Festival Republic and Glastonbury Festival Sample

Glastonbury Festival has beconne a world-wide attractive force for music fans and creative persons likewise. In 2009. Bruce Springsteen was added to the long list of Acts of the Apostless ( from Paul McCartney to Oasis ) that have appeared at the festival. It started in 1970 when 1. 500 hippy revelers gathered on a farm near Glastonbury Tor to be plied with free milk and amusement from a stopgap phase. Now. Glastonbury is a major international festival that attracts over 150. 000 hearers. Without any cognition of the batting order. the tickets for the 2010 Festival sold out in yearss. In those early yearss. the Festival was developed by local husbandman. Michael Eavis. whose passion for music and societal principies led to a weekend of music as a agency of raising financess for good causes. It was a societal mission rooted in the hippy counter-culture of the sixtiess and events such as Woodstock. Today. the Glastonbury Festival hearer finds that those early yearss of hippy idealism are a long manner off. The graduated table of the administration demands strong direction to back up the accomplishment of the festival’s societal purposes.

At foremost. the statutory demands for an event held on private land were minimum. Gay police officers looked over hedges whilst recreational drugs were sold from tabular arraies near the festival entryway as if this was merely a somewhat unusual small town fete. Acerate leaf to state. the festival began to pull the attending of a figure of different groups. particularly as statute law around the running of events tightened. Eavis struggled with local occupants who hated the invasion of their privateness ; with hippy militant groups who felt that their part in assisting at the festival gave them a sense of ownership ; with drug traders transporting on their activities on the peripheries of the festival ; and fans mounting over the fencings to acquire free entree. The festival’s continued expansion has resulted in a festival with over 10 phases covering wind. dance. classical. universe music and other genres. Added to this. there is comedy. poesy. circus. theater and children’s amusement aboard more esoteric street theatre public presentations. Much of this is organised into specific grassy field areas where. for illustration. the Dance Village uses a figure of collapsible shelters dedicated to different types of dance music. Indeed. such is the scope of amusement on offer that some hearers spend the whole weekend at the festival without seeing a individual unrecorded music act.

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Though the Eavis household remain involved with the chief programme. much of the other amusement is now managed by others. Reflecting this displacement towards more diverse amusement. the name of the festival was changed from Glastonbury Fayre ( reflecting the ancient cultural heritage of the area ) to the Glastonbury Festival for Contemporary Performing Arts. In some old ages. the festival is forced to take a twelvemonth off to let the farming area to retrieve from the trample of 1000s of braces of pess. Not merely is this wise on an agricultural forepart but besides gives the local occupants a remainder from the one-year invasion of festival departers. Despite this. the festival has met with a figure of contentions such as when a big figure of unwelcome guests spoilt the merriment in 2000. This caused the festival to be fined due to transcending the accredited attending and inordinate noise after the event. Furthermore. wellness and safety Torahs now require the event direction to hold a ‘duty of care’ to everyone on the festival site. To turn to these wellness and safety concerns. support was sought from Melvin Benn who ran festivals for the Mean Fiddler administration. With a steel fencing erected around the margin. Melvin Benn helped re-establish the festival in 2002 after a twelvemonth away.

Ownership of the festival remained with the Eavis household but Melvin Benn was appointed Managing Director. However. concernis arose in 2006 when his employer. Mean Fiddler. was taken over by major music boosters. Live State and MCD Productions. In a distressing move. Live State announced that they would lure a figure of major creative persons to look on the weekend usually used by Glastonbury at a new UK festival called Wireless. Based in London. this seemed set to offer a city-based option to Glastonbury. At much the same clip. Live State announced that they would establish their ain online ticket bureau to back up the gross revenues of their music events. This displacement in power between the major music boosters indicated non merely their involvement in the ownership of cardinal events but their desire to command income watercourses. Elsewhere in the universe of unrecorded amusement. the success of Glastonbury had non gone unnoticed and the festival market showed considerable growing. Some of the other festivals tried to capitalize on characteristics that Glastonbury could non offer. For illustration. Glastonbury was celebrated for its moisture conditions with images of moist revelers and collapsed collapsible shelters being platitude. Live Nation’s city-based Wireless festival offered the chance to kip under a roof at place or hotel. as opposed to put on the lining the conditions out-of-doorss.

Alternatively. Benicassim in southern Spain offered a festival with an first-class opportunity of sunlight and top Acts of the Apostless for the monetary value of a low cost air hose ticket. Other festivals noted that Glastonbury hearers enjoyed the wider amusement at the event. In making this. they realised that many festival departers were attracted by the whole societal experience. So. hedging major Acts of the Apostless and their related high fees. smaller festivals were created for merely a few 1000 hearers. These offered amusement in assorted formats. frequently in a family-friendly ambiance. Sometimes described as dress shop festivals. Freddie Fellowes. organizer of the Secret Carden Party. depict this type of festival as a opportunity ‘to be playful. to interrupt down barriers between people and create an environment where you nave perfect freedom and perfect nutriment. intellectually and visually’ . Festival Republic. the rebranded Mean Fiddler. created a dress shop festival on a larger graduated table with their Latitude festival. Similarly. Rob da Bank. a BBC DJ. set together Bestival on the Isle of Wight where the hearers are encouraged to fall in in the merriment by looking in fancy frock.

Quite clearly. audiences are now being presented with a broad scope of festivals to see for their leisure clip amusement. Many of these festivals attract patrons with some going outstanding by geting calling rights on the festival. Others have low profile agreements affecting alleged ‘contra’ trades as opposed to sponsorship payments. For illustration. Glastonbury has official eider providers who typically boost their trade name by giving the festival a discriminatory trade on their producis in exchange for promotion. Though these commercial relationships are sometimes spurned by the smaller festivals that see the stigmatization as an intrusion on their merriment environment. larger festivals frequently need such relationships to last. In order to pull patrons. big festivals are turning to radio and television broadcasters as a agency to spread out the audience and offer wider exposure for the patron. Indeed. in 2009. the BBC sent over ?00 staff members down to Glastonbury for broadcast medium aimed at fulfilling the involvement of the armchair viewer/listener. With such immense demand for their endowments. creative persons can hold a moneymaking summer traveling between festivals. Similarly. audiences can do drawn-out treks to their favorite festivals. For some. this has caused environmental concerns with Glastonbury’s rural location. hapless conveyance links and big audience being cited as a particular job.

On the other manus. creative persons are non merely happening that the festivals offer a good beginning of income but that private parties and corporate amusement have emerged as alternate. frequently greater. income chances. One newspaper claimed that George Michael pocketed more than ?1. 5m ( ~ˆ1. 65m ; ~ $ 2. 25m ] to entertain revelers at the British billionaire retail merchant Sir Philip Green’s 55th birthday party in the Maldives. Henee. for many creative persons. the summer has become a instance of ‘cherry picking’ their favorite festivals or seeking out the most moneymaking chances. Over clip. the displacement from little. nubby event to corporate-controlled festival has provided awkward state of affairss for Michael Eavis – from the troubles with establishment figures who felt the event was out of control to the demands of counter-cultural groups such as the traveling flower peoples. However. along the manner. the festival has maintained its purpose of back uping charities like CND and. subsequently. Greenpeace. Oxfam and a figure of local charities. In the head of the audience. this helps place the festival as a merriment event with a societal scruples. The continued expansion and switch in direction of the festival has freed Michael Eavis to be the front man for the event and to prosecute the original societal mission of the festival. Given this turning and progressively competitory market. there is much to see for the festivals involved. In recent old ages. Glastonbury has sold all its tickets and made contributions to its favoured causes. corroborating

the fiscal viability of its current concern theoretical account. Indeed. the festival’s iconic position has traditionally meant that ?t is a rite of transition for many immature music fans. Yet. in 2008. Eavis pubucly registered concern over the age of the Glastonbury audience proposing that selung tickets by phone would assist pull a younger audience. Possibly Eavis was concerned by remarks such as those in The Times newspaper that cruelly declared Glastonbury as suited to the ‘the hip-op generation’ and questioned whether immature people thought it was ‘cool’ to travel to the same music events as their parents. On the other manus. their parents belong to the ‘baby boomer’ coevals that grew up with popular music and festivals like Glastonbury. So. there is no existent surprise that they would bask this eclectic event. Whatever disturbed Eavis. he announced that Jay-Z. an American blame creative person. was to headline in order to assist pull a younger audience. With gross revenues slower compared with old sell-out old ages. he subsequently stated ‘We’re non seeking to acquire rid of anybody. The older people are antic. but we do necessitate immature people coming in every bit good. ’

Then. reflecting on the 2008 festival ?n 2009. Michael Eavis displayed concerns over the hereafter of the festival stating ‘Last twelvemonth I thought that possibly we’d got to the terminal and we’d have to seize with teeth the slug and turn up it all up. A batch of the sets were stating Glastonbury had become excessively large. excessively boggy and excessively atrocious. ’ With such an established festival as Glastonbury. one would anticipate the direction might be looking to leverage its trade name with. for illustration. farther events. Yet. the remarks of Michael Eavis suggest non merely a deficiency of lucidity about the mark audience but besides concern over whether it can prevail. Furthermore. Eavis seems nervous about the festival’s entreaty to creative persons who have tonss of chances to do visual aspects over the summer. Audiences and creative persons are the two cardinal factors

that underpin fiscal success at these events. as successful festival boosters are good cognizant. Beginnings: The history of Glastonbury is charted on its web site ( hypertext transfer protocol: // World Wide Web. glastonburyfestivals. co. uk/history ) whilst ownership and fundss are availabie through Companies House. Most of the background to the festival and related market has been drawn from onune intelligence resources such as the BBC. Times Online and the Guardian. or industry magazines such as Music Week. More information on UK Festivals is availabie from Mintel.

Questions1 Lodging to the 35 word bound suggested by Collis and Rukstad in subdivision 1. 2. 3. what scheme statement would you suggest for the Glastonbury Festival? 2 Carry out a ‘three horizons’ analysis ( subdivision 1. 2. 1 ) of the Glastonbury Festival. in footings of both bing activities and possible hereafter 1s. How might this analysis affect their hereafter strategic way? 3 Using the headers of environment. strategic capableness. strategic intent and civilization seen in subdivision 1. 5. 1. identify cardinal positioning issues for the Glastonbury Festival and see their comparative importance. It Following on from the old inquiry and doing usage of subdivision 1. 5. 2. what alternate schemes do you see for the Glastonbury Festival? 5 Converting good strategic believing into action can be a challenge: analyze how the Glastonbury Festival has achieved this by sing the elements seen ?n subdivision 1. 5. 3.

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