festivals and events Archives - Tourism Research Centre Blog

Exploring Creativity: Highlights from the British Arts Festival Association Student Conference

Written by Sadie Purves, student on MSc International Festival and Event Management at Edinburgh Napier University.

The British Arts Festivals Association (BAFA), the leading network and development agency for UK arts festivals, hosted a conference for students on October 9th at Manchester Metropolitan University. The conference, titled ‘A Festival Career’, allowed students to join a range of festival professionals to shape their own ideas about what a festival career could have to offer.

BAFA partners with festivals and UK universities, including Napier, to offer training opportunities for students. In this flagship event, BAFA aimed to bring together students, academics and industry experts with a presentation, panel and networking opportunities.

Key Themes and Panel

The conference opened with an introduction by BAFA Director Fiona Goh, and the overall themes of the conference were covered, such as the future of the festival industry, how to get your start in the field and the reality of festival work.

Since the attendance was both undergrad and postgrad students from a range of universities across the country, we all had different academic backgrounds, which was a great aspect of the event. There was a presentation from PhD student Naomi Taylor about her research on how festivals give the audience an opportunity to connect with culture and how this is mediated by the audience and the festival team. Taylor additionally went into how BAFA is partnering with her to complete her PhD. As a student, this experience was enlightening to hear about, especially for those who may be considering further study.

The conference continued with a panel, chaired by Dr Jane Ali-Knight, from Napier. Those on the panel included Ardy Naguib (Factory International), Rosie Gilbertson (Harrogate International Festival), Ottilia Ördög (Góbéfest) and Ashley Morris (Newbury Spring Festival). The panel focused on how these individuals got their start in the industry and how this can be translated into advice for students. Everyone had very contrasting experiences from one another, and this exemplified that, despite your background, there are many different ways you could contribute to arts festivals. The experience of starting Góbéfest was discussed by Ottilia Ördög, and this gave a fantastic representation and advice to students on how to explore starting your own festival. Many of the chairs shared that organising your own events, whatever their size or scope, is one of the best ways to gain experience.

Networking and Mentoring

After the panel, we began our ‘Meet the Mentor’ session, which allowed students to ask any questions and start a dialogue with the festival professionals. This section of the conference was a great opportunity to make connections and start to build a network. We had ample opportunity to meet with all of the mentors as well as Fiona Goh of BAFA and lecturers in attendance from Manchester Metropolitan University. The sense of the community this conference adopted in such a short time, built upon shared experiences and genuine connections, was definitely an asset of the event.

A Festival Career

Overall, the BAFA Student Conference provided a valuable and inspiring experience for students considering a career in the festival industry. From insightful presentations to practical advice from seasoned professionals, the event highlighted both the challenges and rewards of working in this dynamic field. The networking and mentorship opportunities allowed students to connect with industry leaders and peers, building a foundation of support and insight to guide their career paths. This unique event underscored the possibilities within the festival industry and empowered students to envision and shape their own futures in the arts.

Professor Kerr gives Keynote Lecture on ‘Business of Science Festivals’ in Mexico

Professor Gary Kerr, an academic within the Tourism Research Centre, has given the Keynote Lecture at the Association of Mexican Museums and Centres for Science & Technology (AMMCCYT) Annual Colloquium 2024, hosted by Centro de Ciencias Explora in León de los Aldama, Guanajuato, Mexico, from 29-31 August 2024.

AMMCCYT brings together science centres and museums from across Mexico. It aims to strengthen the effectiveness of science centre and museums to promote science and technology culture throughout Mexico.

The Annual Colloquium brings together academics, science centre & museum professionals, students and the general public to engage in dialogue, reflect, and exchange ideas, experiences and proposals related to museum spaces and cultural institutions.

During the colloquium, many presentations focused on engaging non-specialist audiences with science & technology and promoting a culture of science and technology across Mexico. The role of science centres and museums in promoting informal science learning was discussed heavily. The colloquium also discussed how science centres and museums can be inclusive spaces for a range of audiences with different needs.

I used my keynote lecture to discuss the ‘Business of Science Festivals’ and how science centres and museums could utilise science festivals as a means to strengthen existing audiences and reach new audiences. I also spoke about the power of science festivals in addressing inequity within the science, technology, engineering & maths (STEM) sectors.

During my keynote, I drew upon my research and practitioner roles in curating science festivals. In the UK, the term ‘science festival’ has been around since 1989, when the Edinburgh Science Festival was first launched. However, public science & technology events date back to the days of the Ancient Greeks when philosophers such as Plato and Aristotle would speak about their theories in public to the masses. The British Association for the Advancement of Science (now the British Science Association) has been holding annual meetings around the UK each year since 1831, and these have evolved into the contemporary British Science Festival – a festival that moves around the UK each year.

Despite 35-year the coming of age of UK science festivals, the STEM sector remains inequitable. There is a gender imbalance in the STEM sector with 65% of the UK’s STEM workforce being white men (Keith & Kerr, 2022). The lack of diversity in the STEM is not limited to gender, but runs through multiple strands of diversity (Keith & Kerr, 2022). There is also an inadequately trained STEM workforce, with around 40% of STEM vacancies difficult to fill (Keith & Kerr, 2022).

In my keynote, I spoke about the value of science festivals, but did go on to highlight that they do not provide a silver bullet to solve all the problems of the STEM sector. I spoke about the value of other types of festivals – including literature, film, music and arts festivals – and how these might provide a platform (albeit limited) for engaging non-specialist audiences with science. I also discussed the need to take into account socio-cultural issues when communicating science at festivals with diverse audiences. These include demonstrating appreciation for religious, cultural and historical sensitivities when communicating with audiences.

My invitation to deliver the Keynote Lecture at AMMCYT further strengthens Tourism Research Centre’s strong links with Mexico, which include delivering the Creative Leadership Programme on behalf of British Council Mexico in 2023 and 2024.

Reference

Keith, L. and Kerr, G. W. (2022). ‘Levelling the playing field: lessons from sport on re-framing science engagement as a benefit to the individual’. JCOM 21 (04), A03. https://doi.org/10.22323/2.21040203

CPH:DOX : Innovative, globally aware and a proud reflection of Danish culture

Written by Nancy Dionne

Hello from Copenhagen!

CPH DOX is an early documentary film festival, meaning that it occurs in March well before most of the others for both fiction and nonfiction. More programmers are attending this early festival to help them plan their own focus or themes, as well as to feel that they have a first glimpse into what topics are going to be most “top of mind” for the year. The festival screenings are also open to the public and non-industry people can
attend these and hear the Q&A’s afterwards with many Directors and Producers. Fun for all!

CPH DOX has become one of the “hottest” tickets due to its early “sneak peak” and as a reflection of Danish culture, is innovative and open way that it approaches its Official Selections. The festival honors the art of filmmaking, being visually pleasing to the eye and prides itself on being globally aware. The ability for industry to come together just after Sundance in a more intimate way to connect, combined with the delicious food and drink and welcoming hospitality of Copenhagen, is a bit like a solid pre game huddle with your favorite teams. The festival centers at the “Hub” located in
the city center at the lovely Kunsthal Charlottenborg and acts as a home base.
Banners and posters can be seen city wide overhead, on walls and even fences as
seen from the photo above. This year, 2,645 delegates registered (up from 260
from last year) which included industry, filmmakers, and students of film for the
private and intimate events. The public numbers of who attended the film screenings were over 125,000, with over 27 (yes 27!) venue/theaters spaces across the city to choose from, allowing the festival to come to their own neighborhoods to experience together and for out of towners to in turn, experience many
neighborhoods and different aspects of Copenhagen. Each delegate is given a badge that is connected to their program, film tickets and events to
make it more hands free for: FORUM, Conference, LAB, Symposium, Market, Academy, Delegates and all film screenings. There was also a VR event mixed in with the more traditional style of filmmaking.

Temporary yet colorful lecture style chairs and couches are set up and the design changes each year, to allow for more intimate conversations and a cozy feel throughout the Hub and other various rooms dedicated to those who are gathered.

Panel events run all morning and afternoon, forum pitches and special one to one mentoring occasions are always packed to the brim and with evening happy
hours sponsored by different countries and groups, allowing to meet other
filmmakers around the globe AND after parties usually sponsored by the distributors or larger sponsors, it’s literally jam packed.

The Happy Hour room, where some members of
Screen Scotland, (Dani Carlaw, Head of Unscripted
in green hat) and the Scottish Documentary Institute (SDI) and local producers in fine representation. Honestly, the hardest part is to work out which events to attend, combined with which films and parties all in one day!

Denmark is quite expensive however in the “off season” of March, I found affordable clean budget hotels and easy flights.

With delicious food and drink, locals known for their friendliness and openness, I have never been disappointed. You literally can meet people that you
see in early stages of their films or finished teaser trailers and get to celebrate and honor them the next year when they finish. It’s a feeling of camaraderie.

(above image is the collection of film posters over the years of
films to premiere at the festival)

This small but mighty festival with its many events, is a special way for the
doc filmmaking community to connect in person and to help support one
another. Attending these early doors for me, is like charging up all of your
batteries at once, allowing me to get through the year. But that doesn’t
mean you don’t leave tired, as yes, I can confirm that you most certainly do!

I have met an ever growing group of creatives from every continent, we stay connected and look forward to seeing each either at CPH or another doc related
film festival each year. I cannot wait to welcome many to Edinburgh this summer and was happy to be able to attend this year thanks to Napier’s post graduate International Festivals and Events program.

(Special labeling for the fest for Happy Hour IPA’s)

This is Joe Mecca (left), we met in 2023. The film that he and the team are representing for its European premiere is called MEDIHA.

It is directed and produced by Hasan Oswald, produced by Joe’s sister, Annelise Mecca and Fahrinisa Campana, Alexander Spiess, and Stephen Nemeth. Mediha is a young woman, one of many women and children survivors of the ISIS
orchestrated genocide, who stands up to her trauma and to the authorities. Mediha’s resolve and the gripping bravery of local heroes and the film crew’s live rescue attempts, will cause you to manually close your
dropped jaw. A-mazing. Be on the lookout for this incredible work, it will stay with you as an inspiration.

Goodnight from CPH:DOX, Copenhagen!!!
Stay Brave, Untamed and Kind, Nancy

(photos by Nancy Dionne and Joe Mecca)

Exploring the Rhythms of Change: The 36th International Live Music Conference (ILMC)

Written by Sherin Chandy, student on MSc International Festival and Event Management at Edinburgh Napier University, whose visit to this event was sponsored by the Tourism Research Centre.

In the dynamic domain of live entertainment, the International Live Music Conference (ILMC) stands as a beacon of collaboration, innovation, and growth. The 36th iteration of this prestigious gathering, referred to as ILMC’36, brought together the brightest minds and most passionate hearts in the live music industry. The conference, renowned for shaping the future of live events, provided a platform for both the celebration of music and the critical discussions on the industry’s trajectory.

ILMC’s 36th conference was held in London. The multi-day event was a curated confluence of panel discussions, workshops and networking opportunities each adding a unique note to the expansive melody of the conference.

Key Themes and Discussions

A central theme for the discussions was ‘Adapting to an Evolving Industry’. The panels and keynotes focused on how the live music sector has pivoted in response to recent global challenges, such as the ongoing recovery from the pandemic, the sustainability imperative, and the integration of cutting-edge technology. Prominent industry figures such as Jim King (CEO, AEG Presents, UK), Barrie Marshall (Chairman, Marshall Arts), Marsha Vlasic (President, IAG, US), and numerous others led these sessions.

A highly discussed session focused on gender equality and the challenges faced by women in the industry. In a recent report the Women and Equalities Committee of the UK government concluded that misogyny is pervasive in the music industry and offered several recommendations for the live music industry. During the discussion of the report, industry leaders offered their perspectives on how the live music industry can implement measures to counteract workplace misogyny and sexual harassment. Eunice Obianagha (ENSPIRE Management, UK), Jen Smith (CIISA, UK), John Shortell (Musicians Union, UK), Christina Hazboun (PRS Foundation/Keychange), and Louise Halliday (Royal Albert Hall, UK) were the panellists for this session.

For many, the panels on the business aspects, including booking strategies, sponsorships, and brand partnerships, were critical in understanding the monetary and operational underpinnings of the industry. These discussions bridged the gap between art and commerce, highlighting innovative models and practices that can help the live music ecosystem thrive.

Networking and Collaborations

Networking is the soul of ILMC, and this year was no exception. The conference provided ample opportunities for professionals to connect, from agents and promoters to festival directors and ticketing innovators. The event encouraged the emergence of possible partnerships against the backdrop of industry-specific talks, as attendees mixed amid the lively atmosphere of the conference’s renowned Arthur Awards, informal meet-ups, and during the excellent lunches served by the venue.

Showcasing Talent

ILMC’36 included several showcases across Soho that put emerging artists in the spotlight, offering them a chance to perform in front of some of the industry’s most influential figures. The showcases were not only a testament to the rich diversity of the global music scene but also a reflection of the conference’s commitment to nurturing talent. The delegates were treated to new music by numerous up-and-coming performers, like August Charles, Lala Hayden, Freekind, and many more. These performances punctuated the dialogue-heavy event with bursts of creative energy at the end of the day, reminding everyone of the passion for live music that lies at the heart of the industry.

A Look to the Future

On the last day of ILMC’36, it was all about creating a path for the next generation to succeed in this dynamic industry. The conference concluded with forward-looking sessions in ‘Futures Forum’ that encapsulated the collective support and encouragement for the emerging professionals in the industry. All junior ILMC delegates had access to mentorship sessions and an opportunity to receive career guidance from senior industry figures throughout the day.

ILMC’36 proved once more that the international live music industry is a resilient and ever-evolving landscape. The interactions and ideas exchanged have set the stage for a new era of live events—one that is more sustainable, technologically advanced, and inclusive than ever before.

Along with business cards and brochures, attendees left the conference with a renewed sense of purpose and determination to take on the challenges of a dynamic industry. The 36th edition of ILMC, which has always been about breaking down barriers and forming connections, was a powerful symphony that will reverberate throughout the upcoming live music year.

ILMC’36 was more than just a conference; it served as a powerful reminder that live music is a universal passion that cuts over boundaries of distance, time, and culture and lives in the hearts of industry professionals everywhere. The rhythms of change will continue to resonate in the hearts and minds of all involved until ILMC’37, indicating an exciting future for live music globally.

Festivals Sustainability Symposium 29 June 2023

In late June 2023, 70 people gathered at Craiglockhart to discuss the thorny issue of Festival sustainability, writes Dr David Jarman, Lecturer.

There has long been an intricate relationship between festivals and the various ways that sustainability themes affects their actions, impacts, and the ways audiences and stakeholders relate to them. The Festival Sustainability Symposium was an opportunity to discuss a variety of these topics, with attendees from academia, government, the festival sector, and freelancers. It was particularly good to see a number of Edinburgh Napier graduates at the event.

The variety of papers presented at the event reflected the wide range of perspectives and areas of interest under the sustainability banner. Attendees heard about the Edinburgh Deaf Festival, and how it is enabling and supporting a community of eager participants and their audiences to engage with Edinburgh’s festival economy. Environmental sustainability was covered from a range of different angles, including case studies reflecting on the UN Sustainable Development Goals. Other work presented practical and tangible lessons for those applying environmental sustainability in a festival context. A number of contributors spoke about community in relation to festivals, whether that be supporting underrepresented groups within society, or reflecting on the relationship between seasonal festivals and the established communities in which they take place. Festivals are a representation of the contexts in which they are planned and delivered, and they carry meaning and symbolism that reflects this.

This was also an opportunity to reflect upon Edinburgh Napier’s interest in festival and event sustainability. Some modules on our programmes focus specifically on sustainability, while others highlight the importance of community, the environment and related themes. Our students and graduates are therefore equipped to consider the types of discussions that featured at the symposium. As such, we are playing our part in the ongoing development and evolution of the sector as it tries to grapple with a wide variety of challenges in relation to sustainability. Resources are used at festivals, people travel a long way to attend them, and often there is little of tangible evidence to demonstrate their having taken place. However, festivals are also a platform on which to discuss good practice and to demonstrate the potential value of these kinds of events. Ultimately, as was discussed by the closing keynote speaker, there are opportunities for festivals to play a positive and enhancing role in the sustainability of environments, places, and organisations.

Edinburgh Napier’s Tourism Research Centre, and everyone involved in our Festival, Event, Tourism and Hospitality programmes, continues our work into research, industry enhancement and policy development in sustainability. For more information about what we do, including future events, research opportunities and student projects, please get in touch.

#FestivalsConnect tackles diversity, equality, inclusion and social cohesion

A picture showing the #FestivalsConnect audience at event

Dr Afiya Holder – 25 April 2023

What do events, festivals and sports have in common? – the power to connect, celebrate and inspire change.

Last week Professor Jane Ali-Knight and I attended the launch of #FestivalsConnect- an initiative of USW’s Centre for Culture, Sports and Events. The hosts Professors David McGillvray, Gayle McPherson and Sandro Carnicelli curated a gathering space in the rich cultural and historic town of Paisley for key industry practitioners, policymakers, and academia to discuss the role of events, festivals and sports in DEI and social cohesion.

The golden thread (pun intended) running throughout the discussions: “there is much being done but more support, structure, empirical work and practical impact are still needed”.

Amy Finch – Spirit of 2012 showcased numerous practical case examples of #MomentstoConnect, the power of inclusivity and engaging traditionally excluded social groups such as the British Futures Windrush 75 Project aimed to acknowledge the significant cultural histories and contribution of the Windrush generation and Caribbean community.

Panelists Craig Burn – UCI Cycling World Championships, Marie Christie – EventScotland, Sodhi Deerha- Glasgow Mela also shared their roles in fostering DEI and social cohesion in #events, #festivals, and #sports.

Craig highlighted the local and national impacts of cycling events that changed the socio-economic landscape of remote towns, developed purpose-built facilities in communities, and inspired active lifestyles among youth. In a side chat with Dr Holder, he also shared the impact of their involvement in developing the popular Scotland cycling course for eSports, a popular option and favourite of disabled international players.

Marie offered a holistic take on Event Scotland’s approach to inclusion and actions to ensure equality based on setting the #PerfectStage for all regarding age, ethnicity, religion, gender, and disability. Key action points included examining and ensuring equity in event funding and support. Marie also called for all to be actively involved in the upcoming series of consultation workshops aimed to address some of the gaps in the state of Scotland’s event industry and future- DEI being a main item for discussion.

Sodhi presented a unique perspective speaking from a supplier’s perspective as Producer of Mela multicultural events that showcase Indian music, dance, as well as interactive arts and culture. Sodhi shared the significant and lasting impact these events had on Glasgow’s cultural fabric, artists’ cultural pride and sense of self-determination as well as community social cohesion and acceptance of multiculturality.

On the topic, it’s safe to say Festivals, Events and Sports in Scotland are in capable hands. Yet, as I reflect on my work in this contested space, careful consideration is needed to avoid virtue signalling and ‘DEI-washing’ which is unsupportive when creating an inclusive and equal environment. Therefore, in this multi-layered and complex space it is imperative:

To achieve a deeper understanding from multiple socio-cultural lenses to achieve a comprehensive outlook;
To foster more engagement and empirical work to examine DEI impacts and social cohesion outcomes from events, festivals, and sports; and,
To determine clear indicators of success and practical impact

As I noted in my research on socio-cultural aversions, socio-cultural and economic ramifications for individuals, businesses and communities can be considerable if left unaddressed.

For more interest on this topic connect with Dr Afiya Holder, Prof Jane Ali-Knight or Tourism Research Centre for research, collaborative or PhD opportunities.

PhD student, Benedetta Piccio: My experience at the THE INC 2022 conference

by Benedetta Piccio

The tourism, hospitality and event industries have been majorly impacted by the Covid19 pandemic over the past two years. Lockdowns, social distancing, and restrictions have had serious consequences on events; resulting in cancellations or being moved online.

In Edinburgh, the summer festivals released a statement in April 2020 announcing that festivals would not go ahead as planned for the first time in 73 years. They are only just returning this summer in full swing.

THE INC 2022 conference’s topic: Tourism, Hospitality and Events Innovation and Resilience during Uncertainty, was well situated with the current environment. The conference took place at the end of June at the Cyprus University of Technology (CUT) in Limassol.

As my PhD looks at Women, festival leadership and social transformation: the case of Edinburgh, the world’s leading festival city, presenting part of my research at the INC2022 conference was an incredible opportunity. My research focuses on understanding gender inequalities and obstacles women face during their career progression within the festival industry.

I had recently finished my data collection that consisted of 33 interviews, with one of the questions investigating the effects of the past two years on female festival organisers’ roles and positions. And my presentation at THE INC2022 conference was about an initial analysis of my data.

The results show that female festival leaders have strongly demonstrated innovation and resilience during the past years. One of my participants commented:

“For me the last two years have probably been a test of any leadership and probably the biggest test has been a test of resilience (…) it was about how can I now move into a mode of leadership that is about survival and that is about supporting my team, my colleagues and holding this together.”

The past two years have also improved the working conditions in terms of flexibility and the possibility of working from home, which was something that never existed before:

“Our policy of like pretty flexible, a lot of flexibility in terms of working. So we can kind of work around pick up times and drop off times if we need to.”

My research is still in progress, so the conference was a great opportunity for me to share my initial findings with fellow researchers and academics, and to discuss my work with them and gain valuable feedback.

The conference had great keynote speakers on the resilience and innovation of the event, tourism and hospitality industries: Professor Jane Ali-Knight, from Edinburgh Napier University, Professor Cathy Hsu, from The Hong Kong Polytechnic University (PolyU), and Professor Scott McCabe, University of Nottingham.

Get in touch: benedetta.piccio@napier.ac.uk

New report offers guidance to events industry partners on managing risk in the time of unexpected crisis: COVID & Innovation within Edinburgh’s Festivals

The COVID-19 pandemic imposed significant social and economic losses on festivals globally. Government imposed lockdowns prevented socialising and meant that events were cancelled, paused, or redeveloped into a virtual format. Event organisers turned to creative problem-solving and accelerated innovation to manage the crisis.

Edinburgh Napier academics – Prof. Jane Ali-Knight, Dr Gary Kerr, and Hannah Stewart MSc – have created a report in collaboration with Prof. Kirsten Holmes from Curtin University (Perth, Australia) examining the impacts of COVID-19 on festivals in eventful destinations and the response of festival managers to the ongoing pandemic, using the case study of Edinburgh’s Festivals.

First, the team reviewed policies and practices relevant to the safe opening of festivals and events up to the Autumn of 2021. Second, they used a mixed methods approach to collect a range of data between June 2021 to November 2021, including participant observation of events, and in-depth interviews with key Edinburgh Festival Directors, managers and city stakeholders to identify how they initially responded and continue to respond to the ongoing COVID-19 situation. The fieldwork data are supported by content analysis of key media narratives focusing on festival and event cancellation and post COVID-19 recovery.

Key Findings revealed that since March 2020, 10 out of 11 of Edinburgh’s major festivals have successfully delivered programming in a live or digital format; all participants reported having to restructure their organisations’ business and delivery models in response to COVID-19; festivals were forced to shift their primary funding avenues from a ticket sales and revenue-based focus to securing funding from sponsorship, donations and COVID-19 recovery support with several organisations trialled a digital ‘pay what you can’ model for access to online events, championing and maintaining financial accessibility in an economic crisis.

The research team used the data to develop a new framework (please see below) for industry partners to approach risk management within festivals and events. This new model provides a tactical response to unexpected crisis events, such as a global pandemic, acts of terrorism, natural disasters, and other unique disruptive scenarios beyond the sector’s control.

The framework consists of three components. The first one, response, refers to organisers first assessing the situation, then reacting to evolving customer needs and behaviours by offering new types of experiences, products, and services, and lastly, strategically planning the next steps to cope with high levels of uncertainty.

The model’s second element, resilience, describes the critical importance of business model innovation that can be done through establishing new partnerships, as well as adjusting and adapting business and delivery models and supply chains to manage risk in the long term.

Lastly, the reimaging component touches on dynamic recovery through the reviewing of organisational successes and areas for opportunity, the development of potential future scenarios and how they can be prepared for, as well as the building of flexible and dynamic strategies that are stress-tested against various scenarios.

The importance of effective communication and support between festival stakeholders in times of crisis is emphasised by the researchers, and it appears in the centre of the framework interlinking all elements.

To download the full report please click here.