1

2

3

This Guidebook is based on the best practices

learnt by all the partners through the arrangement of

festivals at local level and through the exchange of

practical results and the sharing of experiences, done

during the transnational meetings.

Thanks to face-to-face discussions and the

exchange of experiences, good practices, skills and

knowledge, the transnational meetings enabled the

partners to identify and to set up those basic standards

that form the Guidebook backbone.

4

Definition of festival in English

Festival:

Pronunciation: /ˈfɛstɪv(ə)l/

noun

1. a day or period of celebration, typically for

religious reasons: traditional Jewish festivals

2. an organized series of concerts, plays, or

films, typically one held annually in the same

place:a major international festival of song

Origin:

Middle English (as an adjective): via Old French

from medieval Latin festivalis, from Latin festivus, from

festum, (plural) festa 'feast'

Taken from:

http://oxforddictionaries.com/definition/english/festival

5

Contents:

Introduction....…………………………………….

5

Chapter 1 - Concept and programming of a

Festival..…................................................................

7

Chapter 2 - Management of a

Festival…………………………………………………..

13

Chapter 3 - Arrangement for

arrivals……………………………………………..

18

Chapter 4 - Contact with Participants and

Confirmation……………………………………….

29

Chapter 5 - Preparing / Finding / Managing the

budget and sponsorship…………………………….

35

Chapter 6 - Promotion and Dissemination

Activities of a Festival……………………………..

41

Glossary……………………………………………

47

Info about partners……………………………….

50

The summary of the project - Festival

Entrepreneurship for VET………………………….

62

6

Introduction

When asked to define a festival, we could say

quite simply, that it is an organised celebration that may

include one or more activities such as music, food, film,

theatre and dance. Festivals can vary in duration and size

from a few hours to several days and are generally staged

by community organisations, private enterprise or a

combination of both.

One of the main intentions of this handbook is to

provide guidance to both inexperienced and experienced

festival organisers to help avoid or overcome some of the

common problems that may arise when organising a

festival. This handbook will provide practical advice and

guidance and will identify the essential partnerships and

steps related to planning and implementing a successful

event.

The main themes covered in the handbook are:

concept and programming of a festival;

management of a festival;

regulations for arrivals, accommodation, catering

and entertainment;

contact with participants and confirmation,

technical arrangements and precautions;

sponsorship and preparing/managing the festival

budget,

promotion, publicity and dissemination activities

of a festival.

7

Planning and hosting festivals can often be

challenging but can also be very satisfying and rewarding

for both the organisers and the audience. This step-by-

step guide will hopefully provide enough help to take the

fear of the unknown out of the process of organising a

festival, but still leave room for you to be creative and

innovative in any future festivals you intend to do.

8

CHAPTER 1

Concept and programming of a Festival

When starting to plan a festival, the first step is to

define a structured concept and a concrete involvement

of all performers. What is very important for the festival

and its programming is the definition of a clear concept

that offers a good approach to guarantee a structured and

effective proceeding. The planning of a festival shall be

focused on the main and core conceptual elements

illustrated below:

Figure 1

CONCEPT

Sponsorship

General Purpose

Resources

Constrains

Planned Activities

Local Needs

Time Available

Geography

Target Group

9

The planning of an event first of all entails

identifying the elements that will allow us manage it

properly later on. A number of essential steps, such as

preparing a detailed action plan and a precise time

schedule, are required to plan an event; these will also be

used to monitor the progress made and, if necessary, to

modify strategies and objectives.

General Purpose

For planning a festival it’s necessary to consider the

following influences:

• a celebration

• making profit for organisations, for charity etc.

• promotion of organisations, hosting events,

cultural awareness, education, political aspects,

equality and diversity, religious aspects;

• providing entertainment;

• attract tourists;

• formal, informal and non-formal learning process,

8 key competences ;

• Environmental issues.

10

Target group

To optimise the arrangement of a festival it is

crucial to consider who you are aiming at: students,

family, age group, etc.

Sponsorship

When starting to looking for a sponsorship it’s

necessary to:

- inform the potential sponsors about concept of the

festival.

- take into consideration the needs and interests of

the potential sponsors.

Geography (Location)

It’s necessary to consider where the event will be

held, the physical constraints such as space available,

general sites, weather, transport links. You should make

sure that parking is organised and traffic flow is good. If

this is poorly organised, this can give a very negative

impression of the festival.

Planned Activities

Since the beginning, it’s necessary to clearly plan

which type of activities we are going to offer: music,

dance, workshops, sports, education, practical activities

etc

11

Time Available

The organiser shall take into account the duration

of the event, (depending on the available resources) and

how much time is available for the organisation. To

avoid or to limit the mistakes it’s necessary to have

enough time. In general, to organize an event, the

organiser needs more or less five months, at least. Also,

it’s very important to check if there are other possible

events that may coincide with the organised event.

Local Needs

It’s necessary to take into account the context in

which one intends to organise a festival and the related

needs, constrains, obstacles. It’s very important to be

aware of the requirements of the area where the event

will be held. For example: local governments priorities,

cultural identity of the area, socio-economic aspects..

Constraints

Security, finance, local laws and regulation,

logistics.

Resources

The available budget, human resources (paid and/

or unpaid workers), technical resources, equipment,

expertises shall be taken into account.

12

To make a good event

First of all, it’s very important to have a good and

fluent communication between the other organisers. All

the staff members and other key players shall be

constantly informed about the progresses of the

organisation by the organiser(s) as responsible(s) of each

step. In this sense performers, staff, local authorities and

other key players are essential.

It is also particularly important to supply

involvement of volunteers who need to be trained to

cooperate within the event. When doing this from the

beginning, they feel responsible and are motivated for

active contribution.

In the figure below the basic elements to be taken

into account to make a good event are illustrated:

13

Figure 2

Moreover, it’s very important to disseminate the

event to reach a lot of people, or the target group.

Finally, soon after finishing a festival, there

should be an evaluation of lessons learnt to notice

mistakes to avoid in the future.

SINGER

Our role: make artists be welcome

Marketing, Posters, Elvers

Sound Tech Lights

Security Guard

Entrance Fee

Owner of the location: -Stage

Master of ceremony

Responsible for the organisation of the

event

INFO:

Communication - to make a goof event we

need to inform, everyone must know

what's happen

14

CHAPTER 2

Management of a Festival

Figure 3

MANAGEMENT

Roles and Responsibilities

Stage Management

SecurityStaff

Administration

15

Management

Health and safety

Health and safety needs to be a clear priority, as it

is not only a legal requirement but also taking a

proactive approach to avoid potentially very serious

consequences. The event organising committee needs to

examine the risks involved with the event by asking for

example, “What could happen?” or “What if?” The

answers will determine whether police, private,

uniformed security or peer security is required.As a

festival organizer you have responsibility for the health

and safety of staff and volunteers as well as for the

general public who attend the festival events. This will

ensure the continuation of the festival and protection of

the environment.

You should also make sure that you have the

relevant insurances in place – not only Public Liability

(in case of the guests gets injured) but also employers

liability insurance (even if the only people working there

are volunteers) as well as insurance in case any of the

technical equipment gets lost, stolen or damaged.

Stageplot

Drawing of the stage sent by the artist, technical

info/organization of items on the stage, space needed for

the performance and technical equipment should be taken

into consideration.

Administration

16

Artist rider

The artist rider details specifications on stage

design, sound systems, lighting as well as an artist’s wish

list from travel and billing to dressing room.

Technical equipment

Make sure that you keep in communication with

all of the contractors and content providers (speakers,

venue managers, bands etc). You also should make sure

that all of the equipment you are using has been checked

properly.

Artist liaison

The artist liaison has the role of ensuring the

festival to run smoothly and that artists enjoy a well

organised, stress free festival. He/she is the one between

the organiser and the artist providing

coordination/cooperation.

Contract between the participants and the organiser

During the build of the event it is critical to make

sure that all of the technical contractors are working on

their own, and accomplishing the signed contract, and

your own risk assessment guidelines, as you have a

responsibility for their working practises.

17

First contact with the artists/participants

It is a short description about the festival and the

organisers. You may have invitation letters/calls if

necessary.

Map/guidebook/brochure about the festival area

It is very important to inform all the participants

about everything what is going to happen in the festival,

where and how to get there. A map of the event is

essential for event planning and management. The site

plan can be distributed for setting up the event and is also

invaluable in an emergency.

Distribution of tasks

You should make sure that everyone knows

clearly what they have to do, otherwise there will be a

confusion.

The schedule of the festival

One of the best ways to promote a festival is to

create a special web page dedicated to the festival. You

can also include information on accommodation, ticket

prices and location.

Application form for the volunteer groups about their

shows/needs

You need to know the competences of each

volunteer, so you need they fill an application where they

describe and let you decide where they can be useful.

18

Transportation facilities

You should provide all the information possible

about the way how to reach the festival, prices,

timetables, duration of the trip and all the small but

important details so that the public won´t have any

difficulty to go there.

Stage management

The stage manager is in charge of everything that

may impact the functioning of the stage, the

performances that take place there and the backstage

environment. They are the direct festival liaison between

performers and all concerns performers may have with

the staging of their performance. They organize

performer technical requirements into a coherent system

and they assign the line numbers that will be used on

stage.

19

CHAPTER 3

Arrangement for arrivals

Arrivals by public transportation, airline or similar

If guests arrive with public transportation, airline

or similar, there might be a need to arrange a pick-up to

take them the last way to the festival area. Have a driver

or guest assistant hold a sign with festival logo and/or the

name of the guest to assure the two parties find each

other on the pick-up location. Communicate with guests

prior to their departure for the festival so that they know

what to look for.

Make sure the driver is knowledgeable of the

route between pick-up location and the festival area and

preferably knows of alternative routes in case of traffic

jams. Drivers must also be well rested for each pick-up or

drop-off, especially if it is a long drive.

A pick-up coordinator should monitor information

on traffic jams, changes in the schedules of connecting

transport and communicate this information to the

drivers. Extreme delays can cause disruption to the entire

pick-up schedule and the coordinator is then tasked with

reorganizing the schedule so that the festival schedule

and guests are not affected.

20

Arrivals by private transport

Some guests will arrive with their own transport.

Make sure they know the way, for example send them a

map with directions before they depart for the festival

and provide them with contact information in case they

need further assistance or encounter problems on the

way. Coordinate some sort of greeting upon their arrival,

someone to help them to their accommodation and

introduce them to the festival area.

Arrival at the festival area

First thing when guests arrive is to set up their

accommodation. If they have travelled far, make sure you

are able to offer something to eat. Provide the guests with

a map covering the festival area in relation to their

accommodation and where to find necessities such as

canteen or lounge, facilities, pharmacy (or alternative

basic medicine supply on location), internet (if

applicable) and relevant members of staff.

Festival audience

The festival audience has to be let in under

controlled circumstances with no running or behavior

that can initiate chaos or panic. The audience should be

made aware of where to find security and exits. Also

provide the audience with maps over the festival area that

clearly shows where to find camping area or other

available accommodation, facilities, catering and other

services available to them.

21

Participating guests

The arrival of participating guests of the festival

is an important chance at making good and lasting first

impressions. Commonly guests will arrive on different

days and times, by different means of transportation and

with varying needs that need to be seen to during the

process of their arrival. A guest manager and pick-up

coordinator can work together to assure nothing is

forgotten.

Arrangement for accommodation

Festival audience

For festival audience camping at the festival area,

it's important to have the camping area clearly marked

out and necessary facilities easily accessible on the

festival grounds.

Participating guests

The accommodation of participating guests is

preferably within walking distance of the festival area.

Depending on the nature of the festival, participating

guests might need accommodation separated and

secluded from the festival audience.

22

Hotels and hostels

If participating guests and members of staff are

staying at hotels and hostels it is important to get several

confirmations on all the bookings prior to arrival. Due to

changing staff at the hotels and hostels, a booking might

be missed or not properly make it into the booking

system. Make one confirmation on all bookings before

the festival starts and a second confirmation a day before

the arrival of each guest or member of staff.

Assist each participating guest upon check-in and

keep a record of who stays in which room for faster and

easier communication with the guests during the festival.

Provide the hotel or hostel reception with contact

information to the guest manager and other relevant

members of the festival staff in case of emergency or if

the guests have questions that the hotel or hostel staff are

unable to answer.

Other accommodation

If the festival area is outside of regular

infrastructure with no hotel or hostel within walking

distance of the festival area, you might need to set up

housing trailers, tents, camping wagons or similar to

accommodate the participating guests. Make sure all

guests have access to facilities with running water and

electricity. Also take care to make arrangements for their

safety, privacy and the safety of their belongings.

23

Catering

Most commonly a local catering company is

contracted for the duration of the festival. It is important

to keep good communication with the catering company

both prior to and during the festival.

Health and safety regulations regarding catering

vary between different countries and you need to look up

what the laws and regulations are for the country and

region of the festival. If applicable, do not forget to take

notice of regulations regarding the serving of alcohol in

connection to catering.

Health and safety regulations should cover what

responsibilities the owner of the catering company has

towards the customers. Take note of what hours the

catering company can serve and what time the kitchen

opens and closes.

As in any other instance, have responsibilities

clearly distributed amongst members of staff. For

example, who is responsible and will manage the

situation of the kitchen suffers a power outage? If the

kitchen suddenly has no running water, who will be

responsible for regaining running water and when the

kitchen then must be closed down, who deals with guests

and festival audience that still need to eat?

24

Meal tickets

To assure only members of staff and guests

intended to be served by the festival's catering are served

off charge, it can be helpful to implement a meal ticket

system.

Distribute meal tickets to members of staff and

guests on a daily basis, one ticket per offered meal. As

meal tickets are easily lost, do not hand out more than a

day's worth of meal tickets to a person at a time.

Special dietary needs

Ask members of staff and participating guests

about allergies and special diets such as vegetarian,

vegan, lactose or gluten-free meals before the start of the

festival and inform the catering company of how many of

each special dietary need will be dining every day.

Double check with everyone and count on that some have

failed to inform of their special dietary needs. Make

arrangements for the most common special diets are

provided for by the catering company.

Check if any members of staff or participating

guests are pregnant or diabetic and thus need extra

attention paid to their eating schedule. Make extra effort

to provide regular opportunities to eat for those

individuals.

25

Some guests or members of staff will have

especially tight schedules that occasionally won't allow

them to visit the lounge or canteen area during its serving

hours. Make sure these staff members and guests are

aware of their tight schedule and have a runner fetch

them meals if desired.

Regulations for entertainment

When planning a festival, it's important for festival

audience, crew and the entertainment that things go as

smoothly as possible. To assure this it is important that

everyone knows their task.

The text that follows explains standard crew, tasks

and regulations for members of staff working on-stage at

a festival.

Backline-technician: Responsible for all guitar-

and bass-amplifiers and drum-set on stage. He/she

is also available during the performance on stage,

if any drums, amplifiers or instruments should

break or fall.

Light-technician: Responsible for the light-

effects on stage.

Sound-technician: Responsible for the sound

coming from the stage.

26

Microphone-man: Helps the sound-technician to

place the microphones and cables where they

should be. He/she is also available during the

performance on stage, if any microphone or cable

should break so it can be replaced of fixed as fast

as possible.

Monitor-technician: Responsible for the sound

on stage. The sound that is directed towards the

musicians.

Stage-commander: Responsible for the work on

stage. This person is responsible for the people

working on the stage (especially the stagehands),

the artist (when they are performing) and the

overall security on stage. This person must be on

stage at all times during the performance.

Stagehand: Working on the stage, helping the

stage-commander, backline-technician or

microphone-man with various work on stage.

This person does not necessarily need to be

experienced in this kind of work. The most

important thing is that it is a person you can trust,

and can take orders.

27

All of these people need to be well prepared,

preferably by reading the bands itineraries, stage plots

and riders in good time before the gig. The backline-

technician and stage-commander need to properly

coordinate their work to be able to handle the stagehands

and hand out their tasks. Sometimes there can be only 15

minutes between bands performing on the same stage so

things need to be set up fast.

Entertainment outside of festival area for

participating guests

Some of the participating guests might want to

use free time to do sightseeing or enjoy other forms of

entertainment in the area, but outside of the festival. To

assure the safety of these guests and make sure that they

return in time to the next appointment on their schedule it

can be profitable to have a driver and guest assistant

arrange a sight-seeing tour for these guests. This could

also further improve the guests' opinion of the standard

of the festival. If guests desire to venture away from the

festival area on their own, make sure that the guest

manager has means of getting in contact with them and

they have the contact information of the guest manager.

Try to keep track of where they are located at all times in

case of emergencies or appointments appearing with

short notice, such as interviews with media etc.

28

Safety and ICE-document

Special needs

Some of the guests might have special needs, such

as a handicap or a need for an interpreter etc. The guest

manager should be aware of all these needs before the

start of the festival so that it is possible to make proper

preparations to accommodate these needs. All members

of staff in any way affected by these special needs should

be informed and made aware of how this affects their

work.

ICE-document The guest manager should prepare a

document with useful information in case of various

emergencies - an ICE (In Case of Emergency) -

document. The guest manager and guest assistants should

carry this document with them at all times. The ICE-

document should cover the following.

Health care accessible to the festival area, such as

pharmacies, clinics, emergency ward, defibrillator, dental

care. Include address, open hours, telephone numbers. If

available in the region, include a health care advice

number, available 24-7.

Police. Emergency phone number and address, open

hours and telephone numbers to the nearest police

station. Include information on procedures to report loss

of passport or other important identification.

29

Embassies, if the festival has international guests and/or

members of staff. Include address, open hours, phone

numbers and procedures to replace a lost passport.

Airline companies, if guests or members of staff have

arrived by airplane. Include customer service number,

open hours and procedures to report lost luggage.

Credit card companies, such as Mastercard, Visa,

American Express and Diners Club. Include contact

information and procedures to report lost or stolen credit

card.

Contact information of available drivers, only to be

contacted directly in case of emergency. All other

transport should be arranged through the drivers'

coordinator.

30

CHAPTER 4

Contact with Participants and Confirmation

Contact through e-mail

Communication through e-mail has great benefits

when settling and deciding details as there are many

things around the participants that will affect several

people amongst the festival staff. When e-mailing

participants, add the participants' e-mail addresses in the

main address field and add address to all affected staff in

the Carbon Copy (Cc) field. When replying e-mails,

unless a participant has asked a personal question that

needs to be treated differently, always “reply all” so that

all exchanges are shared with all affected parties. If any

participant or members of staff need their address to

remain hidden, use the Blind Carbon Copy (Bcc) field.

This way only the sender and the hidden recipient will

know of the address.

While it is good that all affected staff gets

important information, do try to limit the amount of staff

included in Cc. For example, if the festival has a guest

manager that has main responsibility over transport,

accommodation and food for the participants, then there

is no need to include the catering chef, hotel staff and

transport coordinator in the Cc field. The guest manager

will take responsibility to forward only the information

relevant to respective party. Festival managers however

should always be included in Cc so they can get a full

and complete view of all proceedings of the festival's

preproduction.

31

Telephone contact and videoconferences

Contact over phone is a nice way to make a more

personal impression prior to the festival, if there is a need

for that, but important details are always good to have in

writing. If you keep contact over phone or video

conference, have pen and paper (or other means to take

notes) at the ready in case important questions come up

or any decisions are made. It is easy to forget a detail that

in the end turns out to be very important.

Contact during preproduction

Contact with participants during the

preproduction of the festival will most likely be

conducted through e-mail or possibly also partially over

phone or similar means.

Contracts

Contracts serve many purposes and have a very

important role in assuring that both parties - festival

managers and participants - are on the same page of what

has been agreed on. The more in tune you are in writing

your contract, the lesser the risk of conflict will be during

the festival. Conflicts can be anything from general

displeasure with arrangements to misunderstandings

about for example transport. Don't be afraid to be

detailed in the contract and if you are unfamiliar with

writing contracts it is advisable that you ask for a second

opinion from someone with knowledge and experience.

32

Contact during the festival

During the festival most contact will most likely

be done in person, but in case participants use free time

out of the festival area, it is advisable to have a way of

contacting them at all times. If they do not possess a

mobile phone with service at the location, for example

due to being out of their own country, it is advisable to

provide them with a prepaid Simcard or similar solution

so that you can be in contact at any time. Participants

might forget appointments, there might be interviews

with press scheduled at the last minute or the participants

might want to get in contact with the festival staff

without having to chase them down. SMS or txt-services

can be used to send participants reminders of upcoming

appointments in their schedules, for example interviews

with press, time and place of pick-up from hotel and

similar. It is however preferable to also provide

participants with printed daily schedules on the day

before as they retreat to their accommodation.

Technical Arrangements and Precautions

First of all, welcome the artist to your festival.

Tell the artist about the festival, how many visitors are

totally expected at the festival and how many visitors you

can permit in front of the stage. Also brief the artist on

any special theme or visions you might have as managers

of the festivals as it could potentially be of interest to the

artists and their performance. Keep it brief.

33

Schedule

Make a schedule for the artist, including arrival

time, load in, sound-check, performance times, catering

times and availability, and closing time. It should be easy

to follow the schedule and helps you a lot to work against

time delay. Don't forget to write the address to the venue!

As papers easily get lost, hand out schedules on a daily

basis. This also permits you to make changes to the

schedule during the festival, regarding off-stage

activities, without upsetting the artists.

Technical rider from the organizer

Make a list of all equipment and services you know

you are able to provide the artists with. Here’s an

example:

Drum set: Pearl VB825/C, base drum, floor

tom, 2 hanging toms, hi-hat stand, 3 cymbal

stand.

4 vocal microphones, SM58 + 4 stands

Sound engineer

Etc. etc..

Do not include equipment or services on the list that

you have not properly confirmed will be at your disposal

for the entire duration of the festival, is already set to be

used by other artists or if there is a risk that equipment

won’t arrive to the festival in time. You do not want to

make promises you can't keep.

34

Technical rider from the artist

Request a complete list from participants,

covering all the equipment they will bring and use at the

festival. It is important to know this so you as an

organizer have time to prepare sound engineers for what

they will work with. If certain equipment is unusually

bulky, this might also demand special preparations with

transport and stage setup. Request that the artists send

this list to you at least two weeks prior to the festival and

to not hesitate to send them friendly, but insistent

reminders if the list has not arrived once you reach the

two weeks mark.

35

Stage plot

A stage plot is a simple sketch that the artist

makes to show you as an organizer their stage set up. It

should also include wishes for numbers of monitors and

how many vocal microphone the artist need. If anything

is unclear, don’t hesitate to ask for clarifications and do

so in good time.

Precautions

Always follow the safety regulations in your

country. Take note that safety regulations are different in

every country and may at times be altered or updated.

Even if you feel confident you know the local safety

regulations, it never hurts to double check.

36

CHAPTER 5

Preparing / Finding / Managing the budget

and Sponsorship

BUDGET

Finding

Who + Where

Preparing

and

Spending

Reduce & be Smart

Managing

How to…

√

37

38

SPONSORSHIP

SPONSORSHIP

Who ?

How ?What ?

39

WHO ?

IDENTIFY SUITABLE SPONSORS

WHO

Non - Profit Organizations

Individuals

NGO's

Media

Public Organizations

(e.g Bank energy)

Regional Goverment

Local Goverment

Private Business

40

HOW ?

HOW DO WE RECRUIT SPONSORS ?

HOW

Contract / Agreement

Information Session

(Potential Sponsors)

Information Pack +

Example of Publicity

Clear Idea of Event (e.g. Concept,

values, when, time,

audience etc.)

Professional Presentation

(Spokes Person,

Sponsorship Team)

Promote + VE Image Being

part of a team

Evidence of previous

events (Establish

credentials)

41

WHAT ?

TYPE OF SPONSORSHIP

WHAT

Utilities (e.g. electricity) Technical

Support (Expertise + Guidence)

Publicity + Marketing

Venue/Space

Awards/

PrizesHealth & Safety (e.g. First Aid)

Labour

Transport

Economy

Material + Equipment

42

CHAPTER 6

Marketing, Promotion and Dissemination

Activities of a Festival

Marketing, promotion and dissemination of

activities for a festival, requires careful thought and

planning. It is advisable to have a nominated person or

small team of people (with the right expertise), within the

larger festival management team to be responsible and

oversee this aspect of the festival. Before commencing, it

is important that an operational plan and budget is agreed

at the beginning of this process to help prevent excessive

spending. This is one aspect of the festival that can easily

go over budget if it is not planned and managed well.

Marketing and promotion of the festival should

start as early as possible so that materials and ideas can

be thoroughly checked, resourced and standardised. It is

also helpful that the target audience has the information

about the festival in good time too, to help organise their

own situation and to further spread the word amongst

family and friends. It is important to also involve key

partners at this stage e.g. sponsors, to ensure that the

promotional strategy and materials are mutually

acceptable to everybody involved.

43

Promotion and dissemination of the festival

activities

Choosing the appropriate title/concept for your

festival

One of the most challenging aspects for any

festival is choosing the right title. The title is the festival

brand and should effectively convey the idea and concept

of the festival. Ideally it should be short and simple,

memorable and easily recognisable. Attention also needs

to be paid to the type of lettering, imagery and colour

scheme used for presentation, so that it is eye catching

and attractive. Once this is agreed, the branding needs to

be standardised on all promotional activities.

Preparing publicity materials

Good publicity and marketing is one of the major

cornerstones to any festival and most often events can

succeed or fail on the strength of how well it is

publicised. Organisers need to invest as much time,

energy and resources available to create the best quality

publicity materials to appeal to their target audience.

Publicity material can range from printed posters,

leaflets, brochures and flyers to e-posters on the internet

and social media sites. For large festivals, audio and

visual material may be needed if you decide to

commission commercials on radio and TV.

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What to include for publicity materials

The brand name (standardised), the location, the

start/finish time, who is appearing, and contact

information for the event (e.g. a web address, e-mail

address/a telephone number/ a postal address), names of

sponsors (if relevant), the cost and any concessions and

how to purchase tickets (if the festival is not free).

For printed and electronic materials, type and

images should be of the best quality possible. Standards

should be set such as the quality of the image resolution,

type of font, font size etc. The lettering and explanation

of the festival should be concise, clear and eye catching.

You should avoid long sentences on posters, leaflets and

websites and try to keep to simple vocabulary. For e-

materials, you may wish to add hyperlinks to other sites.

To give a good impression, it is important that the links

are kept active and any ‘dead links’ are removed as soon

as possible.

All materials should be proof read thoroughly. If

you are using images that are not your own, it may be

necessary to ensure that you are not breaking any

copyright law. Therefore, you will need to seek

permission to use images other than your own.

It is sometimes useful to include a site map on

your materials for people unfamiliar with the area. If the

intention is to publicise the festival internationally, the

45

publicity materials may have to be accurately translated

into other languages depending on your target audience.

Dissemination - reaching your audience!

Starting this process early and continually

keeping up the publicity of the festival in the public

domain, is one of the keys to a well- attended event.

Assembling and effectively managing a publicity team is

another key factor. Publicising a festival can be very

labour intensive and often involves visiting many places

and people during unsociable hours, particularly within

the two week period leading up to the festival.

Here are a few ideas that you could consider.

Draw up a contact list from your existing

contacts both professional and personal.

Contact can be made to the people on your list

using e-mail, telephone, or by post. You could

further ask your contacts if they would be

willing to also communicate basic

promotional information about the planned

festival.

Prepare leaflets/flyers for the promotion of

your festival and put them on notice boards,

shop windows and hand or leave them out in

specific public areas where you may expect to

see a large number of people. It is often good

practice to use flyers intensively the day

before and on the day of the event to help

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remind people of the festival and capture

anyone who is still not aware of the festival.

Depending on your target audience, you may

be able to advertise your festival in local

schools, colleges, universities, public

buildings (town hall) and community centres.

Promote the festival through other events

such as meetings, concerts, other festivals,

public gatherings, etc.

You can prepare a website or use social media

sites, e.g. Facebook page /twitter page for

your festival promotion. It is essential that this

form of publicity is constantly up-dated when

necessary.

Launch event – invite key people to a launch

party or dinner to help publicise the festival.

The people invited could in-turn promote the

festival through their own contacts.

Using local media (or national media if the

festival is large enough). Media can include newsletter

notices, radio advertising, television advertising

(however, this is expensive and requires a substantial

budget), the internet, newspapers and magazines.

Advertising in local newspapers can be very effective but

can also be expensive too. This form of advertising tends

to be more effective nearer the time of the festival.

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GLOSSARY

Access: To make sure everything goes smoothly and

prevent accidents or theft on a festival, all personal and

visitors is given a braclet or cards with different colors or

letters to show the securitypersonel where they can and

can't go on the festival location. For example, a "triple

A-pass" means Access All Areas. If you are given that,

you may go everywhere on the festival. Accreditation:

Accreditation is the process in which journalists and

others from the media should be given access to events

where participants and access is restricted.

Areacommander: The person in command of the

festival area. This person decides where different stages,

backstage, marketplaces, restaurant and other things

should be.

Artistcontract: During a festival, it is not uncommon

that there can be differences between the organizer and

artist on the festival day. To prevent this, it´s best to have

a artist contract, where all the terms between the artist

and festival organizer is written down.

Artist host: The person responsible for the artists off

stage. This person should be able to answer any questions

the artists might have, or at least get them in touch with

the person they should talk to.

Backlinetechnician: This person in responsible for all

guitar, bass-amplifiers and drumset on stage.

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Backstage: Backstage is a area on the festival where the

artist or performers can make them self ready and relax

before a concert or gig.

Crowd control: Crowd control is the controlling of a

crowd, to prevent the outbreak of disorder and prevention

of possible riot using barriers or even force.

Crowd management: Crowd management refers to the

communication to the crowd, using signs or other tools to

make a crowd act the way you want the to on (for

example) a festival.

Decibel: Refers to the volume level of the sound coming

from the PA- system.

Ditch: Refers to the area between the stage and the

crowd.

Dithchpersonel: Refers to the people working in the

ditch. This can be for example people working with

security. Photografers is ofter part of the crew working in

the ditch. Festivalmap: A map over the festival area so

the visitors easily can find their way around the area.

Front of house: The place where the sound and light-

technician is working. Often a place in the middle of the

crowd, in front of the stage.

Lighttechnician: This person is responsible for the light-

effects on stage.

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Monitortechnician: This person is responsible for the

sound on stage. The sound that is directed towards the

musicians.

Raider: Often a part of the artist contract. A raider is a

document that the artist sends to the festival to inform the

people responsible what the artist needs on and off stage

to perform. This can involve everything from the right

drumset on stage, to a special kind of drinks backstage.

The raider also includes a map over how the musicians

want their instruments setup.

Securitycommander: This person is responsible.

Soundtechnichian: This person is responsible for the

sound coming from the stage.

Stagecommander: The person responsible for the work

on stage. This person is responsible for the people

working on the stage, the artist when they are performing

and the overall security on stage. This person must be on

stage at all times.

Stagehand: A person working on the stage, helping the

Stagecommander and backlinetechnician with various

work on stage.

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INFO ABOUT PARTNERS

Darıca İlçe Milli Eğitim Müdürlüğü

Our institution is an umbrella organization. It

leads and controls every education activity in Darica

which is a multi-cultured area. There is one manager,

three assistant managers and twenty five officers who

serve in twenty one units such as Research and

Development, Assignment, Personnel etc. It has twenty

four primary schools, nine high schools, sixteen private

education institutions, a kindergarten and a public

education centre under its authority. Our institution is

located in Darica which attracts attention with its natural

beauty and developing industry. Every year hundreds of

people migrate here to look for work by moving away

from social problems in their hometown. These

immigrants are from different regions of Turkey and they

have diverse cultural and familial values, traditions, life

styles and even languages. The immigrant families that

live according to their cultural rituals have difficulty in

getting accustomed to city life and other cultures so they

are exposed to social exclusion. The mission of our

institution is to support and accelerate social, economical

and cultural development in national unity and solidarity

to; raise active and exclusive citizens to catch

contemporary civilization; to implement the laws and

other legislations towards the aims and objectives of

Turkish National Education System; to improve the

contentment of its employees and institutions by

51

following the innovations in education and by carrying

out the education system effectively. To reach its

mission, our institution pays great attention to every

educational issue and institution as well as organizing

local and international projects/activities which not only

improve and stimulate education but also find solutions

for the social problems of our public and meet their

needs. A unit has been founded within our institution

which organizes activities to cope with socio-cultural

problems of our citizens who are mostly immigrants and

to stimulate educational activities and to improve

entrepreneurial skills of the target group.

Dienst Beroepsopleiding – vzw EPON

DBO is a part of the Flemish Department for

Education and Training in Belgium. Our aim is to

develop innovative approaches and policies for VET in

Flanders. We want to create a maximum of opportunities

for students and course participants of vocational

training. DBO is a member of the Flemish

interdepartmental Work Group for the Entrepreneurial

Education Action Plan to promote entrepreneurship

education in schools on all levels. Through various (EU)

projects DBO wants to promote entrepreneurship among

young people in schools. DBO organizes a business plan

competition in upper secondary education and a school

competition with the trophy ‘schoolteam with the best

entrepreneurial competences’. DBO supports teachers

involved in entrepreneurial education by offering them

52

teaching and course material, ICT-tools, e-learning and e-

communication platforms, … DBO contributes in the

professional development of school teachers on

entrepreneurship by organizing practical exchanges in

enterprises, workshops, guest lectures and discussion

groups.

Every year DBO hosts two study visits to

Flanders on entrepreneurship education within the

framework of CEDEFOP.

Institut für Projektbegleitung und

Kompetenzentwicklung -pro-

kompetenz- e.V.

Pro-kompetenz, founded in 2003, registered

association, recognized as “Friendly Society”

Objectives: Design education for promoting,

developing and using human potentials in a more holistic

and sustainable way. Support education providing input

from many years of practise and applied research.

Specific areas of expertise:

Develop innovative pedagogical concepts and

learning environments

Implement innovative learning settings,

pedagogical-didactical approaches for learning

with digital media

53

Formative evaluation, provide input to project

implementation and product development,

Quality Assurance

Thematic areas: AE and VET, innovation and

knowledge management, HRM, learning for

social integration

Pro-kompetenz staff has coordinated or been

involved in more than 40 EU projects. Therefore, the

involved staff is experienced in project implementation

and financial management of projects. Financial

monitoring is guaranteed by continuous external

monitoring from an external, independent accountancy

and tax office.

In national projects, promoted by the German

Federal Ministry of Research and Education, pro-

kompetenz has provided guidance and input in order to

develop and to test new learning approaches.

From projects related to social issues and

activities, related to activities in social centres - City

Community Centres, and social organisations as well as

city administration, we have links to widespread the

information and to involve learners besides our own staff

in the project.

54

Centro Machiavelli Scuola di

Lingua e Cultura Italiana

Centro Machiavelli is an Italian Language School

and VET Agency in Florence, founded in 1978, member

of TANDEM NETWORK, an International Association

of Language Schools Network since 1988, officially

recognised from the Ministry of Education since 2003,

certified by ISO9001:2000 certification of quality since

2005, recognised as a consultancy and training

organisation for Lifelong Learning accredited by the

Tuscany Region since 2008.

Centro Machiavelli operates also within EU

programmes and in training activities such as mobility,

study visits, multilateral projects within the EU LLP

Programme (Comenius, L. Da Vinci, Grundtvig,

Transversal Programme, etc.) with partners from

Germany, France, Netherlands, United Kingdom, Ireland,

Romania.

From Oct. 2009 to March 2011 Centro

Machiavelli has been Coordinator of the COMENIUS

Multilateral project "ELLVIS - English Language

Learning programme for Visually Impaired Students".

The results of ELLVIS project are a viable alternative

solution to the "book and tape" methodology. This

multimedia language course is aimed at those who are

unable to use these technical aids, who need further

assistance and prompting through a system that supplies

55

other than audio-based feedback, namely by the 'force-

feedback' reaction that the joystick offers. Starting from

Dec. 2009 Centro Machiavelli is also partner of the

project VET4VIP, Vocational English Teaching for

Visually Impaired People - LLP TRANSVERSAL

PROGRAMME KA2 Languages, which will finish at the

end of May 2012. The Vet4Vip project implementing a

set of tools for language teachers on how to integrate

blind and visually impaired learners into their language

classes. The project wants to encounter this problem with

a combined package of:

1. Train the trainers course for language teachers on how

to deal with vip and how to use and create teaching

materials for this target group. The tools are tested by:

Test seminars on national level

Test seminars evaluation

2.Adaptable computer-based training modules for

English designed for blind and visually impaired adult

learners.

To achieve these goals, the partnership consists of

adult training institutions, language schools and schools

for the blind from Germany, Italy, Ireland, Netherlands,

United Kingdom.

56

Arte-Via Cooperativa Artística e

Editorial, CRL

Arte-Via Cooperative, in Lousã, district of

Coimbra (Portugal) is a regional, cultural non profit

association, whose members work as volunteers, founded

in 1999, that has a senior university promoting classes for

elder people and migrants namely painting, yoga, and

English, Italien and spanish languages. The cooperative

is organising events such as readers communities,

international seminars, writing contests, art exhibitions

and multimedia performances.

The Arte-Via Cooperative is an institution

without lucrative purposes that develops its action in a

local, regional and national level. Its context is inserted in

a social, economical and gender inequality. Therefore,

we try to fill in some necessities with an informal

formation program according to the basilar European

principles of apprenticeship throughout life. Until now,

our activity has always had the support, either from the

population, or from public or private institutions, local

and regional. Since 1999, when Arte-Via was founded,

we gave a major contribute to the cultural development,

in a large sense of the region where we are integrated.

The fundamental basis of the work conception of

Arte-Via Cooperative, as voluntary body, is the

involvement of all the learners and trainees that develop

their activity in the project area, in this case, arts. So,

57

from the phase of conception to the dissemination phase,

all them are going to be actively involved, participating

with their ideas, conceptions and ways of implementing

and developing good practices. Arte-Via will also

cooperate and interact with others local and regional

institutions working in the same field.

Arte – Via Cooperativa Artística e Editorial, CRL

is working in the art field and our main objective is

organizing activities and events related with the project

method and according to the purpose of the partnership

and the Arte-Via annual plan, mainly the development

and improvement of the skills of our artists.

From the beginning of its foundation, Arte-Via

uses in a practical way the results of the several and

different projects to benefit the adult learners and

professionals, so that they feel that their work has

contributed to ameliorate the quality of their skills and in

general, of their lives. So, the results will be artistic

works that can be read, seen and heard, and at last,

experienced. We also use all media to disseminate the

results and also internet, especially our site.

Studiefrämjandet

Studieframjandet is a non-profit adult education

organisation operating in the central part of Sweden.

Further it is a none government organisation, partly

financed by the National Government and Municipalities.

58

Studiefrämjandet works primarily with non-

formal adult education, the main focus of our work in

areas connected to our 18 member organisations. Among

these organisations are the Swedish Society for Nature

Conservation (SNF), the National Federation of Swedish

4H, the Swedish Hunters’ Association, the Swedish

Tourist Club (STF), and MoKS – an umbrella

organisation for music and culture associations.

Additionally, we also co-operate with numerous other

non-governmental organisations (so called NGO’s).

Studiefrämjandets role in the project will mainly

be to:

document the workshops

design the logo of the project

prepare the DVDs containing the data and

materials produced throughout the project.

Studiefrämjandet has several projects which mainly

aim to create new and better condotions for participants

in the risk of social exclusion.

Lancaster and Morecambe

College

Lancaster and Morecambe College (LMC) is a

public sector college of Further Education and the main

provider of Vocational Education and Training (VET) in

North Lancashire and South Cumbria in the North West

of England. LMC is situated between the city of

59

Lancaster and the seaside town of Morecambe and serves

the local area and the outlying rural communities. It

currently has around 1800 full-time students & 3000

part-time students. Its main role is to provide training in

vocational skills leading to employment and/or academic

skills leading to a University place.

LMC works collaboratively with local employers

and agencies to provide the local economy with a skilled

and motivated workforce leading to sustainable

employment in a variety of sectors. LMC’s role in the

local economy and community is reflected in their

mission statement;

“Providing Lancaster and Morecambe and

surrounding communities with an outstanding student

experience fullfilling vocational, personal and

employment goals”

LMC has a successful history of running events

that serve the needs of local community and its own

students. It is keen to further develop a strategic approach

to holding these events that involves students, staff and

local organisations to benefit the wider community.

LMC has been part of many innovative

international projects and initiatives in the LLP. LMC

was the first VET College in the UK to be awarded the

Leonardo da Vinci Certificate of Quality in Mobility and

holds an International School Award for its Transnational

work.

60

Asociación Andalucía En Obra Social

We are a Spanish NGO in Granada, Andalusia.

As the largest of the 17 autonomous communities of

Spain, is the best to evoke the most emblematic images

of a country famous for its flamenco shows and the pure

passion. It is a land that has given rise yet has inspired

great writers, poets, actors and painters. Andalucia gave

birth to Pablo Picasso and Velázquez and fascinated

novelists such as Ernest Hemingway and Washington

Irving. It is the scene of one of the most performed and

famous operas of all time, "Carmen" by Bizet. It is a

unique place where East and West blend and coexist

people of Christian origin, Gypsy, Arab and Jewish.

Our NGO was founded in 2009 in Granada; one

of the jewels of Spain and one of the most visited cities

by tourists from around the world, the capital for a long

time of the Arabs. Granada offers the most important

memories of this time in Spanish history, with the world

famous "Alhambra".

We mainly there and in the village Herrera; which

is situated in the south-east of the province of Seville and

has a privileged geographical location as it is located in

the center of Andalusia. Major cities (Seville, Granada,

Cordoba and Malaga) are less than an hour away. Our

main objectives are: education and non-formal and

informal education, promoting social inclusion and

employment of excluded social groups by origin,

ethnicity, culture or religion, to support any person or

group of people in need, promote cooperation and

cultural exchange between the association and any other

associations, governments, institutions and organizations.

61

To achieve this, the association organizes cultural

activities for further development and dissemination of

the culture of Andalusia, organizes all kinds of cultural

and artistic events, including exhibitions, conferences,

workshops, courses, concerts, travel, tours, festivals and

competitions. Some of our activities are: development of

projects that run the European Union guidelines, network

work together with other institutions and agencies, both

public and private, volunteer work, which is actively

involved in the development and implementation of

projects of the association, courses and workshops and

guidance, integration actions of different groups in

society, awareness-raising on gender and equality.

62

The Summary of The Project- Festival

Entrepreneurship for VET

Who:This partnership involved institutions

providing vocational education, representatives of

working life, non-profit organizations and bodies

responsible for vocational education and training at a

local level. The target group included the teachers,

trainers and other staff of the institutions mentioned

above who were interested in, or responsible for,

organizing activities to improve the professional skills

and competence of the participants.

What&How: This project improved the quality

and increase the volume of cooperation between

institutions which were interested in organizing festivals

and need a higher degree of professionalism. It was a

recognized feature of the partners that working in

collaboration with local employers and agencies could

have benefits in the long term by creating sustainable

employment opportunities to meet the demands of the

labour market. In this project the competence and

entrepreneurship of the target group were improved

through active involvement of each partner in peer

learning, team building activities and workshops.

Besides, participants made observations and research

good examples organised in partner countries. At the end

of this project the participants prepared a guidebook

about organizing festivals based on their work and

experience gained in the project.

63

Moreover, an international festival was organized

in the country of the coordinator and participants from

each part of Europe were welcome to this festival. This

partnership went beyond this project and its results and

products were exploited.

When&Where: This Project started in September

2012 and ended in July 2014. In two years' time there

were flows to each partner to maintain the partnership

and implement the project activities efficiently.

64

This book was written by the participants

of FestEVET team under the framework

of Lifelong Learning Programme –

Leonardo Da Vinci Project – Festival

Entrepreneurship for VET. In this book,

you can find information about hoe to

arrange a festival or event. It is designed

for those participating in a festival

organization. The tips in the book will

help you in the process of organizing your

festival.