Archive for August, 2007

I’m at Eventing the Future 2007 in Auckland – the conference run by the New Zealand Association of Event Professionals. Some interesting sessions on day one. Learnings include:

• there’s no recipe to making money from events management
• quality content can be repurposed across a range of marketing channels to get valuable media exposure – content is king
• strategic planning is essential to ensuring the successful growth and development of your event
• research into ticket buying shows that word of mouth is (still) the top way that people find out about events.

Making money

Ably facilitated by Peter Cox from SPARC, a panel discussion of representatives from events management companies kindly shared their business acumen. We heard that:

• The secret to successful business partnerships is working with like-minded people.
• It’s hard to grow a business – to take that step of employing staff to deliver events so you can focus on the business development side.
• Money can be made from events that are low cost to run but that have a high perceived value (so you can charge a good rate).
• Big events are not necessarily the most profitable – small events can become more ‘stable’ (in terms of sponsorship and supplier relationships, for example) a lot easier.
• Recurring events allow you to get efficient systems in place, but it’s not just a matter of the same event, different dates – a recurring event needs ‘new fizz’ every time.
• Developing strong brands is very important – sponsors will want to be associated with the story behind the event.

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by Terry Makewell, National Museums Online Learning Project (Victoria & Albert Museum)

Online Culture in the United Kingdom currently appears to have three main drivers (the online cultural trident as I like to say). These drivers are the main force behind the cultural projects currently being undertaken. With the trident behind us we move ever forward (picture as you see fit).

The first driver is technological change. The advancement of new technology is just only being understood within the sector along with the plethora of possibilities it brings with it.

The second driver involves the UK Government policy aim of increasing democratic participation in culture. The online medium is a perfect way of involving those ’hard-to-reach’ audiences. 

The third driver involves the ways that people engage with culture and how it is changing and evolving. This is very much associated with the second driver. How has the way that people engage with culture changed in the last few decades? The advent of free admission to the national museums has obviously helped change people’s relationships with museums.

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I’m adding this post rather tentatively in response to a video that I’ve just seen at a seminar on the future of e-government by Mike Pearson from the State Services Commission. The video was created in 2004 by the Museum of Media History. It charts the history and future of media through to 2014. You can view it here (it’s eight minutes long and thought provoking).

In the year 2014, the video predicts that internet users will be provided with news stories customised to their individual needs and interests. Thanks to the information we’ve provided to search engines and social networking sites, data about our personal social networks, demographics, interests and consumer habits are used by the likes of Google and Microsoft to filter the information and messages that we receive.

The widespread availability of tools for preparing and publishing content online has made it easier than ever before to create and consume media. As users everywhere create their own news and access the news of their trusted networks, The Fourth Estate goes into freefall - no longer having sole authority over the news or the ability to regulate news channels.

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Two great resources issued recently - both available for free download.

‘The 20 Things You Must Know About Music Online’ explains the workings of online media distribution and marketing and is of particular interest to indie music labels and artists. Very practical and comprehensive. Here’s a summary of the list of 20 to get you interested. While you’re at it, check out author Andrew Dubber’s The Wireless blog. Nice selection of MP3s to browse and plenty of info on what NZ musos are up to in the UK.

‘The Touring Manual’ by Fenn Gordon has been re-issued by Creative New Zealand. Also practical, comprehensive and free to download, the manual is revised with a new chapter on international touring. Touring provides artists with further income, gives new audiences access to the work and lets performers refine their practice and develop the work beyond that initial season. CNZ says the new edition will be available from mid august from their website; here’s a link to the first edition.

And while we’re talking touring, CNZ has announced a ‘quick response’ touring fund designed to support well-developed international tours which have been negotiated as a result of prior CNZ investment. The fund is available to companies involved in the Australian Performing Arts Market showcase programme as well as to productions with firm international tour offers that need a fast response to secure the deal. Check out criteria on CNZ’s website.