RECN 344: Event Management

1. RECN 344: Event Management Week 7 Lecture 1: Introduction to event conceptualisation, theming and design

2. Week 7 Lecture 1: Overview • Introduction to event design • What is required? • Event design, conceptualisation, & theming • Servicescape/festivalscape • Case studies

3. Week 7 Lecture 1: Readings • R12: Tattersall, J., & Cooper, R. (2014). Creating the eventscape. In L. Sharples, P. Crowther, D May & C. Orefice (Eds.) Strategic event creation (pp. 141-165). Oxford: Goodfellow. • R13: Bladen, C. et al. (2012). Chapter 3: Event design and production. In Events management (pp. 54-77), London: Routledge. • e-book Getz, D. (2012). Ch. 7: Event design. In Event Studies: Theory, research and policy for planned events (2nd ed.)(pp. 221-246), Butterworth-Heinemann: Oxford, UK • Learn: Axelsen, M., & Swan, T. (2010). Designing festival experiences to influence visitor perceptions: The case of a wine and food festival. Journal of Travel Research, 49(4), 436-450. • Learn: Lee, Y. K., Lee, C. K., Lee, S. K., & Babin, B. J. (2008). Festivalscapes and patrons' emotions, satisfaction, and loyalty. Journal of Business Research, 61(1), 56-64.

4. What is event design? • Event design: • ‘the mental creation of an event before it takes place, first in the mind of the designer and then as it is communicated to those responsible for its production’ (Bladen, 2012, p. 55) • ‘the creation, conceptual development and staging of an event using event design principles and techniques to capture and engaged the audience with a positive and memorable experience’ (Steve Brown, cited in Getz, 2012, p.222) •  Event production involves putting design ideas into practice, using practical staging elements

5. What is event design? • Changing emphasis in event design: • Traditional view: events are delivered through staging of catering, entertainment, service delivery, lighting, sound etc. •  correct planning and implementation of these elements will lead to as successful event • Producing checklists of what to be included • EMBOK?

6. Traditional approach to event design

7. Events as designed experiences • New emphasis on events as designed experiences • Events are part of the ‘experience economy’ (see Lecture 3 Week 1) • Aim to deliver memorable experiences, through a creative set of processes, reflective practices, and lateral thinking

8. Event conceptualisation • Goldblatt (2005): ‘5Ws’: essential questions to be asked at the conceptualisation stage: • Who will be the stakeholders for the event? • Where will the event be held? • What is the event product that is being developed and presented? • Additional: what will be the outcomes for the attendees?

9. Event experiences blueprinting • Event planners must understand the experiences and outcomes that attendees are intended to have, based on the planned outcomes and objectives for the event • Map out intended experiences of attendees at each stage • Four types of potential outcomes: • Cognitive outcomes: awareness, learning, perception, Affective outcomes (emotions): surprise, connecting, excitement, fear • Decisional outcomes: attendees make choices/ purchases, Psychomotor outcomes (conative): what attendees do – physical activities (running, sports, dancing, political protests)

10. Characteristics of successful event creators Image from Tattersall & Cooper, 2014, p. 144.

11. Designing an event • Establish a ‘theme’ and a ‘participative story’ to unify the elements • A theme is a unifying idea/concept which gives meaning to the event • A theme should draw on all senses • Theme should be stimulating, provocative, meaningful to audience  • Should be meaningful to hosts and guests • Bladen (2012) argues that most ‘theming’ to date is relatively superficial and lacks meaning for participants

12. Designing experiences • ‘Themes’ can be made tangible and memorable through ‘positive’ cues • Service quality, design elements, entertainment, food & beverage, other sensory stimulations • Eliminate negative cues • Attendees should be able to buy mementos of experiences to help remember • e.g. •  Servicescape to eventscape

13. Designing experiences • Attempt to surprise • Exceed expectations, depart from script by including bizarre, humorous, frightening • ‘staging the unexpected’ (Getz, 2013, p.193) • All ‘performers’ must follow a script prepared in advance • Events are ‘produced experiences’, through which the ultimate goal is to transform the guest • See also Getz (2013, p.200)

14. Co-creating event experiences • A relatively new concept in the service industry • Acknowledging role of consumer in creating the experience and ‘making meanings’ • Passive  Engaged  Co-creation  Liberating experiences • Co-created experiences • Less scripted: opportunities for departing from the script • Outcomes less managed or predictable • e.g.

15. Designing the setting (Getz, 2012) • Once event is conceptualised and themed, the physical & service elements are implemented: • Setting: location, design, ‘sense of place’ • People: staff, volunteers, guests, participants • Management: systems, programming, services •  Unique, satisfying experiences

16. Festivalscapes (Lee et al., 2008) • Environmental psychology: tangible environmental cues serve as a stimulus influencing the emotions that consumers experience within an environment • these emotions determine approach-avoidance behaviour • Service quality and consumer satisfaction is affected by the physical surroundings • Concept of ‘servicescape’ (Bitner, 1990)

17. Servicescape (Bitner, 1990) • Responses to environment are cognitive, emotional and physiological • e.g. • Personal characteristics influence responses • Personality • e.g. • Socio-demographic characteristics • Mood Image from Tattersall & Cooper, 2014, p. 148

18. Servicescape (Bitner, 1992) Image from Tattersall & Cooper, (2014, p. 149).

19. Festivalscapes (Lee et al., 2008) • Draws on servicescape model • Environmental dimensions include: • Ambient conditions – temperature, noise, music, odor, air quality • Space/function – layout (proxemics), furnishings • Signs, symbols & artifacts – signage, interpretation, decor • Lee et al (2008) suggest that emotional responses to these elements will determine event satisfaction and loyalty

20. Image from: Lee et al. (2008, p. 58)

21. Image from: Lee et al. (2008, p. 59)

22. Festivalscapes (Lee et al., 2008) • Findings: • Visitors judge festivalscape on 7 environmental dimensions, and some of these affect emotions, satisfaction & loyalty • Programme content had a significant positive effect on positive emotion and satisfaction • Food influences positive emotions and satisfaction

23. Image from: Lee et al., (2008, p. 62)

24. Case study • Axelsen, M., & Swan, T. (2010). Designing festival experiences to influence visitor perceptions: The case of a wine and food festival. Journal of Travel Research, 49(4), 436-450. • Moonlight wine tour – parkland setting, at night, with dramatic lighting • Creates positive impression of Queensland wine through unique, different and sophisticated atmosphere/experience • Different experiences for different target markets

25. Forum Question: Designing experiences • Based on the video you watched for the online forum, or from your own experience, how has Rhythm and Vines been conceptualised, then designed and themed to maximise visitor experiences? What changes to the Festivalscape might improve event experiences? • YouTube: http://www.youtube.com/watch?v=p7txIQEigHs • https://www.youtube.com/watch?v=ZhVNhPuizgU&list=RDp7txIQEigHs&index=2 • https://www.youtube.com/watch?v=iFNySRweBhA

26. Conclusions