Edinburgh Multi-Day International Festival: Event Evaluation Report

Introduction

This paper seeks to analyze a multi-day festival to measure the effectiveness of such a festival in achieving its goals. The Multi-day festival selected for this purpose is the Edinburgh’s Festival in Scotland in which schedules of events are set on August 7-27, 2009. The multi-day festival includes the following activities that shall run throughout the period: “Mensch Bluetooth-delivered stories” by Juan Cruz, “Edinburgh Drawing: Chatter Shapes by Greg Creek’s,” “Dread” by Joshua Mosley, and “Elevation” by Lee Mingwei.

It must be noted that in each event launched, event organisers aim at creating unique experiences. These unique experiences are in synergy with the idea that different people gain different experiences, determined by their role and form of participation in such events. Experience of an event is gained in anticipation of it as well as during a person’s participation in such event and after attending it (Getz, 1997).

It may be inferred that the goals in engaging audiences in an event includes the behavioural, cognitive, and affective aspects. Influencing audience’s behaviour through the behavioural experience gained from the event is not enough. Rather, the cognitive and affective aspects must also be included. Hence, event planners and organisers must highly consider what people think about the event, which includes awareness, perception, and understanding of such event.

It is necessary that the event engages the audiences on these dimensions. Moreover, what people feel must also be taken into account, such as the emotions and values ensnared in the event (Getz, 1997). All of these are important considerations embodied in event planning, which the Edinburgh Festival also contains.

The Edinburgh Festival and Its Objectives

The Edinburgh Festival follows a mission of being the most exciting, innovative, and accessible festival in the world in the realm of the performing arts, promoting the cultural, educational, and economic well-being of the people of Edinburgh and Scotland (EIF, 2008).

This mission is achieved by presenting arts of the highest possible international standard as well as reflecting international culture to the people of the United Kingdom and the world. The mission and objective is also carried out through an international showcase of Scottish culture and events that involve innovative programming and commitment to new work. The festival also encourages active participation in the arts by collaborating with festival organisations. It also ensures that adequate core funding is achieved in order to fulfill its mission and thus sustainably address it (EIF, 2008).

“Mensch Bluetooth-delivered Stories” by Juan Cruz

A number of interconnected narratives circulating around the old city of Edinburgh are involved in Mensch. This exhibition uses the definition Mensch as someone of noble character who must be admired and emulated for his rectitude, dignity, and a sense of what is right (EIF, 2009a). In this exhibition, Cruz depicts stories that wander through social change through his examination of the shifting status of professional men such as the priest, artist, and shepherd. Anna MacDonald and Charlotte Date are the project coordinators for the Mensch event. The exhibition shall run from August 7-26, 2009.

Cruz’s “Mensch Bluetooth-delivered Stories” outlines the achievement of the above objectives of the festival, with its presentation of the performing arts through interconnected narratives of the old city of Edinburgh. Making the exhibition available to people from all walks of life and to a vast variety of audiences is reflected in the event that extends from August 7 to August 26. It may be posited that the event’s usage of the theme of the shifting status of professional men is in consonance with the festival’s mission on innovation. The festival’s objective of accessibility is reflected in the event’s free admission that allows people to visit, unblocked by expenses posed by admission fees.

“Edinburgh Drawing: Chatter Shapes” by Greg Creek

A form of city panorama is depicted in “Edinburgh Drawing: Chatter Shapes” in which Greg Creek combines Edinburgh’s darker underbelly. Doodles, scenes, scatological notations, and invented prose intersperse detailed drawings of Edinburgh’s architecture in which a delicate ornamentation of place is built. Audiences are lured to travel to a visual journey that represents both place and time, which Creek’s drawings emphasise. Historical, contemporary, and fictional events, people, and subjects are contained in these drawings, making it possible for people to travel to this visual journey (EIF, 2009b). The exhibition runs from August 7-27, 2009. The Dean Gallery is the venue for the event, and admission is free.

“Dread” by Joshua Mosley

Dread is a digital film by Joshua Mosley featuring animated clay figures. A fictional encounter between two of history’s significant philosophical thinkers are presented, particularly Jean-Jacques Rousseau and Blaise Pascal. The film contains an encounter between the two philosophers who meet whilst on a journey through woodlands and begin contemplating about creation and central philosophical queries that revolve on the divinity of God and His secular involvement in history. Mosley’s film also asks if man is inherently good, contradicting the doctrine of original sin adopted by the church (EIF, 2009c). The film runs everyday from August 7-27, 2009 at the Dean Gallery with free admission.

Edinburgh International Festival’s objectives are seen in Mosley’s “Dread” in which animated clay figures are featured in digital film. This connotes innovation and creativity that transgress from the usual and traditional mode of film-making. Innovative programming is embodied in the film, which is likewise set in the mission of the Edinburgh International Festival.

The cultural and educational well-being of people are also enhanced by the film with its theme involving the philosophical question about the nature of God and man’s inherent nature in a discussion between Rousseau and Pascal, who were represented by clay figures.

“Elevation” by Lee Mingwei

Lee Mingwei creates anan installation that fills one side of the gallery and elevates viewers in the same manner as Edinburgh’s physical situation. This physical situation is perched above, allowing for observation of the surrounding terrain and the ornaments on Edinburgh’s buildings. Through this elevation, gallery visitors at floor level are able to see people above them. Lee’s “Elevation” synergises with the idea that different perspectives can be offered by sitting high up and looking down on others in addition to the sensation of being above a place. It gives an overview that creates a large mental space (EIF, 2009d).

Lee’s “Elevation” is an innovative art that meets the goals and objectives of the festival. As the festival aims to present cultural arts that have never been presented anywhere else in the world, “Elevation” is a pioneering installation that allows people to observe the overview of Edinburgh’s surrounding terrain and buildings.

The four events of the festival attempt at instilling behavioural, cognitive, and affective values to their audiences as they endeavor to promote the cultural, educational, and economic well-being of the people in Scotland. The cultural well-being is reflected in the presentation of the Scottish culture in all events, whilst the educational well-being is promoted in the educational values contained in all events, which students of the arts and humanities can generate from.

The economic aspect of the events is seen in their economic accessibility, in which visitors are able to save for these entertainments and distinct experience compared to the usual forms of entertainment often sought out in today’s world. It is also worth-mentioning that each dimension affects the audience’s level of engagement, such as active (education) and passive (entertainment) and physical and mental engagement (Getz, 1997). The four events are a mixture of passive and active engagement. Cruz’s “Mensch Bluetooth-delivered Stories,” Creek’s “Edinburgh Drawing: Chatter Shapes”, and Mosley’s “Dread” are characteristically mental whilst Lee Mingwei’s Elevation is physical.

It may also be inferred that the four events are able to possess the power to connect with people as audiences mentally absorb them and be physically immersed with them. These characteristics are naturally embodied in successful events as they attempt to create unique experiences. With the unique presentation of the Edinburgh International Festival, particularly of the four mentioned events by Cruz, Mosley, Creek, and Lee, pre-liminal, luminal, and post-liminal stages are attempted to.

The pre-liminal stage is reflected in the events’ pursuit to present arts that bring and separate the audiences from normality, apparently seen in their very nature. Their luminal stage is seen in their attempt to make a transition to another realm of being – from the ordinary to the extraordinary – such as Cruz’s “Mensch Bluetooth-delivered Stories” Creek’s “Edinburgh Drawing: Chatter Shapes”, and Lee’s “Elevation.”

The Event Experience

Getz (2009) states that “event design is the creation and conceptual development of an activity that aims to maximise the positive and meaningful impact for both audience and participants.” The same idea is contextualised in the festival’s events. In this pursuit, it is important to enquire about the participants need.

These needs include staging and technical requirements, which are crucial necessities in setting up the equipment needed for presenting Cruz’s and Creek’s exhibitions, of Mosley’s digital film (which mainly lies on technological enhancement and innovation), and Lee’s elevation installation that needs ample of sturdy equipments and materials. Networking, which is done through coordination with various cultural and educational organisations, is achieved by the events, not to mention the usage of the internet to market the activities.

Defining a theme is part of launching an event, which the Edinburgh International Festival itself pursues. Thus, it is important to contemplate about what is being celebrated, the activities that people engage in, the emotional stimulation embodied in the event, and the scripted program that people observe (Getz, 2009). The theme of the festival is basically depicting the Scottish culture through the arts and other cultural presentations.

“Communitas” are also embedded in the experience of people of these events wherein they are brought together to a temporary state and are removed from ordinary life to share a common experience. A sense of belonging is promoted in these events, as people experience awe, enjoyment, and new learning in them (Getz, 1997).

A model of the event experience includes the antecedents (needs, motives, expectations, and preparation), separation (valorisation rituals and entry statements), and reversion (feelings of loss, renewal, and transformation) of the event, which are often considered when planning an event of a unique experience.

Event Impacts and Evaluation

People are impacted by Cruz’ “Mensch Bluetooth-delivered Stories” by becoming aware and familiarised by the interconnected narratives circulating around the old city of Edinburgh, embodied in the exhibition. They are also made to contemplate on the existing social statuses of people as they are carried into noble characters of rectitude, dignity, and sense of what is right and earn moral education through it.

On the other hand, Creek’s “Edinburgh Drawing: Chatter Shapes” creates an impact to audiences through his depiction of city panorama through detailed drawings of doodles, scenes, scatological notations, and invented prose (EIF, 2009b). They are also carried to a different dimension as they are taken to a visual journey that represents both place and time. In the same manner, audiences are taken to a different dimension, thereby giving them a unique experience as Mosley introduces animated clay figures that show innovation in his digital film “Dread.” Thus, audiences are impacted by being shown this distinct experience as they learn the philosophical and theological questions often asked about God and His existence.

Meanwhile, Lee’s “Elevation” creates an impact by advancing an art through technological innovation embodying Edinburgh’s physical situation. People are hence able to connect this kind of technological innovation to that of their own experience with technology and consider this an addition to already existing knowledge of the realm.

Event Design

Based on the information gathered from the four events that embody the Edinburgh International Festival, their impact is primarily towards the cultural enhancement of Scotland. We may infer that the arts are effective venues for staging such purpose since people readily engage in the enrichment of their senses and involvement of their cognitive and affective well-being. It is through the arts that people are able to appreciate their culture exhibited in such avenues.

Event Programming

The four events in Edinburgh International Festival are programmed according to the mission of the festival and are carried out through subsidies from taxpayers through increased taxation. Some businesses and key stakeholders may also contribute financially to fund the festival and make its activities possibly successful. The outcomes of the events need to be evaluated according to individual, economic, social, and environmental aspects, whichever applies, so that future planning of the same nature of events may consider negative feedbacks and reinforce the positive ones.

It is also important to consider what the audiences need for a unique experience. This generally involves entertainment, emotional experience, and relational experience, which the Edinburgh International Festival purports to take place through the four events. Considering the concept of creativity is likewise an important consideration in events like these, in which the ability to create, to bring into existence, and to invest with a new form is carried out. Creativity is reflected in the four events as a novel and relational product emerges out of the uniqueness of the individual (Rodgers, 1968).

Public Policy

Since Edinburgh International Festival is a non-profit event, the festival is not legally entitled to carry out profitable activities but vastly relies on public funding, sponsorship, donations, and other financial help from outside sources. In return, the festival is able to promote the Scottish culture in the entire UK and around the world. Through legislations that serve the purposes of non-profit organisations and activities, the festival carries out innovative, artistic, entertaining, and educational cultural activities.

The subsidy theory is used in understanding public policy carried out in the festival. It explains the existence of non-profit firms and proposes that some security is afforded by the non-profit model on the idea that the funds provided by philanthropic providers proceed to the cause intended for such purpose (Hansmann, 1981 in Getz, 2009). The same pursuit is aimed at the events sponsored by philanthropic organisations and other stakeholders in the Edinburgh International Festival.

Event Management

The event management of Edinburgh International Festival is pursued through the sponsorship of the Bank of Scotland, Homecoming Scotland, and the Government of Victoria, Australia through Arts Victoria (EIF, 2009a).

Tickets for the four mentioned events are free, with a daily duration for the shows with the series “Visual Arts – The Enlightenments.” Juliana Engberg, Curator of the Enlightenments and Anna MacDonald and Charlotte Day, Project Coordinators, ensure that the events are carried out successfully through initial planning and coordination with various organisations, arts associations, governments, individuals, and other stakeholders. Event planning ensures outlines the goals of the events in great consideration and reference to the festival’s mission. Events undergo post-event evaluation in which strengths and weaknesses are pointed out for beneficial use.

Event Sponsorship

As mentioned, event sponsorship is one of the means in which events are carried out. The same is undertaken by the four events by Cruz, Creek, Mosley, and Lee. In Cruz’s “Mensch Bluetooth-delivered Stories,” the sponsors are the Bank of Scotland, Homecoming Scotland, and the Government of Victoria, Australia through Arts Victoria. Creek, Mosley, and Lee’s events also have the same sponsors. They are all presented in partnership with the Dean Gallery, National Galleries of Scotland (EIF, 2009c).

Corporate sponsorship is a model that supports organisations in their pursuit to extend financial and material support to non-profit organisations in exchange for some corporate aims and objectives (Coughlan and Mules, 2001 in Yeoman, et al., 2004).

A model of the event experience includes the antecedents (needs, motives, expectations, and preparation), separation (valorisation rituals and entry statements), and reversion (feelings of loss, renewal, and transformation) of the event, which are often considered when planning an event of a unique experience.

The subsidy theory is used in understanding public policy carried out in the festival. It explains the existence of non-profit firms and proposes that some security is afforded by the non-profit model on the idea that the funds provided by philanthropic providers proceed to the cause intended for such purpose (Hansmann, 1981 in Getz, 2009). The same pursuit is aimed at the events sponsored by philanthropic organisations and other stakeholders in the Edinburgh International Festival.

Corporate sponsorship is a model that supports organisations in their pursuit to extend financial and material support to non-profit organisations in exchange for some corporate aims and objectives (Coughlan and Mules, 2001 in Yeoman, et al., 2004).

Comparison of Theories

The theory of corporate sponsorship is in synergy with the subsidy theory embodied in public policy as corporations seeking sponsorship for non-profit organisations want to ensure that the funds they release go to the intended purpose. On the other hand, a model of the event experience which includes antecedents, separation, and reversion is in accordance to staging activities that produce good outcomes and attract the sponsors’ attention.

Conclusion

Apparently, the Edinburgh International Festival is able to achieve the goals identified through the events of Cruz’s “Mensch Bluetooth-delivered Stories,” Creek’s “Edinburgh Drawing: Chatter Shapes,” Mosley’s “Dread,” and Lee’s “Elevation.” The four events embodying the festival characteristically depict the Scottish culture through the performing arts that promote the cultural, educational, and economic well-being of the people in Edinburgh and Scotland in general. Through sponsorship and utilisation of available public policy, the festival carries out its objectives and attains them.

References

EIF (Edinburgh International Festival) (2008) Edinburgh international festival ’. Web.

EIF (Edinburgh International Festival) (2009a) Juan Cruz – Mensch: Bluetooth-delivered stories. Web.

EIF (Edinburgh International Festival (2009b) Greg Creek – Edinburgh drawing: Chatter Shapes. Web.

EIF (Edinburgh International Festival) (2009c) Joshua Mosley: Dread. Web.

EIF (Edinburgh international Festival) (2009d) Lee Mingwei: Elevation. Web.

Getz, D. (1997) Event management and event tourism, Cognizant Communication Corporation.

Getz, D. (2009) Events studies: theory, research and policy for planned events, Butterworth-Heinemann, Oxford, p. 327-350.

Rodgers, C. (1968) on being a person best, New York: Houghton Mifflin Company.

Yeoman, I, Robertson, M, Ali-Knight, J, Drummond, S & McMahon-Beattie, U, 2004. Chapter 17 ‘A strategic approach for the use of sponsorship in the events industry: in search of a return on investment’. In Festivals and Events Management: an international arts and culture perspective. Butterworth Heinemann, Oxford.