Eventful Cities. Cultural Management and Urban Revitalisation

525 Pages·2007·4.47 MB·English

by  Greg Richards and Robert Palmer (Auth.)

Eventful Cities: Cultural
Management and Urban
Revitalisation
Greg Richards
Robert Palmer
AMSTERDAM(cid:2)BOSTON(cid:2)HEIDELBERG(cid:2)LONDON(cid:2)NEWYORK(cid:2)OXFORD
PARIS(cid:2)SANDIEGO(cid:2)SANFRANCISCO(cid:2)SINGAPORE(cid:2)SYDNEY(cid:2)TOKYO
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Preface
The aim ofthis book is to analyse the ways in which events
helpcitiesbecomemoredynamicandliveableplaces,andhow
citiescandevelopandmanageeventfulnesstoachieveawide
rangeofcultural,economicandsocialobjectives.Thisisnot
abookabouteventmanagement,ortheoperationalmanage-
mentofevents,butaboutmakingcitieseventfulandutilising
eventstohelp‘make’places.Itisnotsimplyabookaboutcities
withevents;itisaboveallaboutthepracticeofeventfulcities.
The structure of this volume follows the process of
conceiving, developing, staging, managing, marketing and
assessing events. Hopefully these analyses will provide
a greater understanding of the relationship between events
andtheirhostcities–howeventsshapecities,andhowcities
shape events.
In order to illustrate these processes, this book draws on
theexperiencesofcitiesashostsfortheEuropeanCapitalof
Culture (ECOC), an event held annually in different Euro-
pean cities since 1985. It is also based on the authors’ expe-
rience of directing, advising and analysing different ECOCs,
but also many other major events and festivals. Because
ECOCshavebeenheldinarangeofdifferentcities,andeach
cityhasinterpretedtheconceptindifferentways,theECOC
providesafascinatingcomparativelaboratoryforstudyingthe
relationship between cities and events: a laboratory the
authors have been following for many years. The unique
insights into urban eventfulness provided by the ECOC and
other examples from events around the globe provide an in-
depth coverage of the major issues and opportunities facing
eventful cities.
The decision to focus primarily on culture is based on
agapincurrentpublicationsinthisfield.Indoingso,wehave
vii
viii Preface
decided on a wide conception of culture, of course encom-
passingthe arts,butalsofocusingonotherformsofcultural
production and consumption. There are many studies of
events, but these tend to focus on sport and popular enter-
tainment,andparticularlyinternationalsportingeventssuch
astheOlympicGames.Thisisnotsurprising,asmajorsports
events tend to generate significant economic and media
impact,whichappeartomaketheirroleinspecifichostcities
more noteworthy than most cultural events. However, rela-
tivelyfewcitieswillhavetheopportunitytohostmegaevents
ofthescaleoftheOlympicGames,whereaseverycityhasthe
abilitytoattractorcreateitsownculturalevents.
This volume begins a consideration of the reasons why
citiesmightwanttodevelopevents.Chapter2considersthe
process of event creation, what ‘events’ are, how they are
createdandhowcitieschoose whichevents tocelebrate.For
the eventful city, individual events are the building blocks
used to construct a vision and create a cultural programme,
which is the focus of Chapter 3. Programming the city also
requiresthecollaborationandcoordinationofawidenetwork
of stakeholders, an issue covered in Chapter 4. Drawing on
theoreticalperspectivesfromstakeholdertheoryandnetwork
theory, the chapter analyses issues of leadership, collabora-
tion, partnership and coordination in bringing an event pro-
grammetofruition.
Chapter5considersthemanagementandorganisationof
theeventfulcity,examiningtherelationshipbetweenstrategic
andtacticalmanagementissues,themethodsofdealingwith
crisis management and the functioning of management and
information systems. Chapter 6 considers the problems of
raising money from different sources to fund event pro-
grammes,includingpublicsectorfinancingandsponsorship.
Oncetheeventhasbeencreatedandfinancesecured,itneeds
to be marketed. Chapter 7 explores marketing, communica-
tionsandtheroleofthemedia.Thechapterconsiderstherole
ofmarketingandpromotion,bothaseventsintheirownright,
andtheirwiderroleincreatinganimageforacityorregion.
The audiences and publics of the eventful city are the
subject of Chapter 8. The profile of visitors to different
events,theirmotivationsandexperiencesarediscussed.This
Preface ix
informationisvitalwhendecidinghowtoreachtheaudience,
and what kind of events to stage. Chapter 9 focuses on the
outcomes and impacts of events. Events are increasingly
designed to deliver a complex range of cultural, social and
economic impacts. Inmost cases,the estimation ofimpacts
prior to staging the event is an important consideration of
whether or not to stage an event. Impact assessments are
therefore being used as tools for advocacy, as well as for
directing and evaluating policy. Chapter 10 considers
different aspects of event programme sustainability, exam-
ininghowtheeventfulcitycanbeprogrammedandmanaged
to ensure long-term success. The issues covered include
environmental, cultural, social and economic sustainability,
and the balance between these different aspects.
Additional critical reflections on the ‘keys to success’ for
theeventfulcityfollowinChapter11.Manypeopleinvolved
in conceiving, supporting and organising events, including
political leaders, city officials, sponsors, event managers,
urban planners and cultural policy makers, are interested in
learningfromexperienceintheirownandothercitiesabout
howtomakeeventfulnesswork.Thechapteroutlinesmany
ofthekeyconceptsthatunderpinsuccessfulevents,drawing
ontheexperienceoftheauthorsandothers, andtheanalysis
of specific events across the world. The concluding chapter
looksatmajorkeyglobaltrendsandtheirimplicationsforthe
development of eventful cities in the future. Key environ-
mental, socio-economic, political and cultural trends are
analysed,andsomeoftheemergingevent‘models’,whichare
havingagrowinginfluenceonthewaycitiesthinkabouttheir
events areconsidered.
This volume intends to provide guidance for those
involved in designing, running, funding, evaluating and
studyingcitiesandtheirevents,forthosewhoareinterested
in the board processes both of cultural management and
urban revitalisation, as these relate to events in cities.
Although we have tried as far as possible to cover a range of
cities across the globe in terms of size and geography to
illustratedifferentissuesineventfulcitiesinaninternational
context,prudencedictatesthatweconcentratedlargelytoour
experience and the availability of reliable and objective
x Preface
analysis. Although there is a particular focus on European
cities, we have used many examples from different conti-
nents, when appropriate, to convey that most of the princi-
plesderivedfromthevolumeareapplicabletoawidevariety
ofcitiesindifferentgeographicallocations.Nevertheless,the
wayinwhichtheseprinciplesareapplied,arealwaysacutely
sensitive to the local context. What works for cities such as
Barcelona or Glasgow or Montreal will not automatically
work elsewhere in precisely the same manner. There is
always a profound need to evaluate proposed action against
the particularities ofcontext and place.
Wearegratefultoagreatmanypeopleforcontributingto
the knowledge contained in this book, and we apologise in
advancefor notbeingable tomentionallofthem. Butafew
people stand out in terms of their contribution to critical
thinking about the ECOC and to our thinking about event-
fulness in cities, including Carlos Fernandes, Robert Garcia,
Luis Herrero, Erik Hitters, Dragan Klaic, Charles Margue,
MaryMiller,IlieRotariu,MyriamStoffen andmanyothers.
WearealsogratefultoCharlesMargue(TNSILRES),Leiden
University, the European Festivals Research Project and
Dieter Hardt-Stremayr (Graz Tourismus) for permission to
use data, tables and figures for this volume, and to the
EuropeanCommissionthat supportedthePalmer-Raestudy
on EuropeanCapitals ofCulture.
Thisbookisdedicatedtothosewhosecommitmenttothe
adventure of creating eventfulness is helping to make cities
great places to live, for ourselves and the generations that
follow,andthisincludessomespecialchildren–Eva,Megan,
Melissa, Micole and Ryan, who are events in themselves
inspiringthe world with joyand spirit.
About the Authors
Robert Palmer is the Director of Culture and Cultural and
Natural Heritage of the Council of Europe, based in Stras-
bourg,France.Hehasworkedintheculturalsector formore
than 30 years, directing festivals, managing cultural organi-
sations and operating in key Director positions in local
authorities and arts councils. He has been a consultant to
various cities and national authorities, and has acted as an
adviser to many European and international bodies in rela-
tion to cultural policy and strategy. In 2004, he directed the
evaluation team which produced the Palmer Report on
the ECOC forthe EuropeanCommission. His experience as
the Director of two ECOCs – Glasgow in 1990 and Brussels
in 2000 – as well as his direct involvement as an adviser to
more than 10 other Capitals of Culture in the conception,
biddinganddeliveryphasesoftheeventmakehimuniquely
experienced. In Glasgow, he was appointed as the city’s first
Director of Performing Arts and Venues, with additional
responsibilityformanagingaprocessofarts-ledregeneration
for the city over a 10-year period, of which Glasgow’s desig-
nationas ECOC formed a part.
HeisamemberoftheBoards ofvariousarts institutions
andinternationalfestivals,theChairofEuropeanartsjuries,
andisaskedregularlytobeaspeakeratinternationalcultural
conferencesandworkshops.Currently,heisalsotheChairof
Visiting Arts, UK. The main themes of his work concern
creativity, cultural policy, cultural planning, cultural devel-
opment in cities, intercultural projects, festivals and special
events. He has undertaken projects throughout Europe,
North America and South-East Asia. He has been given
variousawardsintheUK,BelgiumandFranceinrecognition
ofhis work.
xi
xii About the Authors
Greg Richards is Professor of Leisure Studies at Tilburg
University in the Netherlands. He has extensive experience
in research and education, with previous posts at London
Metropolitan University (UK); Universitat Rovira I Virgili,
Tarragona (Spain); Fundacio` Interarts, Barcelona (Spain) and
the University of the West of England, Bristol (UK). Greg is
a founding Partner of Tourism Research and Marketing, an
internationalconsultancyintourismandeventdevelopment
and marketing.
He has worked extensively on the analysis and develop-
ment of cultural and creative tourism in cities such as Bar-
celonaandBurgos(ES),London,Newcastle,Manchesterand
Edinburgh (UK), Amsterdam, Rotterdam and Den Bosch
(NL), Sibiu (RO), Amman (Jordan) and Macau (China). His
major publications include Cultural Tourism in Europe
(1996); Cultural Attractions and European Tourism (2001);
Tourism and Gastronomy (2002); The Global Nomad:
Backpacker Travel in Theory and Practice (2004); Cultural
Tourism–GlobalandLocalPerspectives(2007)andTourism,
Creativity andDevelopment (2007).
He was a member of the Palmer Report team evaluating
the impact of the ECOC for the European Commission, an
internationaljurymemberfortheselectionoftheHungarian
Capital of Culture in 2010, a contributor to the European
Travel Commission study of City Tourism and Culture and
theauthoroftheOECDreportonTheImpactofTourismon
Culture(2009).HehasadvisedtheDutchcityofDenBosch
on the development of multi-annual cultural events pro-
gramme to celebrate the 500th anniversary of the painter
Hieronymus Bosch. He has conducted evaluation research
for many ECOCs, and has advised others on their bidding
strategies.
List of Tables
Table2.1 ACitywithEventsVersustheEventfulCity.....43
Table2.2 Event Development Strategies......................54
Table3.1 Programming Elements inEast Asian
Festivals.....................................................96
Table3.2 Featuresof Internally and Externally
Driven Programming..................................106
Table3.3 Programming Based on Festival
Target Group.............................................107
Table3.4 Events inthe City ofMelbourneby
Type, 2006/2007......................................125
Table4.1 Types ofPowerin theCity..........................136
Table5.1 Potential Performance Indicatorsfor
Aspects ofan Events Programme................193
Table5.2 GreaterLondon Authority –Risk
Implications ofEvents for London
Programme...............................................200
Table6.1 Operatingand Capital Budgets ofthe
ECOC, 1985–2014...................................207
Table6.2 Event Programme Budgets for Major
Cities in the UK.........................................210
Table6.3 VisitsandCostsofMajorEvent
Programmes.................................................210
Table6.4 BudgetsofMajorFestivals in
Amsterdam,2001.....................................211
Table6.5 Breakdown ofCost perVisit for Festivals
inAmsterdam,Excluding the Uitmarkt........212
xiii
xiv List of Tables
Table6.6 Manchester PillarEventProgramme
2005........................................................213
Table7.1 The Marketing Planning Process for the
EventfulCity.............................................268
Table7.2 ForeignPress Cuttings and Change in
Bednightsfor Selected ECOCs....................288
Table7.3 Marketing BudgetsofECOCs......................289
Table8.1 Highest EducationalLevel of Visitors
tothe Sibiu InternationalTheatre
Festival.....................................................297
Table8.2 Occupational Profile of Visitors tothe
SibiuInternational TheatreFestival.............298
Table8.3 Target Groups Identified by Festivals
inthe East Midlands..................................299
Table8.4 Event Typology,Rotterdam ECOC 2001.......300
Table8.5 RotterdamECOC 2001 –EventType,
Visitors andRespondents...........................300
Table8.6 Attendance at Music Festivals in
Barcelona 1999–2007..............................303
Table8.7 Whichof the Following Factors Are
Important toYou in Decidingto
Participatein a Cultural Event?...................305
Table8.8 Breakdown ofVisitor Typesfor
Selected ECOC..........................................316
Table8.9 Attractionsand Events Visited During
Trip by Segment........................................326
Table8.10 Changein OvernightVisitorsto ECOC
inthe Period 1995 to 2007.......................327
Table8.11 Type of Event Attended by Tourists
inLuxembourgin 2007.............................330
Table9.1 The Quintuple Bottom Line Assessment
Model for the EventfulCity.........................344
Table9.2 A Balanced Scorecard for the
EventfulCity.............................................345