impact social si cultural al festivalurilor din uk
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Transcript of impact social si cultural al festivalurilor din uk
The economic and social impact of festivals: a case study from the East
Midlands, England and its implications for festivals and regional development
in Europe
Christopher Maughan and Dr Franco BianchiniFaculty of HumanitiesDe Montfort University
Leicester
Aims of presentationTo use case study from East Midlands, England to:Discuss methodological issues concerning the
calculation of the economic and social impact of festivals
Raise questions about the contribution of festivals to regional development in Europe, and how to maximise this
Identify questions for future studies on festivals and regional development in other European countries
The 11 festivals included in the research
February Leicester Comedy Festival
June Art on the Map (Lincolnshire Open Studios)Newark on Water Festival Tideswell Well Dressing
July Buxton Fringe FestivalBuxton Festival Leicester Belgrave Mela Derby Caribbean Carnival
September Northamptonshire Open Studios and ExhibitionWirksworth Festival (and art and architecture trails)
October Now Festival, Nottingham
Income and expenditure data for selected festivals
AotM BF LCF Newark NOSE Tideswell
Income 16.8 549 58 156 12 0.6
Expenditure 16.7 548 49 162 14 0.3
(figures are in 000s)
The Research Methodology
• review of literature on economic and social impact of the arts• design of audience questionnaires• 4,704 questionnaires completed by audience members• an estimated 250,000 people attended the 11 festivals• additional questionnaires to:
– local authorities– tourism authorities– relevant regional bodies– arts organisations – festival organisations– local businesses and sponsors– Chambers of Commerce
• analysis of the festivals’ websites and relevant policy documents
Calculating Economic Impact (1)Two principal sources of financial information:• expenditure by the festival organisation• expenditure by the festival audience – ancillary
This raw data can be used to calculate three types of impact:• direct (expenditures by the festival and audiences in the area)• indirect (expenditures by the suppliers of goods and services to the
festival and to ancillary businesses)• induced (expenditure by the employees of those companies that
supply the festival and the ancillary businesses)
To show:• incomes generated by expenditure in the local economy• jobs created/supported in the local economy
Calculating Economic Impact (2)
• rationale for the choice of the multipliers, or why Atlanta is different from Tideswell (or Tralee)
• the vexed issue of how to define a local economy and why this matters
• the importance of the tourist pound (or euro)
• the infrastructural costs of festivals• local business and festivals
212555N =
Buxton International Arts Festival
Expe
nditu
re m
inus
trav
el700
600
500
400
300
200
100
0
LOCAL
Not local >20 miles
Local <=20 miles
66192157617235979343116721219744 5535831567162205943055511052N =
Festival
Wirksworth Trails
Wirksworth
Tideswell well dress
NOW Festival
Northamptonshire Ope
Newark on Water
Leicester Comedy
Leicester Belgrave M
Derby Caribbean
Buxton International
Buxton Fringe
Art on the Map
Expe
nditu
re m
inus
trav
el
300
250
200
150
100
50
0
LOCAL
Not local >20 miles
Local <=20 miles
Variations in occupational profiles between festivals
NCODE
NOS
Leicester BM
Derby CC
Buxton IAF
Perc
ent
80
60
40
20
0
Occupation, synthesi
Managers
Professionals
Assoc Professionals
Administrative
Skilled Trades
Personal Services
Sales
Process
Elementary
Buxton International Arts Festival
Occupation, synthesis
Elementary Occupatio
Process, Plant and M
Sales and Customer S
Personal Service Occ
Skilled Trades Occup
Administrative and S
Associate Profession
Professional Occupat
Managers and senior
Perc
ent
60
50
40
30
20
10
0
Derby Caribbean Carnival
Occupation, synthesis
Elementary Occupatio
Process, Plant and M
Sales and Customer S
Personal Service Occ
Skilled Trades Occup
Administrative and S
Associate Profession
Professional Occupat
Managers and senior
Perc
ent
30
20
10
0
Some key findings in Festivals and the Creative Region (1)
Festivals generate wealth and employment• £7 million spent by audiences through local businesses.
A further £4 million may have been generated for the region - equivalent to 209 FTE jobs
• 93% of local businesses saw festivals as good for communities and 84% saw them as contributing to tourism but .....
• 45% thought festivals were not sources of new business for them – 33% did
• 20% thought that festivals were actually disruptive
Some key findings in Festivals and the Creative Region (2)
On social and cultural impact: enhancing local image and identity
• more than 64% of audience members felt more positive about the place where the festival was held
• 90% rated the content of the festials as good to excellent• return visits - almost 70% of the audience would be
more likely to attend other events in the future• 55% of people who attended, had been to the festival
before• increasing interest in arts activities - more than 44%
said they had become more interested in the arts as a result of attending a festival
Some key findings in Festivals and the Creative Region (3)
Varied audience profile• almost 90% of people attending were in a group or couple• 65% of attendees were over 45 years old • young people under 25 represented the greatest potential for growth.
They make up 30.9% of the region's population but for these festivals only make up 13.5% of audiences
Local commitment • audience members generally travelled less than 50 miles return. 50%
travelled less than 5 miles and 16.2% less than a mile.• More than 17% of audience members came on foot. The majority of
those who attended travelled by car (71.9%.) • 44% of people found out about the event by word of mouth and 17%
from the local newspaper• an estimated 33,000 hours of help by volunteers (equivalent to 375 days
work or £15,000 for each of the festivals) demonstrates that many festivals are rooted in the social and cultural life of the host community
Issues around disability, ethnicity and age
• provision for people with disabilities• under-representation of Black and Asian
people in the festivals sector• attracting more under-25s
Stakeholder views: some key points (1)
• need for increased funding• improving communication, co-ordination, the
calendar• weak links with non-cultural policy agendas• profit v corporate social responsibility• local v county v regional• need for integrated action by local authorities in
their partnerships with the Arts Council
Stakeholder views: some key points (2)
• developing project management/evaluation skills• understaffing and dependency on volunteers• festivals are not always party to the existing
dialogue between tourism and business• weaknesses in tourism infrastructure – transport,
accommodation and catering• the weather is not always an asset
Some practical recommendations
• publicity in workplaces • group discounts• improving festival websites• potential role of local newspapers• signage – planning issues and cost• local festival fora and e-newsletters• making festivals part of local cultural clusters • developing high profile niche events
Festivals and the crisis of public social life
Some trends:
• privatisation of public space• standardisation and excessive theming• museumisation• fear of "the other“• the emergence of "gated communities“• information and communication overload• the erosion of free time• a crisis of creativity?
The potential of festivalsA festival at its best can be:
not only• an effective way of nurturing skills and social capital• a vehicle for attracting visitors, and for enhancing the image of a
place for both local citizens and the outside world.
but also• a catalyst for reflection and for imagining alternative futures for both
individuals and communities• a source of creativity and innovation• a way of developing audiences for different forms of cultural activity• a process for generating different perspectives on place identity and
uses of space
Some concluding thoughts• are festivals "festive"?
• the virtues of disruption and ambiguity
• the danger of "instrumentalisation“
• the importance of core audiences and core identities
• widening mental and spatial horizons
• creating new intercultural festivals