DOI: https://doi.org/10.62204/2336-498X-2023-3-5

MANAGEMENT OF CULTURAL EVENTS AND FESTIVALS IN CITIES

Anastasia Tadlia,

Department of «Public Management and Administration»,
State University of Trade and Economics, Ukraine,
nastya.tadlya@gmail.com; ORCID: 0009-0003-8963-3807

Annotation. This article examines the role of festivals and cultural events in cities from a discursive perspective that merits research. Special attention is focused on values, which allows to supplement the very nature of practical activity, identifying and forming competent actions in the management of cultural events and festivals. The specifics of the management of cultural events and festivals, which can ensure the effective implementation of socio-cultural projects, thanks to the diversity of the program, the use of various forms of advertising, are analyzed , activities of the mass media, receiving resonance and becoming the property of the general public. In a professionally organized, positively emotional colored information field, different groups of the target audience are involved. They have the opportunity to freely choose the forms of participation in the festival program: from simple observation to direct participation. The purpose and importance of cultural events and festivals management is to participate in product development, strategic planning, collaboration, interrelationships between cultural events through a comprehensive implementation strategy, which in turn will increase competitive advantage and create economic stability in the city. Further research may be particularly relevant for examining issues from the perspective of business-public relations, as well as the development of festival cities. The conclusions are also relevant for arts managers, cultural organizations that encourage the use of cultural events and festivals through interaction with business structures.

Keywords: sociocultural activity manager, event, festival, sociocultural project, festival activity, event organization.

Actuality of theme. Cultural events and festival projects have their own specifics, as they represent a powerful segment that complements the tourism industry and plays a special role in urban areas of economic activity. In many European countries, strategic plans for the development of cities are focused both on the business sphere and on the implementation of cultural policy. Implementation of the strategy and coordination of tactical actions is carried out by the management of cultural events and festivals in cities. It can be concluded that cross cooperation of organizational subjects is needed at various levels of executive power, business, municipal institutions and public organizations, starting with the planning, organization and implementation of cultural events and festivals, which in turn increases competitive advantage and creates economic stability in cities

Thus, in determining the problematic direction of research, it is worth focusing attention on the management of cultural events and festivals in cities.

Modern issues of the study of the problem. A modern manager of the socio-cultural sphere and public management and administration constantly works in an environment where he himself becomes a subject of organizational activity. The problem of technology management of cultural events and festivals deserves constructive attention. The following scientific works are devoted to solving problematic issues related to the functioning and development of management processes in the field of culture and art, the development and testing of event management technologies: M. De Brito and G. Richards (2017) formulate the parameters of art projects and distinguish various events and creation of places for them; J. Gold and M. Gold (2020) explore the theory and practice of festival cities: culture, planning and urban life; B. Grabher (2021) emphasizes the use of gender in events: feminist perspectives in critical studies of events; D. Jarman (2021) notes network relations between marginalized groups in festival events; G. Richards (2021) analyzes the value of event networks and platforms: evidence from a multi-year cultural program; B. Perry, L. Ager, R. Sitas (2019) emphasize the interweaving of cultural heritage: festivals as integrative places for sustainable urban development; S. Kanali and F. D’angela, (2009) highlight the technology of managing cultural events and meetings in European cities.

Noting the importance of the scientific research of these scientists, it is necessary to emphasize that the mentioned problem requires further research into activities that allow to supplement the very nature of practical work, to identify and form competent actions in the management of cultural events and festivals. In particular, this concerns the prerequisites and features of management, the clarification of individual stages and forms of activity in the field of events and activities. Thus, the identified problems allow us to formulate the purpose of our work.

The purpose of the study is to determine and analyze the specifics of the management of cultural events and festivals, which can ensure the implementation and effective implementation of socio-cultural projects in cities.

Presenting main material. Investments in cultural sites and infrastructure are more sustainable in the long term if they are realized in synergy with other partners and sectors of the city economy. However, it should be noted right away that cultural events, according to M. De Brito and G. Richards (2017) [2] automatically lead to the expected economic results, and do not create a fundamental contribution to the development of cities, they are implemented in a phased long-term strategy. In addition, cultural strategies are based on the development of a wide range of events and own public initiatives that can have an impact on the city’s infrastructure.

L.Platt & R. Finkel (2020) state: “Modern cities tend to cultivate a landscape of cultural festivals for three key reasons, often ranked in the following order: 1) urban renewal; 2) promoting the image of the city as an exciting place to live and visit; 3) encouraging community participation and cohesion” [8].

Thus, from this point of view, it follows that the cultural industry can provide the city with additional image value. In addition, cultural products act as generators of economic impact as they help develop local communities and businesses, support key industrial sectors and contribute to the expansion of urban space.

Interesting Facts. The methodology of our research is based on several examples that were given in the International Journal of Arts Management (S. Canali, and F. D’Angela (2009), managing cultural events and meetings in European cities) [1] and are useful for understanding the development of this a complex sociocultural phenomenon. European cities – Barcelona, Berlin, Rome and Vienna – based on four criteria: ranking in visitation statistics, implementation of cultural strategies, complexity of market segments served and existence of well-structured management of cultural events and festivals.

As far as cultural strategies are concerned, all four cities have a developed infrastructure of cultural events and there are iconic historical places for meaningful leisure and personal recreation. But their strategic approaches to culture and artistic creativity differ quite significantly. Barcelona focuses on big events. Berlin accentuates its authenticity through cultural organizations and lifestyle events. Rome uses its cultural heritage and presents performing arts events such as plays, festivals and concerts. Vienna highlights its traditions and heritage by offering cultural events focused on classical music and opera.

G.Richards & Leal Londoño, M. D. P. (2022) argue that the organization of the event is a means to preserve the history of places that have changed through urban transformation, they illustrate the role of the festival in promoting local artists and strengthening the community through art [9]. In a dissertation study, P. Merrington (2016) considers festivals as processes shaped by the local, cultural and material dimensions of the area in which they take place. The results of the study demonstrate the influential role of festival organizers, who preserve the collective memory of the area [10].

Thus, in relation to the relevant market segments, the range of choices presents a complex structure and commercial component, as all cities have involved a cultural, creative and business aspect and are managed by the management of cultural events and festivals, which develop and implement strategic development plans and maximize the overall competitiveness of their cities.

  1. Gold J. and M. Gold (2020), revealing the theory and practice of festival cities: culture, planning and urban life [3], emphasize that the cultural infrastructure of the city can be a strategic lever for the development of the segment of cultural events and festival projects. Now let’s distinguish the direct and indirect influence of the cultural infrastructure on the creation of events, the definition of different types of events that affect the relationship between the cultural industry and the event itself.
  2. Grabher (2021) emphasizes the use of gender in events: feminist perspectives in critical studies of events [4]. Each of the four cases illustrates some, but not all, types of events. Festival organizations and teams directly influence the cultural offer on the event.

In this context, D. Jarman (2021) notes network relations between marginal groups in festival events [5]. Large events accelerate the number of events, where discussions around the topics of the mega event are expected.

Cultural offerings can also have an indirect impact on event activities that are linked to history and architectural heritage, or cultural products and leisure.

In the International Journal of Heritage Studies, B. Perry, L. Ager, and R. Sitas (2019) focus specifically on the interweaving of cultural heritage: festivals as integrative places for sustainable urban development [6].

Historical and cultural attractions are an asset to the events industry, as they provide visitors with the opportunity to combine business and cultural leisure pleasure. These two conditions can generate a third one: the joint activity of various organizations and their participation in the planning and implementation of mass cultural, artistic, leisure events. However, modern city festivals, in general, are affected by the fact that they depend on the systems of production, marketing and consumption, and not only on social processes in the community.

  1. Smith (2019) argues that there are three key ways to improve this practice for local communities:
  • limit the amount of park space and the number of days during which large events are allowed;
  • involve park users in decision-making;
  • to have greater transparency regarding the income from events spent [11].

The logic of interurban competition turns cities into their own accomplices of subjugation, a process driven – and legitimized – by narratives of municipal change and urban renaissance, small victories and fleeting gains, and ultimately also by the apparent lack of “realistic” local alternatives.

Thus, some teams chose to organize their own cultural events as part of their activities; cultural educational institutions are partners in planning events and festivals; and in some cases the institution simply acts as a tool for managing cultural events without being part of the planning process.

Activity planning determines the goals, strategy of cultural events, festival events and identifies firms and institutions that will be involved in the implementation of these projects. Strategic planning is critical to achieving alignment between cultural events or products and organizational activities.

The organization and coordination of the activities of public and private institutions is the main function of the management of cultural events and festivals. In some cases, management acts as a hub that oversees the development of the event. Management can also perform a control function that allows commercial structures to carry out cultural activities.

Modern practice significantly expands the boundaries of this socio-cultural phenomenon and reveals the multifaceted values of society in it. Based on the above, the following definition of this concept is proposed: a festival is a social, cultural, artistic event that presents the cultural interests of the community, social community, reflects the level of development of types and genres of art, is characterized by a complex solution of aesthetic, social, pedagogical, artistic, and administrative tasks.

As a form of socio-cultural activity, the festival differs from other types of cultural events. The complex nature of the festival, including various events in terms of content and form: spectacles for different target audiences, aimed at satisfying their cultural and social needs and obtaining commercial profit.

These include: concerts, performances, contests, reviews, exhibitions, carnivals, tournaments, thematic game programs, etc. Acquaintance with the socio-cultural environment, these are measures of: cognitive content (laboratories, seminars, workshops, master classes, scientific and practical conferences); artistic and cultural content; leisure content; administrative content.

Events for representatives of the mass media, which should contribute to the formation of the image of the festival, the promotion of its ideas, popularization of creativity, obtaining an economic component.

Thus, thanks to the variety of programs in the festival, like any socio-cultural organism that exists in changing conditions, evolutionary development is inherent. The socio-cultural dynamics of festival projects and their viability is expressed in the optimal combination of two components: constancy and variability. Variability is characteristic of the composition of participants, the program of festival events. The ideological and thematic core, spatial and temporal characteristics remain the most conservative.

The analysis of implemented festival projects will allow us to propose the following typology. The basis of the systematization of festivals is the identification of a formative feature, according to which the distribution is carried out into certain groups. Thus, typology can be based on the following principles:

  • genre-specific. According to genre and species characteristics, festivals are divided into: single-genre, multi-genre, syncretic genres;
  • the level of development of artistic creativity: festivals of professional art; festivals of amateur artistic creativity;
  • socio-demographic: according to the age of the participants; by type of main occupation, professional affiliation; by separate social categories; by national and cultural affiliation;
  • according to the administrative-territorial and geographical principle and scope of implementation.

The territorial structure of large-scale festivals of the international level, which involve the selection of participants, may include regional stages. The social significance of the festival activity and the expediency of its expansion and deepening is expressed in the fact that the festival events revive, stimulate types of creative activity, increase the prestige and image of the area, contribute to the revitalization of connections, thereby contributing to the formation of a single cultural space.

Organizational potential ial festival activity is expressed in the involvement of society in the process of creation, preservation, distribution and development of cultural values; promotion of socialization, inculturation, cultural communication. The main purpose of the festival activity is its artistic and cultural content.

The initiative of holding festival events in various types and genres of artistic creativity stimulates the creation of artistic collectives and individual performers of new programs and improvement of existing ones.

Thus, the artistic and cultural significance of the festival activity is that it significantly activates social and cultural processes in society and becomes their catalyst.

Festivals are the most democratic and socially acceptable form of intercultural communication. The festival activity uses dialogic forms of demonstration of creative achievements. Cultural exchange between countries is carried out in the organization of international creative actions, which promotes their mutual understanding and cooperation in the socio-economic and political spheres.

Festival activities affect various aspects of the social life of cities, contribute to the formation of a single cultural space, and give a positive impetus to international interaction and tourism.

Participation in festival events and events in cities is considered as a way of realizing cognitive interest in the geographical, historical, and cultural landscape and is accompanied by a natural need to get acquainted with the life and lifestyle of the local population, museum collections, and architectural monuments.

Festivals and events in cities should be considered as a type of socio-cultural project, which has a certain implementation technology, defined management of socio-cultural activities. The festival project is primarily focused on the goals, technologies, forms, means and methods of socio-cultural activity.

According to the theory of sociocultural management, any project goes through certain stages in its development. The stages of the project life cycle may differ depending on the field of activity and the adopted management system.

However, each project can be divided into an initial stage, a project implementation stage, and a project completion stage.

It is most convenient to divide the festival project into four stages: formulation of the project, planning, implementation and completion, which logically fit all types of work (see Table 1). The festival is a specific type of socio-cultural activity, because it has all the qualities of a project, has goals, tasks, a system of management decisions, measures to achieve the set goal, requires the development of a number of regulatory and organizational documents. The technology consists of successive stages, includes types of support: organizational-legal, financial-economic, material-technical, personnel, advertising-informational, directing-production.

According to the theory of socio-cultural management, the preparation and holding of a festival event should be preceded by an analysis of the socio-cultural situation in order to most accurately assess the existence of organizational conditions, a list of issues that need to be resolved, formulate goals and objectives, identify potential founders and sponsors of the festival event, and predict its socio-cultural results. The purpose of managing cultural events and festivals is to facilitate coordination and cooperation between stakeholders at all levels.

The Management of Cultural Events and Festivals is the body that responds to proposals for the creation of cultural events and festival projects. G. Richards (2021) corroborates our words by analyzing the value of event networks and platforms: showing evidence of a multi-year cultural program. Therefore, returning to the article by S. Canali and F. D’Angelo (2009), where it is noted that in Barcelona, Rome and Vienna there is a management of cultural events and festivals and these are state institutions, while in Berlin such management consists mainly of hoteliers. In all cases, the management of cultural events and festivals is a non-profit organization in which the public and private companies participate in strategic decision-making, without interfering with the work of the organization, which is managed by professionals in the field of tourism [1].

Table 1.

Stages of implementation of the festival project

Stages Content of activity Types of work
1. Formulation of the project Regulatory            and                 legal support Preparation of organizational, legal and financial documentation
Financial and economic support Approval of the cost estimate; search for financing; conclusion of contracts and agreements

2. Planning

 

 Staff support Formation of the organizational committee and executive directorate; selection of the directing and production team; drawing up a work plan.

Advertising                  and

information support

 Development and production of advertising and information products;

 

3. Implementation

 

 Organizational Forming the program, writing the scripts of festival events; selection of participants, negotiations, invitations; formation of an expert council; formation of the prize fund, production, purchase of prizes and souvenirs, etc.
Material and technical support Decoration of concert venues; organization of accommodation and food for the participants, the expert council, the director and production team; transport service
Directing and production support Arrangement of the scenario plan, literary scenario; rehearsal work; holding competitions, concerts
4. Completion   Final financial calculations; analysis of results, preparation of reports; rewarding members of the executive directorate; preparation of thank-you letters for the public relations system; analysis of artistic results; editing of film and video materials; archiving of documents and materials about the progress and results of the festival event.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Thus, the management of cultural events and festivals plays an important role in the life of the city: it maintains communication and a high level of interaction with companies, public organizations, unions, charitable funds, and state structures in the socio-cultural sphere; plans, implements and promotes directions of the cultural industry; coordinates and advises participants on their activities.

Conclusions. The results of the study contribute to the debate about the role played by cultural events as a strategic asset of the city, as they define the relationship between the main concepts of the management of cultural events and festivals. Despite the study of the impact of cultural events and festivals on the development of the city’s image, scientists paid little attention to their impact on the cultural industry.

The results show how culture can be a direct or indirect driver of improving cultural and event activities. Increasing the attractiveness of the city as a venue for international events and corporate events, and here the offer of a range of various networks of related services and tourist attractions plays a significant role.

The purpose and importance of cultural events and festivals management is to participate in product development, strategic planning, collaboration, interrelationships between cultural events through a comprehensive implementation strategy, which in turn will increase competitive advantage and create economic stability in the city.

Prospects of the research direction. Further research may be particularly relevant for examining issues from the perspective of business-public relations, as well as the development of festival cities. The conclusions are also relevant for arts managers, cultural organizations that encourage the use of cultural events and festivals through interaction with business structures.

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