. [...] Und daraus ist dann über die Generationen der Rheinkultur Produktionsleiter ein Bewusstsein dafür gewachsen, [...] Aber es ist tatsächlich so: Wenn man in so einem Ambiente veranstaltet, dann kann man gar nicht anders als sich darüber Gedanken zu machen.

Wie kam es dann zu der Entwicklung des Umweltmanagement Handbuchs der Rheinkultur?

Die Rheinkultur ist Mitglied bei Yourope, die Internationale Festival Organisation, die sich auch immer mit den Themen, was sind die Trends, was ist das was Festivals nach oben treibt und was ist wichtig, beschäftigt hat. 2003 als die neue Rheinkultur GmbH gegründet wurde, kam dieses Thema relativ schnell auf. Nicht nur bei Yourope sondern auch im Fokus der Gesamtgesellschaft. Deswegen ist es mittlerweile auch bei den Festivals, den Veranstalter angekommen [...]. Wir haben relativ begrenzte Ressourcen, damals waren wir nur zu zweit mittlerweile sind wir zu viert. [...] in 2005 haben wir es dann auch erstmalig umgesetzt [...].

Der Vorteil: Wir hatten direkt einen Kooperationspartner mit Sounds for Nature, eine Aktion vom Bundesamt für Naturschutz mit Sitz in Bonn, [...] mit der sie auf die Veranstalter zugehen und fördern. Deren Engagement war für uns der letzte Tritt unser eigenes Umweltmanagementhandbuch zu entwickeln und ein Umweltmanagementsystem einzuführen.

Welche Vorteile ergeben sich aus Ihrer Sicht durch eine umweltfreundliche Gestaltung?

Zum einem ist es gut für das Ego; man fühlt sich einfach besser! Für uns hat es einen ganz konkreten Vorteil auf der Sponsorenseite: Wir haben Natural American Spirit als Sponsor, die normalerweise keine eintägigen Veranstaltungen sponsorn. Umweltmanagement und Umweltschutz ist Thema rund um das Sponsoring von Natural American Spirit und deswegen haben die sich die Rheinkultur trotzdem rausgesucht, weil sie gesagt haben: Das ist in Deutschland das mit Abstand umweltfreundlichste Festival, mit dem meisten Engagement,

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Eco-friendly Music Festivals das sponsern wir. Die umweltfreundliche Gestaltung bietet also einen konkreten finanziellen Vorteil. Wir haben auch einen ideellen Vorteil, weil wir im Rahmen dieser ganzen Festivalorganisation und der Festivallandschaft eine echte Vorreiterposition haben. Wir werden viel gefragt und eingeladen, unter anderem veranstalten wir auch die Eco Conference for the live music industry hier in Bonn,[...] und die Leute verstehen auch das wir uns mit dem Thema auseinandersetzten. Dadurch das wir ein eintrittsfreies Festival sind können wir auch zeigen das es Machbar ist. Das es nicht so am großen Geld hängt [...] sondern das man einfach das was man tut überdenken muss und dann kann man schon viel machen. Es ist so ein Mittelding aus Allem, aber der finanzielle Vorteil ist enorm. Wir haben zwar aktiv kein Geld gespart [...]. Im Longrun haben wir sogar mehr Geld ausgegeben, weil wir mehr Aktionen initiiert haben: wir haben das Green Team eingeführt, wir haben Green Rocks eingeführt, das hat alles schon Geld gekostet, aber das war alles in Maßen.

Was sind die Nachteile der umweltfreundlichen Gestaltung?

Es gibt so viele Sachen die wir nicht umsetzten können. Gerade weil sie zu teuer sind [...] und dann ärgert es einen schon zu sehen, dass andere Festivals [...] sich z.B. Co²-frei kaufen, also einen großen Ablass betreiben, und dann als Öko und Green dastehen, einfach weil sie das Geld haben [...] Während wir uns mit soviel, wie wir glauben, effektiven Kleinkram abmühen, der vielleicht nur in kleinen Schritten etwas bewirkt, aber der natürlich von Anfang an zeigt wie es gehen kann, dann ist es besonders Schade, dass das dann nicht so wahrgenommen wird. Weil wir nicht so die großen Vorzeigeaktionen haben. Es ist natürlich kein Nachteil der aus dem Umweltschutz hervorgeht, aber es ist etwas was da immer mitläuft. Für uns bedeutet das natürlich auch Geld was wir zusätzlich für Maßnahmen ausgeben müssen, die wir auch erst wieder erwirtschaften müssen. Ein bisschen Geld kostet uns das also trotzdem. Aber die Vorteile überwiegen bei weitem. Auch das Feedbeack, das wir vom Green Team, oder Besuchern über das Green Team vermittelt, bekommen, dass ist schon bei weitem mehr Wert als diese Nachteile für uns bedeuten.

Aus welchen Personen besteht das Green Team?

Das sind alles Freiwillige. Für die Rheinlkultur arbeiten im großen Maße Freiwillige [...]das sind ganz junge Leute, [...] zwischen 16 -25 Jahre. Im ersten Jahr hatten wir 20, in diesem Jahr hatten wir über 50 Freiwillige, die trotz schlechten Wetters den ganzen Tag dort gewesen sind und die sich auch jetzt noch aktiv an dieser Retter Aktion beteiligen, die sich damit identifizieren und sagen das ist unser Part uns irgendwie an der Rheinkultur zu beteiligen.

Wie kam es 2008 zu der Gründung von Green Rocks?

Umweltschutz hat bedauerlicherweise viel mit Medienpräsenz zu tun, gerade im Veranstaltungsbereich. Es gibt ja den Spruch: „Tue Gutes und Sprich Darüber“ - und genau das ist es auch. Lange Zeit haben wir nichts daraus gemacht, sondern haben gedacht, [...] wir machen soviel, das müssen die Leute doch sehen, die Bonner müssen das doch begreifen, was wir alles tun. Das war aber überhaupt nicht so. [...] der Bonner Politik mit denen wir auch immer über Zuschüsse verhandeln müssen, [...] denen war überhaupt nicht klar was wir da tun, das wir so eine Position haben. Deswegen haben wir gesagt: Wir müssen jetzt einen Weg suchen, das irgendwie nach Vorne zu bringen, das zu promoten. Dafür brauchten wir einen Slogan, eine coole Marke, so wie Green’n’Clean und so sind wir dann

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Eco-friendly Music Festivals auf Green Rocks gekommen. [...]. Damit [...] haben wir ein Label um die ganzen Maßnahmen zu bündeln. Wir [...] wollten auf dem Gelände alles markieren, was mit Umweltschutz zu tun hat, [...] um das zu markieren brauchten wir ein Erkennungsmerkmal, eine Marke: Green Rocks. Es ist in erster Linie ein Promotion Tool für die Umweltbemühungen der Rheinkultur.

Warum werden Green Rocks und Rheinkultur im Internet getrennt behandelt (Zwei HP’s)?

Wir hatten Angst, dass es auf der Rheinkultur-Seite untergehen würde [...] Die gibt es erst seit letztem Jahr (2009) [...] in dieser Form und wir sind auch noch nicht am Ende dessen, was möglich ist. Wir haben relativ spät angefangen die Seite mit Inhalt zu füllen, aber eigentlich soll Green Rocks ein Label für sich sein und etwas für sich darstellen. Dort wollten wir auch und ist auch immer noch der plan, so was wie Checklisten, unser Handbuch etc., rein stellen. Wir wollten schon was eigenständiges zur Rheinkultur machen [...] Green Rocks bedeutet Umweltschutz bei Veranstaltungen, gehört aber auch zusätzlich noch zur Rheinkultur. Das müssen wir aber auch noch besser raus arbeiten.

Was für Green Rocks Aktionen gab es bisher?

[...] Die letzten zwei Jahre haben wir zusammen mit der DBU, Deutsche Bundesstiftung Umwelt, ein Projekt durchgeführt, das nennt sich Abfallmanagementzonierung. Im ersten Jahr wurde erfasst wo welcher Müll anfällt - dort wurden dann verstärkt Mülltonnen aufgestellt und etwas an unserem Müllmanagement geändert. Das alles haben wir z.B. mit dem Green Rocks Zeichen gekennzeichnet. Es gab einen eigenen Green Rocks Infostand [...] In einem Bereich stehen schützenswerte Pflanzen, dort haben wir an den Zaun ein Infoschild Green Rocks befestigt, sodass die Leute sehen konnte hier ist etwas und sich dann vielleicht auch mit der Rheinaue auseinandergesetzt haben.

War die Beteiligung an dem Gewinnspiel (Müllboxen) von Green Rocks sehr hoch?

Sehr hoch war sie nicht. Im Vergleich zu den Besucherzahlen ist das immer enttäuschend.

Aber wir sind da natürlich realistisch, viele Leute interessieren sich nicht dafür, auch wenn sie auf der Homepage anklicken würden, dass sie sich dafür interessieren. Auf dem Gelände machen sie es dann doch nicht. Wir waren da nicht zufrieden muss man sagen. Das gleiche gilt, [...] für eine Kooperation mit Naturwatt, [...], die haben angeboten das man umsonst auf deren Homepage die Anfahrt kompensieren konnte. Man musste nur eintragen mit welchem Verkehrsmittel man gekommen ist und wie viel km man gefahren ist. Das war ein beschämend geringer Anteil von Leuten die da mitgemacht haben. [...] es war leicht, es hat nichts gekostet- und die Leute haben es einfach trotzdem nicht gemacht. Kommunikation, dieses Thema steht auf unserer Liste sicherlich noch ganz weit oben [...] etwas was wir unbedingt noch verbessern müssen. Das war einer der Gründe dafür, dass wir einen Slogan gesucht haben der die Leute anspricht. Wir haben gesehen, mit erhobenen Zeigefinger kommt man nicht weit, [...] Green rocks, wenn man das auf ein Shirt schreibt oder auf einen Bändel, das ist noch „cool“, da kann man die Leute vielleicht mit erreichen. Tut man auch was den Verkauf der Merchandiseartikel betrifft- aber sie setzten sich trotzdem offensichtlich noch nicht so sehr damit auseinander.

Ist David Ebert, immer noch der Umweltbeauftragte?

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Eco-friendly Music Festivals

Nein, der David ist leider weg,[...]. Es muss für nächstes Jahr aber einen geben, weil das Thema tatsächlich so umfangreich ist, dass sich jemand hauptamtlich damit beschäftigen muss. Es funktioniert nicht wenn einer von uns das nebenher macht. [...]. Dafür könnte man viel zu viel tun. Die Liste dessen was man umsetzen könnte, wenn man die Ressourcen hätte, ist riesig. Deswegen haben wir gesagt das ist auf jeden Fall eine eigene Position und die wird es auch in Zukunft geben.

Wie definieren Sie selber Ihre Zielgruppe für das Festival allgemein?

Die Rheinkultur spricht eine relativ breite Zielgruppe an, weil wir z.B. mit der grünen Bühne, [...] eine ganz andere Zielgruppe ansprechen als wie wir es mit dem Tanzberg tun oder dem Hip Hop Bereich. Nichtsdestotrotz, wir machen auch immer wieder Umfragen: die grundsätzliche Zielgruppe sind schon Musikinteressierte zwischen 18 und 25 Jahren, vielleicht noch so mit einem Hang zu 29. Das ist die Hauptzielgruppe. Wenn man in Richtung Hip Hop geht, dann ist die Zielgruppe schon etwas jünger. Da fängt es schon mit 16 Jahren an. [...] vor den großen Bühnen sind die Leute alle so um die 22/23 Jahre [...]. Dadurch das wir eintrittsfrei sind, haben wir natürlich auch einen ganz großen Spielraum. Wenn das Wetter gut ist, dann kommen auch viele Familien, die dann Nachmittags kommen, bisschen auf der Wiese flanieren und dann wieder nach Hause gehen. Die sich gar nicht so sehr für die Musik sondern für den Event an sich interessieren. Schwerpunkt ist sicherlich vor den Bühnen, rote und blaue Bühne, die Anfang bis Mitte zwanzig Jährigen.

Haben sie eine bestimmte Zielgruppe denen sie die Umweltthemen nahelegen wollen? Bzw. ein bestimmtes Ziel was sie erreichen wollen?

Wir wollen grundsätzlich das Bewusstsein der Leute stärken. Wir wollen sie nicht missionieren, das können wir auch gar nicht, wir wollen ihnen aber zumindest das Gefühl [...] das jeder etwas tun kann. Und wenn wir das können, als eintrittsfreies Festival, mit wenig Personal und wenig Geld - dann muss es eigentlich jeder können. Im Grunde wollen wir nicht mehr als den Leuten einen Denkansatz mit nach Hause zugeben, das ist eigentlich unser Ziel und selbst das klappt kaum. [...] Ich glaube z.B. nicht, dass jemand der sich ein Green Rocks Solibändel kauft, das einen Euro mehr kostet, es kauft weil dieser Euro in die Umweltschutzbemühungen der Rheinkultur gehen. [...] ich glaube sie kaufen es, weil sie dann eben noch ein Bändel haben, mit einem Spruch drauf. Deswegen setzen wir sehr, sehr weit unten mit unseren Zielen an [...] die Leute irgendwie zum nachdenken zubringen, [...], dadurch das sie sich auf dem Festival in einer bestimmten Art und Weise benehmen. [...] diesen Müll darein, tu dies nicht oder tu das nicht und sie dann die Idee vielleicht mit nach Hause nehmen [...] All so was zu vermitteln, wie Umweltschutz ist nicht hippie, ist nicht uncool, dass ist das was alle machen, das ist im Grunde uns so wichtig: Das geht uns alle an und wir machen das alle. Auch die ganzen Stars, Künstler, sie machen es alle. Umweltschutz hat ja immer noch sowas öko- hippiemäßiges, manchen Leuten ist das nicht cool genug, dass ist das was wir versuchen zu transportieren: Umweltschutz ist cool, weil das einfach normal ist. [...]. Es gehört zu so einer Veranstaltung dazu, wie das eigentliche Programm. [...], egal wie punk-rock und modeaffin oder hip hop du bist - es gibt immer etwas was du machen kannst.

Was gibt es neben Green Rocks für weitere Kommunikationsmittel für das Umweltthema?

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Eco-friendly Music Festivals Wir haben wenig konkrete Aktionen. Wir versuchen es mehr dadurch das wir es als vermeintliche Normalität transportieren. Wenn es nur Normalität wäre, dann müssten wir es nicht noch präsentieren, aber deswegen bemühen wir uns, immer mal wieder in allen Medien darauf hinzuweisen, was wir alles tun, [...], und dadurch eben versuchen zu sagen wir sind ‚cool’, wir machen ein ‚cooles’ Festival, bei uns spielen coole Künstler und wir machen auch ‚coolen’ Umweltschutz. [...] Wir setzen uns auch relativ intensiv mit Anfragen in unseren Foren auseinander. Z.B. das Thema Mitbringen von Getränken, kommt sehr häufig vor. Das hat zum einen einen wirtschaftlichen Aspekt, aber wir versuchen es auch mit dem Müllaspekt zu erklären: [...] wir können uns nicht darauf verlassen, dass ihr das Zeug hinterher in die Mülleimer werft, sondern am Ende bleibt es dann doch auf der Wiese liegen, deswegen sammeln wir die Getränke direkt an den Eingängen ein. Wir versuchen uns sehr intensiv auf die Besucher einzustellen und deren Anfragen auch tatsächlich zu beantworten. Die Moderatoren erklären immer wieder mal was und sagen immer mal was dazu und wir versuchen schon sehr die Leute da abzuholen, wo sie stehen und das ist nun mal nicht in irgendeinem total bewussten super-veganen Ökoladen in dem sie gerade einkaufen gehen, sondern das ist Zuhause auf der Couch, irgendwelche Hip Hop oder Punkrockplatten hörend, und sich mit dem Thema nicht auseinandersetzend. Wir versuchen das Umweltschutzthema ein bisschen in die Normalität einzurücken - es gehört einfach dazu. Ist einfach Teil davon, was schwierig ist, weil wir es auch vermarkten müssen. D.h. wir müssen ihm eine Sonderstellung geben, was natürlich der Normalität ein bisschen entgegen steht [...]. [...] wir erwarten keine Wunderdinge von euch und wir erwarten auch nicht das ihr losfahrt und die ganze Welt rettet, aber was wir erwarten ist, dass ihr euren [...] Müll zumindest in die Müllbehälter werft die dafür da sind und vielleicht nehmt ihr auch eine Idee mit [...] z.B. habt ihr eine Fahrgemeinschaft gegründet, vielleicht ist das generell eine gute Idee, dass nicht jeder mit dem eigenen Auto fährt. Das war auch die Idee der Green Rocks Seite [...] mit dem Ziel sehr umfangreiche aber auch normale und praktikable Lösungen vorzustellen.

Ist der Umweltschutz bei der Künstlerakquise ein relevantes Thema?

Die finden das zwar alle gut, aber wir hatten noch keinen Künstler der gesagt hat: ‚Weil die Rheinkultur so super im Umweltschutz ist, spiele ich da!’ Wir haben sowieso relativ große Probleme Künstler zu bekommen, weil wir nur einen Bruchteil der Gage zahlen können [...] d.h. wir bekommen sie entweder, weil sie gerade auf der Durchreise sind [...] oder wir kriegen sie, weil sie bei uns eine große Publikumsmenge bekommen. Das sind Menschenmengen die sie sonst normalerweise eben nicht haben. Das ist etwas was besonders die Agenten gut finden; ihre Band vor so vielen Leuten spielen zu lassen. [...] Viel eher passiert es, dass die Künstler sagen wir spielen bei euch, weil wir es cool finden das ihr eintrittsfrei seid. [...]ich glaub das gerade die künstler verstehen wie viel arbeit dahinter steckt, so was möglich zumachen. [...] eine Band wie die Fanta4, die hätten bei uns nicht gespielt wenn die das nicht cool finden würden was wir machen, und das müssen die nicht für das bisschen Geld was wir denen gezahlt haben, das war sicherlich kein Anreiz für die. [...] die sehen das ist anders als bei kommerziellen Veranstaltungen, [...] wir schreiben diese Informationen auch in die Künstlerverträge mit rein, [...] einen Anhang mit Informationen zu den verschiedenen Umweltmaßnahmen [...] und bitte achtet Backstage auch darauf, dass ihr euren Müll trennt usw. Diese Maßnahmen gibt es also nicht nur im Besucherbereich, sondern auch im Backstagebereich [...]. Ob die Informationen am Ende bei den Künstlern immer ankommen hängt vom Management ab, das wissen wir nicht, aber wir versuchen sie zumindest auf unsere Seite zu ziehen. [...] Ein paar Künstler haben für die Green Rocks Infobanner ein paar Zitate abgegeben, wie Max Herre oder Madsen, [...]. Es gibt auch Bands [...], die das dann im Rahmen ihres Auftrittes sagen. Die Donuts z.B. sind eine Band die es wirklich cool fanden

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Eco-friendly Music Festivals auf der Rheinkultur zu spielen und die es auch nach Außen transportiert haben. Aber dass deswegen jemand auf uns zugekommen ist gab es einfach noch nicht. Vielleicht ist das auch ein Marketing Problem, das kann ganz gut sein - wir haben es bisher nicht geschafft die Bemühungen der Rheinkultur so zu vermarkten, wie sie es eigentlich verdient hätten.

Wie läuft das mit der Sponsorenakquise?

Die meisten der Sponsoren akquirieren wir gar nicht selber, das machen wir mit einer Agentur zusammen, die auch für andere Festivals arbeitet. Diese hat relativ lange gebraucht um zu verstehen was die Besonderheiten der Rheinkultur sind [...] und Umweltschutz ist eine davon. Aber als es dann erst mal geklappt hat, gab es direkt auch Natural American Spirit[...]

Wir nutzen unsere Umweltbemühungen schon, wir sind da nicht so total altruistisch, das wir sagen, wir machen Umweltschutz nicht nur der Umwelt zuliebe, sondern auch um es zu nutzen und etwas Gutes rauszuholen.

Haben sie die in Bonn ansässigen Firmen wie Haribo oder Telekom schon mal angesprochen?

Ja, haben wir mehrfach. Haribo z.B. ist eine Firma, die machen gar nichts außer Kinder und Motorsport [...]. Bei der Telekom und bei der Post, da waren wir auch ein paar mal, da ist das Problem [...] das diese extrem hohe Ansprüche an ihr Standortmarketing haben [...]. Die Rheinkultur als Nicht-Hochglanzveranstaltung passt da einfach nicht rein. Wenn die Telekom etwas in Bonn macht, dann muss das pompös, riesig, groß, glitzernd und hochglanz sein [...].

Auch der Rheinkultur VIP-Bereich ist eine Lachnummer im Vergleich zudem was die eigentlich wollen. Und deswegen haben wir es bisher nicht geschafft. Die Agentur TheSponsorspeople, die die Telekom auch auf anderen Festivals wie z.B. Rock am Ring vermarktet, versucht es jetzt aber nochmal. Die Telekom hat nicht nur ihren Sitz in Bonn, sie haben auch eigene Umweltinitiativen mit denen sie werben. [...]. Wir waren mehrfach dort, in verschiedenen Konstellationen, mit verschiedenen Mittelsmännern, mit verschiedenen Sponsoringansätzen, und es hat nie geklappt. Wir haben ja ohnehin kaum Sponsoren aus Bonn - um genau zu sein, gar keinen. Wir versuchen es momentan nochmal unter dem Rettervorzeichen, das wir sagen, ihr habt jetzt die Möglichkeit die Veranstaltung zu retten aber ob das was wird schauen wir mal. [...] Die Rheinkultur GmbH wurde 2003 neu gegründet, davor hat es ein Verein gemacht, der ist dann insolvent gegangen [...] und ich glaube, dass wir von 2003 bis 2007 jedes Jahr bei der Telekom [...], vor der Tür standen.

Irgendwann hört man dann auch auf und sagt sich, dass reicht jetzt auch. Das gleiche auch mit Solarworld [...] aus Bonn, ein riesen Konzern [...]. Die werden so überflutet mit Anfragen, und der Typ macht halt nur worauf er Lust hat, wie z.B. die Museumsmeile, mit eigenen VIPBereich zum promoten [...]. Ich denke das ist eines der größten Probleme [...], dass die Rheinkultur überhaupt nicht Hochglanz ist [...]. Und das ist in der Sponsorensuche manchmal schon problematisch, [...]. Wir (Rheinkultur) wollen unser Geld lieber für andere Sachen ausgeben, für das was wir als wichtiger erachten.

Ist die Medienpräsenz in den letzten Jahren gestiegen?

Grundsätzlich ist sie das. Wir haben leider die Rockpalast-Übertragung verloren. Die Headliner der Rheinkultur wurden ein paar Jahre lang vom Rockpalast übertragen, jetzt gibt es mittlerweile nur noch ein einstündiges Feature über die Veranstaltung. Schlecht für uns,

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Eco-friendly Music Festivals weil die Sponsoren sich natürlich auch sehr nach TV-Zeiten richten [... ]. Die generelle Berichterstattung der Rheinkultur hat allerdings massiv zugenommen [...], dass liegt aber unter anderem auch daran das wir mittlerweile vier Leute sind und einer davon sich um Presse kümmern kann. [...] damals, nur zu zweit, mit einer Auszubildenen, [...] da war nicht wirklich viel Zeit Dingen besonders hinter her zu sein - mal irgendwelchen Pressevertretern Essen zugehen [...], all das was man machen muss um sich Pressekontakte warm zu halten.

Das ist einfach an den Ressourcen gescheitert. Dadurch das wir jetzt vier feste Mitarbeiter sind, und drei Langzeitpraktikanten haben, hoffen wir, dass wir solche Sachen jetzt auch mehr nach Vorne bringen können und wir eben nicht nur Froh sind, dass wir das Nötigste überhaupt hinkriegen, damit die Veranstaltung überhaupt stattfindet.

Wie ist die Organisationsstruktur generell aufgebaut?

Ein Bereich ist Presse/Promo, dazu gehört mittlerweile auch die Präsenz im Web 2.0 Medien, was wir vorher noch nicht so gemacht haben [....] wie z.B Facebook, Twitter, etc.. Ein weiterer Bereich ist das Booking, also alles was mit Bands zusammenhängt. Dann gibt es den Bereich rund um die Infrastruktur, von Bühnen über Müll über Reinigung ...

Umweltschutz ist ein eigenes Thema. Sicherheit ist ein eigenes Thema. Und natürlich noch Finanzen. Im Grunde eine normale Struktur, nichts außergewöhnliches. Außer vielleicht, das wir einen eigenen Umweltbeauftragten haben und eine eigene Abteilung [...] das läuft häufig ja nur nebenher. [..] es hat allerdings auch lange gedauert, denn als die GmbH neu gegründet wurde gab es genau zwei Abteilungen, und da wurde der Rest irgendwie aufgeteilt. Das ist jetzt besser geworden.

Haben sie schon mal ihr Veranstaltungsimage nachgemessen? Wie ist das?

Bedauerlicherweise ist das ein ganz wunder Punkt für uns, weil wir im Grunde keins haben.

VWR, der Verein der die Rheinkultur früher gemacht hat, haben lange die Umsonst und Draußen Idee als Image vor sich hergetragen. Und das ist was, wovon wir uns trennen wollten, denn Umsonst und Draußen klingt nach totaler Provinz Veranstaltung [...] was die Veranstaltung wirklich nicht ist. Und deswegen haben wir als erstes, nachdem wir die GmbH gegründet haben, uns von dem Umsonst und Draußen Image getrennt. [...] Wir haben dafür aber nichts neues gefunden. Wir haben tatsächlich letzes Jahr noch zusammen gesessen und werden es auch dieses Jahr wieder tun und versuchen herauszufinden, wofür die Veranstaltung denn nun eigentlich steht?! Was ist das was die Veranstaltung besonders macht? Was ist das was sie auszeichnet? Sind auf Umsonst und Draußen gekommennatürlich- das ist was sie ausmacht. Aber da sind wir nicht weiter gekommen, das ist ein ganz großes Problem das die Rheinkultur hat. Gerade in Bezug [...] auf die weitere Vermarktung.

Wir können gar nicht sagen was [....]unser Unique Selling Point ist [...]. Wir sind eine große Veranstaltung, eintrittsfrei, [...]wir sind auch im Umweltschutz aktiv.

Haben sie auch daran gedacht sich eine Art grünes Image aufzubauen?

Ja, haben wir natürlich. Wir glauben aber das es nicht ausreicht. Das es als Alleinstellungsmerkmal nicht ausreicht. Sondern wir glauben, dass es in einer Kombination funktionieren muss: So groß und trotzdem eintrittsfrei, und trotzdem die Umwelt schützend und nachhaltig, obwohl es die Publikumszahl einer kleinen Stadt hat. Die Veranstaltung ist zu vielfältig [...] als das man sagen könnte: wir zielen jetzt nur auf das eine ab. [...] weil dadurch

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Eco-friendly Music Festivals gegebenenfalls andere dinge nicht so fördern. Die Größe ist sicherlich ein Argument, das insbesondere für die Künstler und Sponsoren interessant ist wegen den Kontaktzahlen. Der Umweltschutz ist natürlich in Verbindung mit der Größe besonders interessant. Der Umweltschutz alleine bringt es einfach noch nicht. Der Umweltschutz ist natürlich auch in Verbindung mit der Eintrittsfreiheit interessant, weil wir natürlich über jeden Zweifel des Greenwashings erhaben sind, weil wir es uns gar nicht leisten können uns irgendwo freizukaufen. Wir haben nicht geschafft die Rheinkultur in einen Satz, mit den und den Schlagworten charakterisieren. Und das dann auch so zu verkaufen. Das ist ein ganz, ganz, großer wunder Punkt von uns. ... Natürlich ist das Thema Umweltschutz fast das einzige das daraus noch entwickelbar ist. Eintrittsfrei war sie immer schon und bleibt sie auch. Das ist so.

Groß ist sie mittlerweile auch und soll auch nicht größer werden. Aber das Umweltschutzthema ist etwas wo wir noch Energie reinstecken können und das wollen wir auch [...] Darauf wollen wir uns konzentrieren ... aber nicht nur Umweltschutz sondern auch Nachhaltigkeit, im Sinne von Fair Trade... sozialer Nachahltigkeit. Da sind wir aber noch relativ weit von entfernt. Bisher gibt es nur Umweltthemen. Das liegt am finanziellen Problem, Fair Trade Produkte sind zu recht teurer und wir können uns das einfach nicht leisten. Wir versuchen jedes Jahr Anbieter für fair gehandeltes Merchandise zu bekommen, z.B. T-Shirts, die sind dann aber einfach so teuer, das wir uns das einfach schlicht und ergreifend nicht leisten können. Wir haben versucht in Rahmen unseres Caterings- wir kochen selber 10 Tage lang für 40 bis 400 Leute [...]- haben da auch versucht auf Nachhaltigkeit zusetzen, indem wir Sachen von örtlichen Höfen und Anbietern geholt haben. Dadurch kommen wir aber auch an unsere Grenzen, da es a) ziemlich teuer ist und b) viel aufwendiger in der Herstellung. [...] Das hat viel mit Ressourcen zu tun die wir nicht haben, die wir aber wenn wir sie hätten sofort einsetzen würden. Wir haben Ziele definiert, gerade jetzt für die Retteraktion,... erstmal müssen wir die Veranstaltung retten, das Loch stopfen ... die Zuschusskürzung ausgleichen... sollte noch ein Sponsor kommen oder wir Geld übrig haben... dann sind Umweltthemen, so was wie fair gehandeltes Merchandise oder aber auch Bioessen, stehen sehr weit oben auf der Liste dessen wo wir Geld investieren würden wenn wir es hätten. ...Wir sind obwohl wir eine GmbH sind nicht auf Gewinnerzielung angelegt, keiner der Gesellschafter erwartet das er jemals Geld mit der Veranstaltung verdient. Auch wir die für die Veranstaltung arbeiten verdienen nicht viel, sodass jeder noch andere Sachen nebenbei macht um Geld zu verdienen, weil die Rheinkultur nur einen Bruchteil der normalen Löhne zahlt. Sodass nicht auf der Liste steht [...]. Wir haben eine klare Liste, wenn wir mehr Geld haben brauchen wir mehr Klos und Bioessen auf dem Gelände [...] mehr subventionierte Essensstände. Wir haben z.B. die Erfahrung gemacht das Festivalbesucher günstig essen wollen und dann landen die automatisch bei den Döner- und Frittenbuden. Es gibt auch immer mal wieder die Initiative von Fair Trade, Bio und Veganer-Ständen, die allerdings ihr Essen entsprechend teurer anbieten mussten und die Leute es dann einfach nicht gekauft haben. Weil es einfach mit dem günstigeren konkurrieren musste. Dieses Jahr ... haben wir zum ersten Mal zwei Stände , die wir auch in der Nähe unseres Green Rock Infostands positioniert haben, dabei gehabt wo wir gesagt haben, die müssen ... keine Standmiete bezahlen, dafür senkt doch nach Möglichkeit ein bisschen eure Preise, damit die Leute auch mehr solches Essen kaufen. Und das hat eigentlich ganz gut funktioniert.

Schlimm genug das es so ist, aber es ist halt so. Und das ist was ich ganz am Anfang meinte, ...wir kriegen die Leute nicht missioniert. Wir müssen versuchen Ihnen das über diesen Wege beizubringen. Wenn sie auf der Rheinkultur gutes, günstiges Essen essen, vielleicht zum ersten Mal eine Tofuwurst oder so etwas essen, vielleicht nehmen sie diese Idee einfach mit nach Hause [...] Oder wir bieten z.B. gutes Obst an von den Feldern nebenan [...].

Das BfN hatten 2006 eine eigene Bühne. Gab es eine bestimmte Aktion von deren Seite aus das Umweltthema zu vermitteln?

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Wenig. Die hatten einen eigenen Sounds for Nature Infostand. ...den haben die aber nicht viel beworben. Was die gemacht haben im ersten Jahr: die haben Müllscouts herum geschickt [...] die Müll eingesammelt haben. Die haben das sehr plakativ gemacht, hatten leuchtende T-Shirts an [...] und haben die Leute versucht ein bisschen darauf anzusprechen warum sie den Müll dahin geworfen haben. Die Scouts sind teilweise massiv von den Leuten angegangen worden, insbesondere wenn die schon etwas betrunken gewesen sind. Die Aktion hat es auch nur ein Jahr gegeben. Aber eigentlich war es gut. Es ist gut [...] die Leute mit der Nase drauf zu stoßen [...]. Aber das wollen die Leute ab einem bestimmten AlkoholLevel nicht mehr. [...] Diese Müllscouts haben uns aber auch eine extrem hohe Medienpräsenz gebracht, auch dem BfN hat es eine extrem hohe Medienpräsenz gebracht.

Weil es sehr viele Scouts gewesen sind und auch sehr sichtbare. [...] Wir hatten eine ähnliche Aktion in diesem Jahr [...] da sind auch Leute rumgegangen und haben Müll gesammelt, die waren allerdings kaum erkennbar. Die Leute haben das kaum zur Kenntnis genommen [...] Da hat das Bundesamt das schon besser gemacht. Im Longrun haben sie aber nichts aus der Aktion gemacht. Noch ein Beispiel aus den Sachen aus denen wir nichts machen: Wir haben Leute eingestellt, die im U-Bahn Bereich fegen ... und zusammen mit den Pfadfindern Pfandflaschen einsammeln [...] auf der einen Seite geht es um Müllvermeidung auf der anderen Seite ist es vielleicht das nachhaltigste was wir tun, dass die Pfadis das Pfandgut einsammeln und das Geld dann für ihre Zwecke einsetzten können wie zum Beispiel Krankenhäuser in Afrika ... da versuchen wir die zu unterstützen so gut es geht, aber wir haben auch nicht das Geld [...] nochmal zweieinhalb tausend oben drauf zu zahlen weil das so gut ist was die da machen. [...]. Es hat alles sehr niedrige finanzielle Grenzen. Wir hatten als Beispiel eine anfrage von Viva con aqua [...] die übers Gelände laufen und Pfandbecher einsammeln wollten und von dem Geld Brunnen bauen [...] Da mussten wir Nein sagen, zum einen weil wenn wir es den ersten erlauben dann werden zu viele Leute kommen, spenden sammeln wollen [...] und zum anderen [...] hatten wir selbst die Aktion, dass man Becher gegen Green Rocks Bändel umtauschen kann. Drei Pfandbecher gegen ein Green Rocks Bändel [...] wenn wir jetzt die Viva con Aqua Leute auf das Gelände lassen dann zerstören wir auch unsere eigene Aktion obwohl das so gut ist was die da machen. Das hatte tatsächlich einen finanziellen Hintergrund, wir brauchten das Geld selbst was wir mit dieser Aktion gesammelt haben. [...] Da würde ihr mir wünschen das wir einen größeren finanziellen Spielraum haben um solchen Aktionen auch eher möglich zu machen. [...]

Greenpeace und Amnesty usw. haben z.B. einen Stand [...] für nur Stromkosten wo andere Leute ordentlich Geld bezahlen, so 1.500 Euro würde so eine Standmiete in etwa kosten während sich die Strompauschale auf ca. 50 Euro beläuft [...] da wo [...] es nicht direkt Geld kostet versuchen wir es schon möglich zu machen, aber wir müssen uns auch immer wieder auf unsere eigenen Finanzen konzentrieren [...] Wo funken wir mit unseren eigenen Aktionen dazwischen, wo geben wir anderen Leuten lieber Geld [...] das ist natürlich der Nachteil der Eintrittsfreiheit. [...] Wir haben im letzten Jahr versucht so eine Art Umweltdorf zu schaffen... ein platz auf dem Gelände am See... hier zentrieren wir alle Stände die was mit dem Thema zu tun haben, die könne alle für minimales Geld dort einen Standort haben [...] Haben wir nicht geschafft. Die leute die sich dafür interessiert haben [...] wollten nicht in so ein Dorf eingekerkert werden, sie wollten lieber vor die Bühnen, da wo mehr Leute stehen. Die fanden die Idee alle nicht gut, im Gegensatz zu uns [...] Meiner meinung nach, geht man mitten auf dem Gelände unter, aber das interessiert die Leute nicht. Wenn es keine spektakulären Aktionen sind, die im Grunde nur von Greenpeace zu leisten sind [...] dann gehen diese Stände unter den ganzen Bartik, Silberschmuck und Rostbratwurstständen unter [...]. Die kamen dann auch nur einmal, haben gemerkt das sie mitten auf dem Gelände kein Zulauf haben und sind dann auch nicht mehr wieder gekommen. Wir haben schon Ideen, das die oftmals scheitern - damit muss man leben.

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Meiner Erfahrung nach finde ich mich immer nur sehr schlecht auf dem Gelände zu recht.

Gibt es vorab einen Geländeplan?

Ja gibt es. ... Kommunikation auf dem Gelände ist unbedingt noch Verbesserungswürdig. Es gibt vorab Geländepläne wo die wesentlichen Dinge draufstehen wie z.B. die Toiletten, Bühnen etc. – aber es wäre natürlich auch einen politischen oder sozialen Plan zu haben [...] die Rheinkultur ist im großen Maße unpolitisch, wir erlauben es keinen Parteien Informationsstände auf der Rheinkultur zu haben, aber wir haben schon politisch orientierte Stände, z.B. von der Antifa oder entsprechend Gruppierungen. Aber am Ende scheitert es immer am Geld. [...] weil wir müssten dann einen zusätzlichen separaten Plan machen [...]

Von 100 Punkten auf unserer Verbesserungsliste die wir uns in jedem Jahr setzen, bekommen wir in der Regel vielleicht 10 umgesetzt. Aber wir müssen es weiter versuchen [...]

Wenn ich ein internes Alleinstellungsmerkmal herausschreiben müsste, dann wäre das der unglaubliche Elan der Leute die für die Veranstaltung arbeiten [...] Auch gerade in der Retteraktion ist es positiv für uns zu sehen, was da für positives Feedback von den Leuten kommt. Die alle sagen wir wollen das die Veranstaltung weiter geht [...] wir wollen helfen, wir wollen uns da rein hängen ... das ist etwas was sich wirklich schlecht vermarkten lässt [...] aber die Motivationsquote der Veranstaltung ist extrem hoch. Deswegen hoffe ich auch das wir irgendwelche absurden Ideen noch umgesetzt bekommen. Solange wir nicht aufgeben daran zu glauben das wir sie umgesetzt bekommen.

Im nächsten Jahr (2011) will das Kulturamt Bonn die Zuschüsse kürzen?

Die Stadt Bonn hat dem Kulturamt vorgeschrieben wie viel Geld sie einsparen müssen. Das Kulturamt musste dann entscheiden auf welche Institutionen sie die Kürzungen verteilt. Die Rheinkultur bekommt im Moment circa 80.000 Euro von der Stadt Bonn, das ist ungefähr ein Achtel des kompletten Budgets, die rk hat ungefähr ein 600.000 Euro Budget. Natürlich bringt es uns nicht um, wenn wir 20.000 Euro weniger bekommen, d.h. es ist ganz schwer das medial auszunutzen, wir können nicht sagen die rk stirbt weil die Stadt uns jetzt den Zuschuss kürzt. Aber es ist etwas das die ganze Sache noch schlimmer und noch schwieriger macht. [...] in unseren Augen ist das auch ein totaler Schlag ins Gesicht was die Anerkennung der Veranstaltung angeht [...] aber wenn man überlegt wie wichtig wir für Bonn sind, wir sind auch im Imagefilm der Stadt Bonn, dann ist es natürlich besonders hart [...].

Appendix M: Fragebogen: Das Fest/ DAS FEST GmbH/ Michael Kozak (seit 12 Jahren) I. Unternehmen: DAS FEST GmbH 1. Das Fest GmbH gibt es seit:

2010

2. Wie viele Mitarbeiter beschäftigt das Fest GmbH:

8

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Eco-friendly Music Festivals 3. Wie ist die Organisation aufgebaut?

Position/ Abteilung

Name(n)

Geschäftsführer

Martin Wacker Sven Varsek Markus Wiersch Sabrina Fütterer Thomas Geiger Michael Schmid Dirk Schneider Johanna Egeling

Öffentlichkeitsarbeit

Aufgaben im Rahmen des „Das Fest“ vom Stadtjugendausschuss

4. Wieviele Personen beschäftigen sich mit dem Umweltthema?

II. Festival: Das Fest (seit 1985) 1. Das Fest GmbH organisiert das Fest seit:

2010

2. Vorher wurde das Festival organisiert von:

Stadtjugendausschuss

3. Was sind die Besonderheiten des Festivals verglichen mit anderen Festivals?

Spezielles Angebot für Familien, Sportangebot (Sportpark)

4. Wie ist das Veranstaltungsimage?

Sabrina Fütter?

5. Wie wird das Festival finanziert?

2009 überfüllt, vorher war es komplett kostenlos. Das Fest 2010 fand vom 23. bis 25. Juli 2010 statt und kostete erstmals EintrittDas Gelände wurde in einen kleinen Sport- und Familienbereich, der weiterhin kostenlos zugänglich ist, und einen größeren Musikbereich eingeteilt. Für den Musikbereich wurden erstmals Tageskarten zum Preis von fünf Euro für den Fest-Freitag und -Samstag verkauft. Der Festsonntag blieb weiterhin kostenlos.

Sonst Getränkeverkauf, Sponsoren, Spenden

6. Wie definiert sich die Zielgruppe des Festivals?

Familien, Jugendliche aus allen Musikrichtungen

(gibt es hierzu evtl. Besucheranalysen aus der Vergangenheit?)

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7. Wie hoch ist die Besucherzahl im Durchschnitt?

150.000 bis 200.000

8. Wie funktioniert die Sponsorenakquise?

Aktiv Kontakte

X

Passiv

Die Gesellschafter sind Selbständige und haben

8.1 Sind Ihre Umweltbemühungen Anreiz für Sponsoren?

Ja

X

Nein, noch keine Sponsoren aus diesem Bereich gesucht steht jetzt aber noch an!

8.2 Werben sie mit Ihren Umweltbemühungen bei Sponsoren?

Ja, indem wir X

Nein, nach 2009 Überfüllung, 2010 GmbH ist nun die Zeit für Umwelt

8.3 Sponsoren des Festivals sind: (bitte ergänzen, bzw. korrigieren) Hauptsponsor: Sparkasse, Coca Cola, dm, LBS, Füllhorn Biomarkt, hoepfner, BGV, die neue Welle, R.TV, BNN, ka-news.de

9. Sind die Künstler über die besonderen Umweltbemühungen des Festivals informiert?

Ja, in Form von X

Nein 9.1 Gab es in der Vergangenheit Künstler, die Ihre Umweltbemühungen auch nach außen getragen haben?

Ja, z.B. X

Nein

III. Umweltaktivitäten 1. Was waren die Beweggründe für eine umweltfreundliche Gestaltung des Festivals?

Wann kam es zu ersten Maßnahmen? Was waren/sind die ersten Maßnahmen?

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Eigeninitiative, das gehört einfach dazu

2. Wann hat das Festival das erste mal den Green’n’Clean Award erhalten? Wie oft?

Das Fest konnte von 90 möglichen Punkten 54 Punkte erreichen und darf sich somit 2007 offiziell als Green’n’Clean-Festival auszeichnen. 2008, 2009, 2010

3. Gibt es einen eigenen Umweltbeauftragten?

X

Ja, und zwar

X

intern, Michael Kozak

extern

Nein

4. Ist es Ziel der Veranstaltung das Publikum für den Umweltschutz zu sensibilisieren?

Ja X

Nein 4.1 Wenn ja, was ist der konkrete Lerninhalt?

4.2 Wie werden diese Lerninhalte kommuniziert?

Zuerst leigt es uns etwas zu tun und kommunizieren wir das

5. Wie werden Ihre Umweltbemühungen Ihrerseits nach außen getragen? (Publikum, Stadt, Sponsoren) Auf der Homepage gibt es einen Green and Clean Register Bisher ansonsten über Presse mehr über Jugendschutz und die neuen Regulungen kommuniziert

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Eco-friendly Music Festivals IV. Konkrete Umweltmaßnahmen Wie sehen die konkreten Umweltmaßnahmen in den jeweilgen Bereichen aus?

1. Verkehr Unter 30% Parkplatzangebot Sonderbusse/züge

2. Abfall Mülltrennung 500 Eur Kaution für Standmieter, damit sie den Müll wieder mitnehmen Verbot von flyer und give aways 3. Abwasser Abwasser wir in Cubes gesammlt dort wo kein netz ist

4. Energie Das Fest wird von EMBW gesponsort, die aber noch zu viel Atomenergie beziehen

5. Lärm In der Nähe ist ein Krankenhaus, deswegen ist um 23.00 Uhr Ende

6. Campingplatz kein 7. Verpflegung Wollen versuchen jetzt Standbetreiber vertraglich binden, umweltfreundliche Verpackungen bzw. gar keine zu verwenden. Beim Fest stehen die Standbtreiber Schlange.

8. Information und Kommunikation

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