Category: Festival

Introduction

Why do we do a normal test?

A normal test is usually done to ensure that the data is normally distributed since the test statistics used follows a normal distribution.

Activity One

Data exploring

In this study, we are interested in exploring the festival data if there are normally distributed. In this study, we are going to explore the festival data using the histogram and normal probability plot of the festival data (Ball, 2001). The festival data consist of three variables day 1, day 2, and day 3. We will investigate if all the three variables follow a normal distribution. We will also have the frequency table of the tree variables.

The histogram of day 1 variable

From the day one histogram, we can observe that the value of the mean is equal to 1.79, the standard deviation is equal to 0.944 and the value of observation is 810. From the histogram, we can observe that the festival data of day one is normally distributed about the mean of the data. We can also observe that the festival data is symmetrical about the mean of the day 1 of download festival. This means that the day 1 of download festival can be used to conduct analysis where the normal assumptions have been made.

The normal probability plot of hygiene day 1 of download festival

The trended hygiene data of day 1 of download festival show that the data is normally distributed. This is indicated clearly because the residual p-p plot of the day 1 of download festival data of hygiene are close to the line implying that the errors and the festival data re normally distributed.

The normal probability plot of the hygiene festival data is not normally distributed when the data has not been trended. The plots of the error are very far from the line implying that data is not normally distributed.

The exploring of hygiene day 2 of download festival

From the day one histogram, we can observe that the value of the mean is equal to 0.96, the standard deviation is equal to 0.721 and the value of observation is 264. From the histogram, we can observe that the festival data of day one is not normally distributed about the mean of the data. We can also observe that the festival data is not symmetrical about the mean of the day 2 of download festival. This means that the day 2 of download festival can be used to conduct analysis where the normal assumptions have been made (Kutner, Nachtsheim, Neter & Li, 2005).

The normal probability plot of hygiene day 2 of download festival

The trended hygiene data of day 2 of download festival show that the data is normally distributed. This is indicated clearly because the residual p-p plot of the day 2 of download festival data of hygiene are close to the line implying that the errors and the festival data re normally distributed.

The normal probability plot of the hygiene festival data is not normally distributed when the data has not been trended. The plots of the error are very far from the line implying the data is not normally distributed.

Exploring day 3 of download festival

The histogram of the hygiene day 3 of download festival

From the day 3 of download festival histogram, we can observe that the value of the mean is equal to 0.98, the standard deviation is equal to 0.71 and the value of observation is 123. From the histogram, we can observe that the festival data of day 3 is not normally distributed about the mean of the data. We can also observe that the festival data is not symmetrical about the mean of the day 3 of download festival. This means that the day 3 of download festival can be used to conduct analysis where the normal assumptions have been made. The hygiene data of day 3 download festival has two outliers and for the download festival data of day 3 to be used in any analysis that need normal assumption we need the outliers to be removed and transformed to normal.

The normal probability plot of the hygiene day 3 of download festival

The normal probability plot of the hygiene festival data is not normally distributed when the data has not been trended. The plots of the error are very far from the line implying that data is not normally distributed.

The descriptive statistics of the download festival

The trended hygiene data of day 3 of download festival show that the data is normally distributed. This is indicated clearly because the residual p-p plot of the day 3 of download festival data of hygiene are close to the line implying that the errors and the festival data re normally distributed.

The above table 1 shows the value of descriptive statistics of the variables

From the descriptive statistics, the variable day one had no missing value. The mean of hygiene day one of download festival is 1.7934, the median is 1.79, the variance is 0.892, the kurtosis statistic is 170.45, and the skewness statistic is 8.865. The variable hygiene day two of download festival had 546 missing values, the mean of 0.9609, the median is 0.79, the variance is equal to 0.52, the value of skewness statistic is 1.095 and the value of kurtosis is 0.822. The variable hygiene day three of download festival has 687 missing value, the mean of 0.9765, median is 0.76, the variance of 0.504, the skewness statistic of 1.0033, and the kurtosis statistic of 0.732.

From the skewness value we can say that the day I of download festival is skewed to the right of the mean, the standard error of the skewness statistic is 0.086. The skewness value is 1.095.

The description of numeracy and computer literacy

From the descriptive statistic of table 2, the total sample was equal to 50, the mean value is 4.12, the median is 4, the standard deviation is equal to 2.067, the skewness is 0.512 and the kurtosis statistic is -0.484. From the skewness statistic, we observe that the value of the skewness is negative hence the data is skewed to the left of the mean of the data.

The descriptive statistic of the numeracy and the computer literacy at university of Sussex University

From the descriptive statistic, the total sample was equal to 50, the mean value is 5.58, the median is 5, the standard deviation is equal to 3.071, the skewness is 0.793, and the kurtosis statistic is 0.26. From the skewness statistic, we observe that the value of the skew ness is positive hence the data is skewed to the right of the mean of the data.

The histogram of the numeracy

From the histogram the numeracy of the university dunce town is skewed to the right.

The numeracy data is not symmetrical about the mean. The numeracy contains the outliers.

The histogram of computer literacy

From the histogram of the computer literacy, we can see that the data on computer literacy is normally distributed about the mean. The data on computer literacy has three outliers.

The test of homogeneity

From the test of homogeneity of variance, the levene statistic of computer literacy is 0.064 with a significant value of 0.801 which is greater than 0.05. This means that we fail to reject the hypothesis that the variances are homogeneous. We therefore conclude that the variance of computer literacy is homogeneous. The value of the levene statistic is equal to 1.731 with a significant value of 0.191. This means that we fail to reject the hypothesis that the variance is homogeneous. We therefore conclude that the variance is homogeneous.

We can able observe from the test of homogeneity of variance table that the values of significant are all greater than the 0.05. This mean that we fail to reject the hypothesis that the variance is homogeneous and we conclude that the variance of the computer literacy and the percentages of lectures attended have their variance homogeneous based on both median and trimmed mean.

Assumption violation

When assumption of homogeneity of variance is violated, the data fail to obey the normality assumptions. This lead to contradicting conclusions hence there is over dispersion of the parameters.

References

Ball, K. S. (2001). The Use of Human Resource Information Systems: a Survey. Personnel Review, 30(6), 667- 693.

Kutner, M., Nachtsheim, C., Neter, J., & Li, W. (2005).Applied Linear Statistical Models (5th ed.). New York: McGraw-Hill/Irwin.

Event Sponsorship Proposal

This report aims at giving the details of the 2014 Joondalup festival, which will place in the city of Joondalup. The report gives an overview of the management of the event, the benefits of the participating firms and individuals. In addition, the report focuses on identifying the theme of the event, objectives associated with the event and the philosophy of the event, among other event aspects.

The management

The management of the event is the responsibility of the authorities within the city of Joondalup. The management teams are chosen from various departments because the event is usually quite diverse with regard to the main activities. For example, there are music activities, performing arts and sporting activities, among others. The members of the management team ensure that the event is carried out successfully to meet its goal of uniting people. In addition, the management team ensures that firms that sponsor the event have excellent opportunities for marketing their products (Grey & Reid, 2003).

Deadlines for action

All events should be organised while considering some deadlines for actions to ensure that all activities are carried out as planned (Allen, OToole, Harris & McDonnell, 2011; Goldblatt, 2005; Sonder, 2004). In fact, the deadlines for actions with respect to the event in the city of Joondalup are planned in such a way that attendees, exhibitors and sponsors have adequate time to execute important aspects of the event. The calendar of the event shows that activities are planned to take place throughout the week.

Event description

Theme of the event, event objectives and event philosophy

The event aims at uniting people in the local community for a common purpose of strengthening connections, as well as sharing and broadening ideas through the cultural festival (Allen, OToole, Harris & McDonnell, 2011). The philosophy of the event is based on the principles of harmony that is achieved when people meet and share their various aspects of lives.

Logistics

The event will take place in the city of Joondalup in May. The location is a perfect avenue that has been used in the past to host the event. In fact, the metropolitan nature of the city helps it to be a perfect location for the event. Most of the facilities to be used will be obtained from the city as well as from the participating organisations. The time of the event is from 8 in the evening to about 5 in the evening.

Figures, history and marketing objectives

Participants in the event take part in a wide range of interesting cultural and sporting activities, which explains the high attendance of more than 100,000 people last year. Therefore, the event benefits all stakeholders from those attending, the exhibitor and the sponsors (Hughes, 2000; Wagen & Carlos, 2005). Various marketing approaches are used to popularise the event. The use of radio and television has proved beneficial in the past. However, the best approach that will increase the number of sponsors is the use of the internet, which is relatively fast.

References

Allen, J., OToole, W., Harris, R., & McDonnell, I. (2011). Festival and special event management (5th ed.). Brisbane, Qld: John Wiley & Sons. Web.

Goldblatt, J. J. (2005). Special events: event leadership for a new world (4th ed.). Hoboken, NJ.: Wiley. Web.

Grey, A., & Reid, K. (2003). The sponsorship seekers toolkit (2nd ed.). Sydney, NSW: McGraw-Hill Companies. Web.

Hughes, H. L. (2000). Arts, entertainment and tourism. Oxford, United Kingdom: Butterworth-Heinemann. Web.

Sonder, M. (2004). Event entertainment and production. Hoboken, NJ: J. Wiley & Sons. Web.

Wagen, L., & Carlos, B. R. (2005). Event management: for tourism, cultural, business, and sporting events. Upper Saddle River, NJ: Pearson/Prentice Hall. Web.

Introduction

Australia is famous for its cuisine, and every year it welcomes thousands of tourists from all parts of the world who want to become aquatinted with the countrys most iconic food. According to official statistics, in 2017 alone, the spending on food and wine by international tourists in Australia accounted for more than five billion dollars (Food and wine, n.d.). There are also annual festivals which take place in different regions of Australia which promote the produce of local farmers and the Orange F.O.O.D Week (Food of Orange District) festival is one of them. As the oldest regional gastronomic festival, the Orange F.O.O.D Week presents an interesting case for analyzing the strategies it employs and the issues it faces.

Overview of the Event

The Orange F.O.O.D Week has been in existence for several decades, and it is still considered to be among the most popular regional food events in the country. Orange District, the place where the festival is held, is known for its vineyards and premium quality wine, as well as restaurants (Orange, 2019). In 2021, the creators of the Orange F.O.O.D Week once again hosted the festival, which lasted ten days and marked the thirtieth anniversary of the event. Essentially the idea behind the festival is to celebrate food and wine produced in the region by bringing both residents and tourists together. Farmers get to showcase their produce while restaurateurs, chefs, and caterers can find new suppliers for their companies. The notion of provenance is integral for the festival. Provenance refers to the origin of a particular object or phenomenon, and in this case, it is of food and wine of the Orange Region.

The festival of 2021 included numerous events ranging from a long table lunch to an art exhibition. Demonstration and tasting events are at the center of the festival. For instance, the audience could observe the process of making fermented drinks and try some raw probiotic liquids (Fermentation, n.d.). The local restaurants also participate in the festival and create their own F.O.O.D. Week Menus which include dishes made of ingredients sourced from the regional producers and farmers. Shinning the Light on Local Producers is another program during the festival which includes several events dedicated to promoting local farming. Argyle Saffron is one of the participants, a company which grows saffron in Orange (Shining, n.d.). Additionally, there is Sampson Street Long Lunch, a lunch together with famous people from the local gastronomic scene. The festival also held several signature events, which usually take place every year and have become traditions. One of the main ones is Forage which is a four-kilometer stroll through Orange vineyards.

Over the past five years, the festival has demonstrated steady growth and development despite the recent pandemic, which forced the organizers not to host the event in 2020. There is no data yet available on the number of attendees of the 2021 event, yet the information on the pre-pandemic situation shows that the festival had been gaining new participants every year. In 2019, the number of people who attended six main events rose by 4% compared to the previous year (Orange F.O.O.D, 2019). In 2016, the government of New South Wales signed a deal with All Nippon Airlines to promote international travel to the festival for the first time (Destination NSW, 2017). This fact shows how important F.O.O.D. Week is for the local economy and how its international popularity is growing. One important matter which has to be mentioned is the fact that in 2017 the festival started following global-standard ISO 20121, requirements to improve the sustainability of events, and received official certification as an event which upholds sustainable management practices. The decision by the festival to achieve the goal of making its operations sustainable is a response to the growing trend of eco-consciousness and environmental accountability.

Strategies Employed by the Festival

The festivals organizers employ a variety of strategies to promote the Orange Region as the ultimate destination for local and international tourists who want to have an excellent gastronomic experience. As it was mentioned before, the Orange Region has numerous vineyards and wineries which produce premium wine and other types of drinks. Creating an environment for people to experience the true quality of the farmers produce and Oranges breath-taking landscapes has been the core strategy of the festival. Forage, the signature event of the festival, combines both tasting local food and wine and observing the nature of the Orange Region by walking through vineyards.

Another strategy of the festival is providing the attendees with the authentic atmosphere of Oranges gastronomic scene. This strategy is consistent with the World Tourism Organizations (2019) recommendations on the development of local gastronomic tourism. For example, in 2021, the festival featured Beer Tasting at the local pub Beekeepers Inn, as an event where guests could taste local handcrafted beer which has been brewed there from 1859 (Beer, n.d.). Another strategy used by the festival to enhance Orange Regions branding as the place for gastronomic tourism is encouraging both domestic and international guests to learn about the local culinary scene. The festivals website has a page dedicated to all the food and wine industrys key players of the Orange Region, where every person can access information on these companies. Thus, through this directory, people who are considering visiting the Orange Region can discover that the local gastronomic scene has a lot to offer.

While the strategy concerning the provision of authentic experience of Orange Region and its food and wine is mostly targeted at foreign tourists. To attract locals or people from other parts of Australia, the organizers engage in the strategy of promoting the festival as a place where people can socialize while enjoying local food and wine. The aforementioned Sampson Street Long Lunch is an example of an event where people can talk to other individuals, both old friends and new acquaintances, over a meal made of locally produced products. This strategy ultimately seeks to establish a connection in the minds of the attendees between Orange Regions food and wine and their personal moments of joy and happiness.

Issues Affecting the Future of Gastronomic Tourism in Orange Region and Worldwide

When developing a development strategy for a regional food festival, it is essential to take into consideration all possible issues which may affect the success of the event. Issues concerning economic, environmental, social, and political factors play a major role in the world and food festivals, including Orange F.O.O.D. Week, have to be able to respond to them.

The primary economic issue which has a significant capacity to impact the future of gastronomic tourism and the Orange Region is a considerable drop in consumer purchasing power due to the COVID-19 pandemic. The lockdowns which continue to take place in countries worldwide have impaired the financial stability of millions of people who lost their jobs or experienced large cuts in their pay. This situation has negatively impacted individuals ability to travel since now they have to attend to more essential expenses. According to some estimates, a drop in tourist activity in June 2021 will be more than fifty percent compared to December 2019 (Fotiadis, Polyzos. & Hua, 2019). There is a high probability that many potential guests of Orange F.O.O.D. Week did not attend the event in 2021 and are likely not to be present for the 2022 festival due to financial constraints caused by the pandemic.

Environmental concerns have been on a global agenda for the past several years and now are addressed at all levels, from local to governmental. The primary issue related to the environment which directly affects the future of gastronomic tourism is climate change. This problem poses a threat to the sustainability of international farming since unpredictable changes in weather patterns can damage crops and reduce the volume of produced crops. For instance, researchers discovered that in Australia, climate change caused a reduction in barley, maize, and wheat yields (Ray et al., 2010). The issue of climate change, if left unresolved, can negatively affect the gastronomic tourism industry by making farming financially unsustainable and thus undermining the current diversity of food produced in different countries. In the worst-case scenario, the climate may make only a limited number of regions on the planet viable places for growing crops.

Social issues are of equal importance as both of the previously mentioned ones, and global providers of gastronomic tourism have to consider them when planning their events. The issue which potentially threatens the success of the gastronomic tourism industry in the near future is the change in the customers preferences. After the pandemic, people may decide to opt for traditional tourism destinations, namely resorts by the sea, where they can simply enjoy sunshine and rest. Gastronomic tourism is still a niche product since it usually focuses only on food and wine. There is a chance that people who spent a year in a lockdown will not be likely to go to Australia to try produce of Orange Regions farmers and instead will choose to go to Greece or any other traditional tourism destination.

The most significant political issue faced by the gastronomic tourism industry today is the introduction of travel restrictions by governments worldwide. Despite the mass vaccination efforts, there is still a possibility of another wave of the pandemic. In this case, nations will be likely to once again close their borders which will inevitably impact the gastronomic tourism industry, which is dependent on foreign guests. Yet, states also can close their borders, and the Orange Region, which benefits greatly from people who go there from all parts of the world and Australia to enjoy local food and wine, can considerably be harmed by such government policies.

Emerging Consumer Trends and Possible Responses to Them

As with any industry, gastronomic tourism is susceptible to changing trends which enable all stakeholders to adjust to new circumstances. Companies which operate in the food and drink industry have to respond to consumer demands to stay competitive. One of the main emerging trends which affect the behavior of consumers in relation to food and gastronomic experience is the growing popularity of foodstagramming (Schimperna, Lombardi, & Belyaeva, 2020). Essentially, people today love to share photos of their food online on social media platforms such as Facebook and Instagram. This is an exceptional tool for increasing the popularity of gastronomic places such as restaurants and even geographical regions since one good photo can be viewed by millions of people worldwide. To respond to the trend of foodstagramming, Orange Food Week can feature a list of the most scenic places in the Orange Region and set up small areas there for people who want to dine and take photos of their food with exciting views in the background.

Another trend which is gradually gaining traction is wellness. Specifically, more people are wishing to consume products which possess functional health benefits, namely, food and drinks which are packed with nutrients (5 global, 2020). Orange F.O.O.D. Week has plenty of good food, but the festival does not position itself as an event promoting healthy eating. Yet, to take advantage of this trend, the festival can feature an event which will involve listing to the audience all of the health benefits of consuming food produced in the Orange Region. The attendees of this event can then tell about it to their friends who will become interested in visiting the Orange Region, which has an extensive selection of healthy-food producers.

Conclusion

The Orange F.O.O.D Week is a unique gastronomic event in Australia which promotes the Orange Regions food and wine producers. In 2021, the festival celebrated its 30 anniversary and hosted a variety of events, such as the Forage and Shinning the Light on Local Producers. Before the pandemic, the festival demonstrated steady growth in the number of attendees and received certification for its sustainability efforts. The main strategy used by the event concerns creating an environment where its guests can enjoy Orange Regions food and wine. The festival, as a part of the global gastronomic tourism industry, faces several issues which mainly concern the COVID-19 pandemic effects on the economy and behavior of people and governments. To be able to better respond to new consumer trends, the festival has to provide its attendees with a list of the most exciting place in the Orange Region for them to take photos and share them on social media. Additionally, the organizers can introduce events which promote the health advantages of consuming Orange Regions food.

References

5 global trends that will shape the food industry in 2021. (2020). Businesswire. Web.

Beer tasting @ The Beekeepers Inn. (n.d.). Orange F.O.O.D. Week. Web.

Destination NSW. (2017). Destination NSW: Annual report 2016-2017. Web.

Fermentation  demonstration & tasting. (n.d.). Orange F.O.O.D. Week. Web.

Food and wine.(n.d.). Tourism Australia. Web.

Fotiadis, A., Polyzos. S., & Hua, T. (2021). The good, the bad and the ugly on COVID-19 tourism recovery.Annals of Tourism Research, 87, 114. Web.

Orange F.O.O.D Week. (2019). Sustainable event report. Web.

Orange: A world class region emerges.(2019). Australian Wine. Web.

Ray, D.K., West, P C., Clark, M., Gerber, J.S., Prishchepov, A.V., & Chatterjee, S. (2019). Climate change has likely already affected global food production.PLOS ONE, 14(5), 118. Web.

Schimperna, F., Lombardi, R., & Belyaeva, Z. (2020). Technological transformation, culinary tourism and stakeholder engagement: Emerging trends from a systematic literature review.Journal of Place Management and Development, 14(1), 6680. Web.

Shining the Light on local producers  a show, tell & taste workshop. Chicken and Saffron. (n.d.). Orange F.O.O.D. Week. Web.

World Tourism Organization. (2019). Guidelines for the development of gastronomy tourism. Web.

The San Joaquin Asparagus Festival is an annual event that takes place in Stockton, California, and involves celebrating asparagus as local food. Across the world, destinations of tourism are promoting and developing food events as a way of attracting tourists. Lewis asserts that this is because food festivals are utilized to bolster the local economy (76). Tourism contribution associated with food festivals to the growth of local regions is essential since tourism creates needed job opportunities and leads to economic development. Lewis states that for over its twelve years, the festival has raised nearly 1.75 million dollars for area non-profit groups, as well as obviously high, but unreported, levels of profit for promoters& (74). Events such as the San Joaquin Asparagus Festival are a vital motivation for the traveling of tourists. People from around the region travel to Stockton to join the locals in the celebration of the food that is currently regarded as belonging to individuals in the high-class category.

Lewis views concerning local events are that they invent new cultural views. This argument seems to be true because local festivals provide a sanctuary where different people can interact and learn about each others cultural perspectives. Additionally, the San Joaquin Asparagus Festival is a function where visitors can break the rules concerning how they behave in normal society. According to Lewis, these events offer opportunities for everyday folk to experience unorthodox (sometimes even socially taboo) indulgences in an out-of-realtime setting (75). As such, individuals are free to invent new cultural behaviors without fear of being judged harshly. The reason is that the festival creates an environment that allows people to experiment and try new things. Since it is an annual celebration, there are some behaviors that would be associated with the event that would be replicated throughout its life span.

For several years, the asparagus festival has created employment opportunities. The San Joaquin Asparagus Festival website shows that there exists a midway of fun carnival where visitors can engage in different exciting activities. The midway of fun carnival is among the several activities that take place during the event. These generate hundreds of jobs for locals and visitors who want to sell their products. The site further has a feature that updates the followers of the event. The attribute is necessary because it ensures that everyone is informed about the event. Currently, the world is combating a pandemic, and informing followers of the celebration that the event cannot happen is necessary to avoid losing visitors.

In recent years, one of the major invented festivals that has been celebrated in the United States is the Boston seafood event. The festival has several similarities with the San Joaquin Asparagus Festival. Both events celebrate foods that the American people enjoy and regularly eat. Secondly, asparagus and seafood are considered high class. In addition, both events provide opportunities that everyone can utilize to have fun and carry out activities that are considered abnormal in everyday life. These events last for days and are primarily utilized to promote the local economy of the respective states. The celebrations are a major tourist attraction for the states because usually thousands of people attend them. These visitors rent hotels, buy food and indulge in other various activities that generate income for the local government.

Works Cited

Lewis, George H. Celebrating Asparagus: Community and the Rationally Constructed Food Festival Journal of American Culture, vol. 20, no. 4, 1997, pp. 73-78.

San Joaquin Asparagus Festival. Noceti Group, Inc. Web.

Introduction

Fairmont Bab Al Bahr is a hotel built at a very serene environment near Abu Dhabi, the capital of UAE. Because of its architecture, and unique location, the hotel offers so much comfort and is equipped with elegant rooms for guests. This luxurious hotel is surrounded with beautiful scenes such as the Sheikh Zayed Grand Mosque. Getting to the city center from the hotel is quite easy. Besides being near the airport, it is also surrounded by several golf courses.

According to Graci and Dodds (2008), the idea of sustainable business operations is currently the talk of the day. Big or small, business enterprises are increasingly getting concerned about the impact of their activities on the environment. In response to this, most business enterprises are seeking lasting solutions by strategies that do not disturb the environment. Apparently, organizing green festivals is one strategy that is being used by most modern business enterprises.

Despite the fact that hotel sales have been on the decline due to the difficult economic times being felt globally, hotels are quickly discovering that going green is one strategy that may be used to triumph in the face of competition (DeMarco, 2012).

Although for a very long time hotels have been very slow in joining forces with other organizations to advocate for ecofriendly behavior, the message is finally sinking home and they are now forced to change their course by the ever changing business environment and the fierce competition for the existing market share. Various measures are thus being taken by key players in the hospitality industry to protect the environment.

This paper presents a promotional strategy to be used by Fairmont Bab, a hotel located in Dubai, to get persuade residents of this town to start thinking green and work towards minimizing environmental destruction.

Description of the Event

As noted earlier, the green festival is to be organized by Fairmont Bab Al Bahr. This location has been chosen because of its proximity to the airport and to the city center. In addition, the hotel management is conscious about protecting the environment and this blends in well with the agenda of our green festival.

The green festival being organized has a target of reaching at least 1,000 participants living in and around Dubai. Participants near the venue for the green festival drive heavy vehicles and these contribute heavily to the increased carbon dioxide emissions.

The main reason for planning the green festival is to get residents of Dubai and its environs to realize the importance of environmental conservation. Although it may be difficult to realize, quite a number of people prefer going green and are even willing to pay more for green products and services.

Despite having no target audience, our activity is meant for the adults who according to us, hold the key to shaping the future and can pass on great ideas to the younger generation.

A number of adverting objectives may be explored by we have settled on our main objective as to inform the people about the need to care for the environment.

Our environment is slowly wasting away and unless we act fast, we will have nothing left to pass on to the future generations. The importance of this campaign can thus not be underrated. People have to be made aware of the impacts their actions have on the environment.

What is a Green Festival?

According to Graci and Dodds (2008), a green festival is one that is planed to ensure that there is very minimal destruction to the environment. Examples of minimizing environmental destruction include waste reduction, proper use of water and energy, educating the masses or those attending the festival about environmental impacts, and much more.

Impact of a Festival on the Environment

The impacts of any festival on the environment are quite obvious. From an economic viewpoint, festivals may bring together thousands of people who, in turn, contribute positively towards economic growth. However, socially and environmentally, festivals tend to create enormous tons of waste, use excessive amounts of electricity, cause damage to land due to overuse, and lead to increased emissions of carbon dioxide.

Given that festivals can be regarded as part of the tourism industry, which is partly blamed for increased emission of carbon dioxide into the atmosphere, it is imperative for hotels and other affected firms to be proactive enough and do everything possible to ensure that their activities do not degrade the environment.

Why a Green Festival?

Beyond any doubt, festivals are generally responsible for the creation of waste. Sadly though, these wastes end up destroying the environment. It is because of this that some festival organizers are realizing the importance of greening their festivals with the intention of minimize their negative impact to the environment.

Benefits of Green Festivals

There a number of benefits at are directly associated with greening festivals. One positive thing is that both the business enterprises as well as the general public get to benefit in the process. Clearly, it is a win-win situation for all.

In the first place, many people actually prefer green festivals and think that noise, waste, and traffic are a nuisance. Considering that people are now waking up to the fact that festivals contribute greatly to carbon dioxide emissions, they are more eager to pay more for greener festivals. When clients pay more, it is for the benefit of the hotel owners, festival organizers, and event clients.

A green festival can also help a business enterprise cut down on costs. As an example, certain items may be collected and stored for use in a future festival or event with similar requirements. Among other things, this can save organizers so much money when planning for a future festival with similar requirements.

Description of the Promotional Campaign and Launch Activities

Having looked at the preceding overview of a green festival, it is now time to present the plan for Fairmonts green festival.

Pre-planning

Before the actual planning and implementation can take place, some decisions will need to be made regarding the festival. To meet the requirements of a green festival, Fairmont will have to look into a number of critical issues. First, it will be necessary to think about the participants. The organizing team will need to establish the number of participants, impact of each person, food requirements for each person, and what their consumer expectations are.

Secondly, the venue of the green festival and how people will get there will have to be agreed upon. It will be important for the team organizing the festival to know where participants will be coming from. With this in mind, it will be possible to arrange for a venue that is appropriate for all.

Easy access to public transport is also an important consideration that must not be overlooked. As much as possible, participants should be encouraged to come by public transport instead of using private means. It may be necessary to establish whether various choices for transport are available and if incentives can be offered to encourage participants to use public transport rather than private cars.

Thirdly, the organizing team will have to consider sources of material. The team will determine whether other means of communication are available instead of using paper fliers or information. Other things to consider include the source of food and other supplies and, whether materials can be locally sourced.

Fourth, the team will need to find out whether the chosen venue and accommodation is appropriate. It may be advantageous to have the festival done in a location that has less impact on the environment, if this is practical. Where recycling and use of renewable energy sources is possible, it should be encouraged.

Planning and Implementation

The different issues raised in the pre-planning section will certainly provide the foundation on which planning and implementation will take place. It will be necessary to ask questions such as whether the product or service is green, where it can be found, and whether there are substitutes for non-green products or services.

Transportation

As noted earlier, it will be helpful to avoid transport options that are associated with high carbon emissions. Where possible, the team will need to advocate for transport options that depend on green energy. Local participants should be encouraged to share a vehicle if they must drive to the festival.

Venue

It will be beneficial to hold the festival in a central location and within walking distance for most participants. In addition, the venue to be chosen will have to be one with a clear environmental policy and green strategy. Senior management may be involved in choosing the appropriate venue. In the case of Fairmont, most of the target population stays close to the hotel although others are from far places.

Food, Beverage, and Catering Services

Among other things, it will be necessary to ensure that suppliers only use ecofriendly products for cleaning or other important purposes. Where possible, cloths will be used for cleaning hands instead of using disposable materials. Plans will also be put in place to help control how water will be used. If available, local water trucks will be used instead of bottled water.

Registration

Ecofriendly methods will be used during the registration. This will be done electronically so as to minimize the use of paper and other materials that are harmful to the environment.

Venue Equipment and Furniture

Equipment such as photocopiers will require a double sided function. While on site, participants will be provided with and encouraged to use wireless services since the service will be freely provided to all participants. If possible, the use of recycled parts should also be encouraged. Ecofriendly furniture will also be used.

Energy and Water

If practical, the use of green power will be encouraged. It will also be necessary to ensure that all participants understand perfectly, the need to use energy and water efficiently.

Water Reuse, Recycle, and Reduction

To succeed in their endeavors, the organizing team will need to work closely with participants where possible. The main idea is to ensure that participants are part of the process rather than feeling as strangers or mere observers. All participants will be informed about plans already in place to address waste reduction and recycling needs.

Conclusion

Despite the heavy costs associated with planning for the promotional campaign, the benefits certainly outweigh the costs. As pointed out elsewhere, the greatest gift any generation can pass on to a future generation is a healthy environment. This promotional campaign will sensitize residents on the importance of protecting the environment, and obviously, the impact will last long into the future.

References

DeMarco, G. (2012). Strategy Plan for Hotels Going Green. Web.

Graci, S., & Dodds, R. (2008). Green Festivals and Events Guide, a How To. Toronto, Ontario: The Icarus Foundation.

Halloween or Hallow Eve is a global festival celebrated on October 31 in the Western Christian world. Its origin comes from The Celtic Pagan holiday; hence many beliefs are based on ancient mythology. Many symbols of Halloween, such as pumpkins, ghosts, witches, skeletons, and lanterns, are closely connected with their original purposes. The festivals roots came from the traditions of religious attention to the edge between the world of the living and the dead (Shabnam, 2021). Such practices as sharing food with every visitor on Hallow Eve, making bonfires, or wearing a mask to protect oneself from evil greatly influenced the modern holiday but lost its initial nature.

Nowadays, society accepts some elder traditions as norms  such as wearing a costume to school or work, giving candies during trick or treat, supporting a dark atmosphere with horror movies and stories, and house decorations. These activities create solid values for society  adults giving candies to the children build an understanding of generosity, and the tradition of trick-or-treating simulates a small community of children involved in the same cause (Kelly & Riach, 2018). Consequently, celebrating Halloween contributes to the general feeling of involvement in global social interaction through supporting the same traditions.

Altogether holidays create social solidarity by integrating Durkheims concept of collective conscience (Conerly et al., 2021). Following the same norms, traditions, and values, people maintain strong common ties within the society. It also creates temporal mechanical solidarity during the holiday seasons and festivities, for instance, most children going trick-or-treating. Holidays were invented by the process of initialization, while the beliefs and values are justified by people. Therefore, holidays are grounded by society and, as a result, contribute to its solidarity.

References

Conerly, T. R., Holmes, K., & Tamang, A. L. (2021). Introduction to sociology 3e. OpenStax.

Kelly, S., & Riach, K. (2018). Halloween, organization, and the ethics of uncanny celebration. Journal of Business Ethics, 161, 103114.

Shabnam, Y. (2021). American Halloween: enculturation, myths, and consumer culture. Proceedings of the 3rd International Academic Conference on Research in Social Sciences. Diamond Scientific Publishing.

Operations in the international music festival event industry are highly complicated due to involving a large number of participants, venues, managers, and visitors. Unlike companies responsible for small events, the international industry has to predict and try to avoid the risks associated not only with the artists but also with transportation, ticket selling, weather conditions, and many other factors. The analysis based on the PESTLE system and Porters five forces will enable the assessment of the business environment and potential profitability of the international music festival event industry.

The PESTLE analysis incorporates political, economic, socio-cultural, technological, legal, and ecological environments. This tool is helpful in the evaluation of a business (Perera, 2017). Regarding the festival event industry, the political environment involves the political stability of the countries from which artists and concert visitors come, as well as the monetary and foreign trade policies (Perera, 2017). The economic environment presupposes commercial regulations within and between countries. The socio-cultural dimension deals with the culture, tradition, and religion of different countries. Hence, if an international event is arranged on the date of some important religious holiday in one of the countries participating, it can pose a threat to the venues success. The technological environment presupposes favorable technical arrangements and accessibility to the necessary equipment, especially that connected with sound and video effects.

The legal environment has to do with regulations and guidelines, which the events managers must get acquainted with and conform to if they want to avoid complications. Finally, the ecological environment includes requirements concerning sustainability and eco-friendliness of the event. The music festivals must pursue such an aim if they do not wish to be sued by governmental or non-governmental organizations, volunteers, and activists of various natural movements.

Porters five forces tool allows identifying the strengths and weaknesses of the industry (Perera, 2020) and contains the following elements:

• competitive rivalry (rather high in the selected industry);
• supplier power (due to intense competition in the industry, it is easy to become the victim of bankruptcy) (Simon et al., 2017);
• buyer power (not too dangerous since visitors cannot regulate the market and cannot arrange large-scale events by themselves, hence, they have to agree to whatever they are offered);
• the threat of substitution (rather low);
• the threat of new entry (moderate to high).

Reference List

Perera, R. (2017) The PESTLE analysis. Avissawella: Nerdynaut.

Perera, R. (2020) Understanding Porters five forces analysis. Avissawella: Nerdynaut.

Simon, A., et al. (2017) Towards an adapted MHP strategic capabilities model for moderating challenges to quality music festival management, International Journal of Event and Festival Management, 8(2), pp. 151-171. Web.

Introduction

Art festivals have always been places where people could externalize their desire to watch new trends in art, assess different artists, and form a community based on personal overviews. Moreover, such events play important roles in the social, cultural, and economic life of cities where festivals take place. Hong Kong is among the cities where the primary art festival is the platform where both local and foreign visitors can enjoy various performances by new and established artists.

The Hong Kong Arts Festival (HKAF) was established in 1973 as a platform where artists could showcase their work and visitors from all over the world could assess the pieces of art (HK Arts Festival, 2020). Since then, HKAF has become one of the citys most prominent events, with local and international supporters who travel to the Peoples Republic of China to examine the creative environment of the country.

There is a reason why this particular event became the leading art promoter. According to researchers, Hong Kong has great potential in terms of the relatively liberal approach to art and multiple international trade connections (Cros & Jolliffe, 2019). Moreover, there is a great potential for this city to become an epicenter for art in all forms. Fok (2018) specifically mentions Hong Kong as an ideal place in Asia where visual arts can develop and become one of the continents primary tourist attractions. It is certain that the Hong Kong Arts Festival has a significant impact on the population of the city and maintains its sustainability by ameliorating the categories most desired by the visitors. Moreover, to keep the interest high, the festivals representatives are willing to improve when it comes to locals satisfaction rate and attract more tourists.

This report aims to analyze how the Hong Kong Arts Festival impacts the citys social and cultural life, whether there are limitations, and how the stakeholders report the influence (both positive and negative). An analysis of the socio-cultural impacts will be performed to fill in the informational gap and formulate conclusions in regard to the effects of the event. Furthermore, as a result of the examination, specific recommendations will be suggested aimed at maintaining a high level of sustainability of the Hong Kong Art Festival.

Overview of Social and Cultural Impacts

Any major festival has certain effects on the social and cultural life of the location where they operate. Such effects illustrate the impact on locals in terms of their livelihood and cultural overview. Finkel and Platt (2020) refer to festivals as ways for cities to contribute to such beneficial impacts on the population. However, it is essential to mention that there may be negative implications since a large number of non-participants choose to avoid such events.

In some cases, locals may find it challenging to deal with the overpopulation during the time when the festival is most active. For example, such factors may lead to an increase in tourism. According to research, locals may engage in antitourism movements if many foreigners disrupt the typical way a city operates (Seraphin, Gowreesunkarb, Zaman, & Bourliataux-Lajoinie, 2018). While such issues may exist, this is usually the case for events that aim to attract foreign visitors. According to researchers, these events are community-based in most cases, including the Hong Kong Arts Festival (Li & Wan, 2016).

Moreover, there are multiple positive implications that correlate with such implementations. Academic theories that highlight the domains influenced through cultural events refer to festivals such as HKAF as long-term investments that improve the citizens desire to participate in the cultural life of their cities, be proud of where they come from, and have an active role within their communities (Lim, 2019). People are impacted on emotional, cultural, and educational levels. Based on the aforementioned evidence, the social and cultural impacts that festivals result in may have both positive and adverse effects on local populations.

Analysis of Social and Cultural Impacts

The Hong Kong Arts Festival, as highlighted before, plays an important role in the socio-cultural life of people living in this city. According to researchers, events within the art domain affect the workers, customers, and the community as a whole (Rawhouser, Cummings, & Newbert, 2017). In terms of workers, it is inevitable that the HKAF is responsible for creating multiple seasonal employment positions and allowing local and global artists to showcase their pieces of work. At the same time, the community is also affected on multiple levels, similar to the visitors.

HKAF is a relatively inclusive event that provides everybody with an opportunity to participate. Based on the current information, the festival is eager to attract multiple different communities and age groups, including children (Gov HK, 2021). The younger audience has the ability to visit the events with family members and visit demonstrations and exhibitions designed for kids. Such an implementation is not only beneficial for entertaining even the younger visitors but also contributes to families having quality time and bonding experiences.

Moreover, since children are involved, the festival maintains sustainability by ensuring the young generation has a basis for continuing to appreciate art in all forms. Children who visit such events early on are more likely to develop in this field and become adults with a desire to find out about art in the following years. As a result, the stakeholders of the Hong Kong Arts Festival ensure to include as many people as possible, which allows them to have a loyal and stable base of visitors.

Sustainability Evaluation

As mentioned prior, such events as the HKAF are long-term investments that require multiple resources and a lot of effort towards the success of the project. Since the aim is to create long-term activity, it is crucial to ensure the stakeholders have all the necessary measures to keep the rate of visitors high. Several policies are implemented in this domain. The festivals main objective is to promote art and support local and international artists.

However, without enough visitors, the festival would not be successful or impactful on societys cultural development. Hence, it is essential to monitor the current overview of the locals, examine the demand of international visitors, and create an environment that would allow the events to become more popular every year. Analyzing this data will allow the stakeholders who are organizing the yearly festival to minimize risks and increase the rate of customer satisfaction.

Measurement

Social impact is difficult to measure since research designed to examine this topic primarily relies on subjective information. This measure is usually examined through surveys where local citizens give an overview of how the festival impacts them or why there is no significant impact. According to researchers, quantitative data is how such concepts are determined (Gouthro & Fox, 2018). This information gathered through interviews can have different connotations. One way of measuring social impact is using the social impact perception scale (Camacho, Núñez-Pomar, Moreno, & Escamilla-Fajardo, 2019).

The scale only analyses the perception of local communities in regards to the festivals that occur. As mentioned prior, the Hong Kong Arts Festival does have international visitors but majorly relies on local residents. Moreover, Hong Kong is a big city, and a relatively minimal influx of tourists does not create significant disturbances for the individuals living there. This scale is more adequately used for smaller cities that are not as dynamic and dense as Hong Kong. Moreover, current research does not have reliable information in regards to this theory being used by the local residents of Hong Kong in relation to the art festival.

Multiple other theories examine the same subject. For example, a similar model is used by applying the Festival Social Impact Attitude Scale (FSIAS) (Pavlukovi, Armenski, & Alcántara-Pilar, 2017).

Several variables are being taken into consideration, such as personal attitude, the benefit for the community, and the overall factors that may draw individuals away from visiting the festival. In terms of the festival in question, there is data in regards to the communitys overview on the factors that are impacted by visiting the festival and aspects that contribute to their passiveness towards the event. Both scales give information on how the local residents view the implementation and whether there is a significant impact associated with it. Moreover, some of the points analyzed through qualitative data suggest certain negative implications that can compromise the festivals sustainability.

Framework

The Hong Kong Arts Festival is a popular art festival with a lot of attention both from local and international visitors. However, no specific research was done based on the social impact measure scales mentioned prior. On the other hand, local residents have participated in a survey highlighting the main reasons they chose to attend it and how it impacts them. Moreover, the positive aspects mentioned by the participants can give organizers an idea in terms of which concepts need to be addressed due to their current success. According to researchers, most of the impact is emotional (including entertainment, cultural development, admiration of art, etc. (Hong Kong Arts Development Council, 2018).

The results show that 70-80% have reported this point as a vital one. Impact on inner self is another factor highlighted during the survey (Figure 1). Multiple people mention emotional distress, self-cultivation, improvement in self-image, etc. The number shows that more than 50% of participants gave this answer. Such factors illustrate the cultural effect the Hong Kong Art Festival has on attendees. Moreover, multiple participants (more than 50%) mention an intellectual impact.

Individuals pointed out self-learning, self-reflection, motivation, inspiration, and academic improvements as the main reasons for attending. Based on the answers, the events help people become more intellectually advanced and eager to reflect upon other subjects unrelated to art. Moreover, almost 35% of people mention an impact on interpersonal relationships. This includes having relevant topics of discussion in social situations, finding people with the same interests, and spending quality time with family members, which leads to bonding. The survey highlights the Hong Kong Arts Festivals major impact on attendees in terms of emotional, reflective, intellectual, and social aspects.

It is essential to mention why many individuals have a negative overview of the festival, which leads to an increased risk of lack of sustainability. The same survey highlights why locals are not interested in attending the event. According to researchers, the first reason is a lack of interest (Hong Kong Arts Development Council, 2018). There are several adverse factors that create an environment where more than 70% of non-participants report simply having no desire to attend. First, it is possible that the organizers of the festival did not have effective marketing. On the other hand, a possible reason is the stakeholders lack of investments in the domains of art that truly interest people. In this category, people reported a lack of interest in art as a domain, not knowing about the events altogether, and not understanding art.

Since most individuals have reported these particular issues, it is certain that the organizers of the events have to invest in advertisement and create an environment where each person can appreciate different forms of art despite having no prior experience in art. This includes adding more categories that everybody is going to be able to appreciate.

Another factor is a lack of time, which has been reported by more than 65% of the people who participated in the survey. People have mentioned being busy due to their work schedule, taking care of young children, and attending school. There are several ways the event organizers can mitigate this aspect and improve the sustainability measure. First, weekends have to be the busiest days since most people can attend the festival during days off. Moreover, implementing more child-friendly programs where parents can attend with their young children will allow families to be a part of the event. Last but not least, advertising the festival as a great way to get familiar with art would allow teachers to encourage their students to visit the festival. Another factor is convenience since almost 15% have reported a desire to watch art shows and performances online.

Due to the fact that the previous years have been challenging for any festival where multiple people gather in one place, the Hong Kong Art Festival switched to a more sustainable practice. According to researchers, the new system is a hybrid of in-person and virtual performances that can be viewed online due to the lockdown measures(Hansen, 2021). Such a solution allows people to watch some of the events without having to go to a physical location, which creates a more favorable environment for more participants to be engaged in the process.

A lack of finances and companions are aspects that the organizers cannot alter. However, more than 7% of survey participants have mentioned their physical conditions as the main non-attendance reason. If the festival were more inclusive in terms of providing people with disabilities an opportunity to visit and have the necessary conditions, this factor would be mitigated.

Conclusion

The Hong Kong Arts Festival is an event that maintains a high level of sustainability by attracting both local and international participants. Among the aspects that positively impact society, people have mentioned beneficial contributions to their emotional, personal, intellectual, and social lives. The events encourage people to interact with other individuals, improve in terms of general knowledge, and spend quality time while receiving tools for personal development.

However, certain aspects compromise the sustainability factor. People have reported a lack of interest, time, companions, finances, and other factors that lead to a higher non-attendance rate. These factors can be minimized if the organizers of the events implement new strategies as a base for how the festival operates. Focusing on domains that people find most appealing, operating under inclusive rules, switching to more online shows, and promoting the festival via advertisement can minimize the adverse effects. While there is room for improvement when it comes to sustainability, the Hong Kong Arts Festival has policies that attract new visitors and promote art in society.

Recommendations

Sustainability is an essential factor that allows a festival to maintain a high level of interest and participants. The Hong Kong Arts Festival already has specific policies focused on this aspect. However, due to the challenges that have been discussed prior, there is a need for new strategies aimed to mitigate them. Researchers highlights that stakeholders have to interact in order for art festivals to be successful and impactful (Chang, 2020). Thus, organizers have to take into consideration what the general population wants.

First, since most of the visitors are local, it is crucial to have a set of policies aimed at attracting attention from abroad. Reliable sources refer to such events as excellent opportunities to engage tourists and improve the national economy by attracting foreign participants (Boyle, Reaiche, Abdullah, & Murad, 2016). One way of doing this is by focusing on performances and artwork done by artists from various countries. If the program included more acts and pieces of work from well-known international creators, this would improve the situation with visitors from abroad (Boyle, Reaiche, Abdullah, & Murad, 2018).

This would not only be helpful in terms of the citys economy but also contribute to more tourism based on the festival (Franklin, 2018). Hotels, people who rent out their apartments, and business owners would have a more considerable influx of finances, and the overall attitude towards foreign visitors would improve.

Another problem is ensuring the local audience has an interest in attending such events. According to Chung (2021), some of the non-participants mention that they would like to have access to the festival by watching the performances online. As mentioned before, the HKAF implemented a way for people to have a virtual experience due to the COVID-19 lockdown. This solution needs to be fully applied in order for the organizers to attract more people. If individuals were able to buy tickets and watch every performance without leaving their homes, this would significantly increase the number of tickets sold. Moreover, people would be able to participate even from abroad since no expenses on traveling, plane tickets, hotels, etc., would be required.

There is a way for the festival to maintain its sustainability by including children from a young age. Based on current information, festival impact and emotional solidarity go hand in hand (Yozukmaz, Bertan, & Alkaya, 2020). Emotional solidarity needs to be present from early childhood since children close to arts are more prone to having an emotional connection with such events for the rest of their lives.

The festival, as mentioned prior, has programs for children that they can attend with their families. To increase the rate of children visiting the events, the organizers may choose to focus on advertising at schools through flyers of teachers. For example, educators responsible for art classes can organize excursions to the festival on weekdays or after school. Such actions would engage kids in art-related activities and promote educational development that will significantly impact the desire to learn new things and attend such events in the future.

References

The 50th HK arts festival 202. (2021). Web.

Arts Participation and Consumption Survey  Final Report. (2018). Hong Kong Arts Development Council.

Boyle, S., Reaiche, C., Abdullah, A., & Murad, M. W. (2018). Understanding influences affecting local visitors to an International Arts Festival. Tourism Analysis, 23(3), 427-432. Web.

Boyle, S., Reaiche, C., Abdullah, A., & Murad, W. (2016). Predicting international visitors interest in Hong Kong Arts Festival. Event Management, 20(4), 593-605. Web.

Camacho, D. P., Núñez-Pomar, J. M., Moreno, F. C., & Escamilla-Fajardo, P. (2019). Residents perception of the impact of and support for three small and medium-scale sporting events as the basis for a tourism strategy. Tourism Innovation, 148-165. Web.

Chang, Y. (2020). Creating value through the Performing Arts Festival: The multi-stakeholder approach. Journal of Macromarketing, 40(2), 185-200. Web.

Chung, F. (2021). Developing audiences through outreach and education in the major performing arts institutions of Hong Kong: Towards a conceptual framework. Web.

Cros, H. D., & Jolliffe, L. (2019). Brand Hong Kong: Art hub for Chinas Belt and Road Initiative. Urban Events, Place Branding and Promotion, 178-193.

Finkel, R., & Platt, L. (2020). Cultural festivals and the city. Geography Compass, 14(9). Web.

Fok, S. (2018). The roles of International Art Fairs in Hong Kong in facilitating the production and consumption of contemporary art in Asia. Routledge Handbook of Cultural and Creative Industries in Asia, 273-282. Web.

Franklin, A. (2018). Art tourism: A new field for tourist studies. Tourist Studies, 18(4), 399-416. Web.

Gouthro, M. B., & Fox, D. (2018). Methodological approaches to festival research. The Routledge Handbook of Festivals, 12-21. Web.

GovHK: Arts festivals. (2021). Web.

Hansen, B. (2021). Hong Kong celebrated the power of art in person and virtually as Art Basel  the worlds leading Contemporary Art Fair  returned in May. Web.

Li, X., & Wan, Y. K. (2016). Residents support for festivals: Integration of Emotional Solidarity. Journal of Sustainable Tourism, 25(4), 517-535. Web.

Lim, B. (2019). Postmodern approaches in curating and Managing Arts Festivals in global cities. The Routledge Companion to Arts Management, 263-275. Web.

Pavlukovi, V., Armenski, T., & Alcántara-Pilar, J. M. (2017). Social impacts of music festivals: Does culture impact locals attitude toward events in Serbia and Hungary? Tourism Management, 63, 42-53. Web.

Rawhouser, H., Cummings, M., & Newbert, S. L. (2017). Social Impact Measurement: Current approaches and Future Directions for Social Entrepreneurship Research. Entrepreneurship Theory and Practice, 43(1), 82-115. Web.

Seraphin, H., Gowreesunkarb, V., Zaman, M., & Bourliataux-Lajoinie, S. (2018). Community-based festivals as a tool to tackle tourism phobia and antitourism movements. N Journal of Hospitality and Tourism Management. Web.

Yozukmaz, N., Bertan, S., & Alkaya, S. (2020). Festivals social impacts and emotional solidarity. International Journal of Event and Festival Management, 11(2), 239-253. Web.

The New York Jazz Festival was an authentic experience of musical expression. Incorporating the elements of different cultures, the festival featured an extraordinarily diverse and immensely talented band. The performance was directed by Tim Jackson, who led the band consisting of artists that had already established themselves as prominent jazz musicians. Namely, the band included Cécile McLorin Salvant, vocals; Bria Skonberg, trumpet, vocals; Melissa Aldana, tenor saxophone; Christian Sands, piano and musical director; Yasushi Nakamura, bass, and Jamison Ross, drums, vocals (Jazz Night in America).

The unique combination of the artists that are traditionally featured as solo performers yet decided to cooperate to produce pure musical art was the main factor in choosing the specified performance for the analysis. Apart from the intelligent charm of the music, the collaboration of the artists and the cohesiveness between their actions, each representing a unique talent, created a genuinely indescribable feeling of delight.

As the title of the event suggests, the music performed by the band represented jazz in its purest form. Specifically, a substantial portion of the concert represented improvised music, with distinct elements of smooth and vocal jazz. The tonal aspects of the piece represent an impeccable harmony, with the music pouring out in a vignette of sounds. However, due to the unique approach toward collaboration that the festival means this year, each part of the composition allows every instrument to shine, which introduces diversity to the melody and enriches it with unique sound combinations.

For instance, the percussion that could be clearly heard during the first few minutes of the performance and gradually replaced by the sound of the trumpet as the winds take the lead to set off the unique vocals of the singer. The syncopation in the sound created by the band is particularly prominent in the specified piece, with the choice of the pace and the tonal changes deviating from the expectations of the audience as the listeners adjust to the tune. As a result, the melody catches the listeners by surprise each time, simultaneously retaining its harmony and representing the influence of the diverse band members.

When considering the time period to which the music belongs, one may find the analysis of the piece more complex than the consideration of the rest of its components. The songs performed by the band, as well as the music played by the artists, were clearly composed for the event and, therefore, can be described as contemporary. However, the impression that it leaves is quite mixed due to the incorporation of different subgenres of jazz and the tendency toward experiments with the nature of the jazz harmony and melody.

As a result, some of the stylistic choices made by the band harken back to the jazz of the 20s, whereas other aspects of it can be labeled as more recent additions. Nevertheless, the overall sound has been updated to create only a hint at the origins of the jazz tradition and create the platform on which a new sound can be built. Therefore, the period of the style in which the music was written is clearly very recent.

The beat is one of the key peculiarities of the performance since it varies significantly across the account. For instance, at some points, the bpm rate may reach approximately 120, whereas when the music is steered into the ballad territory, the number of bpm drops to about 70 (Jazz Night in America). The uneven pattern of the tempo helps to convey the sense of incredible variation and diversity, which is obviously the intent of the composer. Similarly, the dynamics of the music vary to a certain extent, allowing the performers to keep their audiences at the edge of their seats in anticipation of the part of the song that is going to be emphasized. As a result, the meaning of the lyrics and the narrative that it conveys shifts from explicit to implied, helping to represent complex metaphors.

The performers seemed to interpret the music entirely in unison during their performance. All of them were in tune and played their parts impeccably, creating a sense of refinement and an exquisite, authentic musical experience. The piano player introduced a sophisticated rhythm into the song, accentuating essential elements that served as the primary emotional points of the performance. It seems that the performers communicated the music exactly the way it was intended by the composer, namely, representing it as an art form and a means of expression, as well as the lingua franca that can be used to convey a specific mood, emotion, or idea to any audience. I specifically enjoyed how the spotlight shifted from one performer to another, allowing each to shine and represent the event as the result of their combined effort.

Providing a unique experience that represented a mixture of different subgenres of jazz and allowing the viewers to experience pure emotion along with a sophisticated tune, the Monterey Jazz Festival performance was an unforgettable experience. I would love to hear these performers once again in the future. The authentic experience of jazz music as a melting pot of a multitude of cultures was truly invigorating and inspiring, which is why I would definitely recommend my family and friends to try listening to this performance as well. While the performance is impeccable as it is, communication with the audience between the songs to make, the event interactive could be considered as an option in the future.

Work Cited

Jazz Night in America. Monterey Jazz Festival on Tour (Live in New York) | JAZZ NIGHT IN AMERICA. YouTube, uploaded by Jazz Night in America. 2019. Web.

Introduction

The tradition to hold festivals and other celebrating events dates back to the post war period when such occasions were held on the national level. As reported by Allen et al. (2008), the dawn of festivals is usually dated in 1940s-1950s (p. 7). Besides, most festivals that are currently held are considered to root from the tradition of the post war period if they have floral name or the one of aboriginal origin.

As a rule, festivals reflect the prosperity of the destination where they are held and enable the organisers of the event to attract more tourists. In this respect, festivals can be considered one of the tourist honeypots that contribute positively to the growth of economy and development of infrastructure.

Type Of Event

Length of event. The Moomba festival is held in Melbourne, Australia for four days during the weekend which pertains to the Labour Day long weekend that ends in the second week of March. As such, the beginning of the festival is on the second week of March.

Reason for the event. The reason for the event includes a number of factors that reflect the events that were held in the early 1950s and predestined the start of the festival.

The long weekend of the Labour Day, the visit of Queen Elisabeth II in 1954, and a desire of people to have a celebration, “to have fun” (which is the mission statement of the festival), “to share in the vibrancy and spirit of our much loved city” (City of Melbourne, n. d.) can be considered the reasons for starting the festival.

How long the event has been running. The event has been running yearly since 1955 when it was first held; every year it is held during four days.

Significance Of The Event To The Destination

Economic

Melbourne is one of the largest cities in Australia situated in South Australia. Its economic situation enables the city authorities to hold the festival every year regardless of economic and political situation.

As suggested in the study by Dwyer and Dwyer (2010), the host country gains from the development of tourism whereas the suppliers of services also benefit as their businesses are developing owing to the growth of tourism (p. 225).

Social

The ethnic integrity is one of the important factors contributing to the positive image of Melbourne because only encouraging population to participate in it. Festivals and events associations started active development after the first festivals were held (Allen et al., 2008, p. 11).

Interchanges between cultures of the locals and visitors are beneficial to the destination as people become aware of the cultural differences. Families and children like this festival; besides, participation of celebrities as Moomba Monarchs makes this a good event to attract tourists.

Environment

The environment is sustainable; it is favourable for farming and demonstrates good harvests of locally grown products. Water resources enable the authorities of the festival to hold Water Ski Championships as the Yarra River is located in Melbourne.

Sharpley and Telfer (2002) claim that environmental protection costs are sustained by the host destination including all sequences and damage brought to the environment (p. 107). Recycling of the product packages helps to sustain good environment.

Hosting The Event

Infrastructure

The infrastructure of Melbourne includes transportation, roads, and industry. The transportation of the city allows easy transitions between the residence areas and the festival area which is located on the bank of the Yarra River. The situation with transportation can be seen from the following table demonstrating data retrieved from the Australian Bureau of Statistics official website:

(Australian Bureau of Statistics, 2009, “Economy”)

This means that the city owns 7 buses and about 90 light commercial vehicles which is supposed to be sufficient to provide the tourists with transportation means.

Accommodation

The accommodations include hotels, motels, and other services apartments located in the city. As such, the city of Melbourne has 2 accommodations with the number of rooms from 5 to 14; 119 apartments with 15 and more rooms; 121 apartments with the total of 5 and more rooms.

The total number of visitor hotels in Melbourne equals 14 (Australian Bureau of Statistics, 2009, “Economy”). Involvement of international corporations and hotel chains are beneficial for the development of tourism in the host destination (McQueen, 1983, p. 141).

Labour market

The analysis of labour market the “total population aged 15 years and over” who would work voluntarily includes 20.5% based on Census 2006 data (Australian Bureau of Statistics, 2009, “Population/People”). The occupational groups data can be seen from the following table adapted from Australian Bureau of Statistics (2009, “Population/People”):

This means that there are sufficient number of representatives of different occupational groups to satisfy the needs of tourists and guests of the festival.

Effect On The Destination Image

The effect of the Moomba festival of the image of Melbourne is positive because the festival demonstrates the traditions and socio-cultural situation in the city. Moreover, the economic stability of the city and investment rate is reflected in the activities that contribute to the festival’s programme.

The involvement of international hotel chains can contribute to the development of the destination image, “assurance of service quality and security” (Kusluvan & Karamustafa , 2001, p. 182). Infrastructure of the city enables it to host the festival every year making the programme of events richer and richer.

The image of Melbourne reopens for many tourists and guests as a city full of cultural heritage and the one that contributes to the family-oriented leisure.

Reference List

Allen, J., O’Toole, W., Harris, R., & McDonnell, I., 2008. Festival and special event management, 4th ed. Milton: John Wiley & Sons.

Australian Bureau of Statistics, 2009. National Regional Profile. Web.

City of Melbourne, n. d. Moomba Festival. Web.

Dwyer, L., Forsyth, P., & Dwyer, W., 2010. Tourism economics and policy. Bristol: Channel View Publications.

Kusluvan, S., & Karamustafa, K., 2001. Multinational hotel development in developing countries: an exploratory analysis of critical policy issues. International journal of Tourism Research, 3, 179-197.

McQueen, M., 1983. Appropriate policies towards multinational hotel corporations in developing countries. World Development, 11 (2), 141-152.

Sharpley, R., & Telfer, D. J., 2002. Tourism and development: concepts and issues. Church Point: Footprint Books.