DOCSLIB.ORG

THE SHOW MUST GO on Environmental Impact Report for the UK Festival and Outdoor Events Industry UK MUSIC CAMPING FESTIVAL in NUMBERS

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE SHOW MUST GO on Environmental Impact Report for the UK Festival and Outdoor Events Industry UK MUSIC CAMPING FESTIVAL in NUMBERS 2020 Update THE SHOW MUST GO ON Environmental impact report for the UK festival and outdoor events industry UK MUSIC CAMPING FESTIVAL IN NUMBERS 4.9m 28% UK music festival of festivals have a goers annually specific budget for environmental Requiring sustainability 0.5L 7m Diesel used per Litres of fuel used by the UK 68% of festivals have a person per day to... Equating festival industry annually sustainability coordinator or someone responsible for sustainability in As well as consuming... the team 184.5m Litres of water 100+ festivals and events have signed up to and creating... Festival Vision: 2025 25,800 BENCHMARKS FROM Tonnes of waste annually JULIE’S BICYCLE And generating... 24,261 1.9kg Tonnes CO e per year That’s... 2 CO2e per person per day 2 CONTENTS UK FESTIVAL IMPACTS 2 BY NUMBERS TABLE OF CONTENTS 3 ACKNOWLEDGEMENTS 4 EXECUTIVE SUMMARY 6 FOREWORD 7 INTRODUCTION 8 WHAT THE SCIENCE IS SAYING 11 AN OVERVIEW OF THE 14 ENVIRONMENTAL IMPACTS OF UK FESTIVALS THE STATE OF PLAY IN THE 18 UK FESTIVAL INDUSTRY 2020 IMPACTS AND SOLUTIONS: ENERGY 24 RESOURCE USE & WASTE 40 FOOD 62 WATER 74 TRAVEL AND TRANSPORT 82 GOVERNANCE 100 DRIVERS OF CHANGE 110 VISION 114 SUMMARY OF 118 RECOMMENDATIONS KEY RESOURCES 124 3 ACKNOWLEDGEMENTS This report has been led by festival industry steering group Powerful Thinking: Lead authors: Chiara Badiali (Knowledge and Sector Intelligence Lead, Julie’s Bicycle) and Chris Johnson (Co-founder, Shambala Festival & Chair, Powerful Thinking) CONTRIBUTING CHAPTER AUTHORS: • Energy: Tim Benson, Founder, SMART Power & Energy Consultant, ZAP Concepts • Resource use and waste: Amanda Campbell, Sustainability Consultant, Comp-A-Tent • Water: Steve Taylor, Managing Director, Ideeas Ltd • Travel and transport: Liz Warwick, Sustainability Consultant, Lansdowne Warwick & Trustee, Energy Revolution • Governance: Chiara Badiali, Knowledge and Sector Intelligence Lead, Julie’s Bicycle • Food: Chiara Badiali, Knowledge and Sector Intelligence Lead, Julie’s Bicycl SPECIAL THANKS Vikki Chapman (Live Nation & Festival Republic), Steve Heap (Association of Festival Organisers) and Teresa Moore (A Greener Festival) for their useful comments and insights, Bethan Riach for writing the case studies and for proofing, and design from Steve and Pascoe at Plaster Creative Communications. BENCHMARKS Benchmarks based on data collected and analysed by Julie’s Bicycle. We have also drawn on surveys undertaken by A Greener Festival, CGA and AIF on audience travel splits. COPYRIGHT The Show Must Go On Report (2020) is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License 4.0 International (CC BY-NC-ND 4.0) License. This means that: If the report or any contents is shared, it must be properly attributed by Title, Author and with a link to the original work and the license. The material may not be used for commercial purposes. The material may not be modified in anyway for re-distribution, without permission. 4 SUPPORTERS This report and the accompanying online Knowledge Hub was made possible by the whole industry and supply chain coming together around a shared purpose, recognising that in the face of the climate crisis, we are stronger together. Huge thanks to everyone involved. GAMECHANGERS CHAPTER SUPPORTERS HEADLINER SUPPORTERS SUPPORTERS INDUSTRY PARTNERS Thanks also to Michael Baker and the UK Festival Awards for hosting the preview launch, and to the Showman’s Show for hosting the annual Festival Vision: 2025 conference. Also to everyone who helped to raise awareness about the campaign; Stage 3 Films and Enviral for their work supporting the Crowdfunder and launch, the Festival Elves Facebook group, media supporters Standout Magazine, Event Industry News and Festival Insights. 5 EXECUTIVE SUMMARY In 2015, Powerful Thinking released The Show Must Go The sector has achieved up to 23% reduction in relative On: an industry response to the United Nations climate emissions per audience day* from energy, waste, and water, talks that gave rise to the Paris Agreement: an international mainly driven by diverting waste from landfill. Overall, total global agreement to keep global warming to well below 2ºC, music festival carbon emissions from energy, waste, and aspiring to 1.5ºC. water on-site have risen despite these gains, driven by a nearly 50% increase in audience numbers in the past 5 The original Show Must Go On report set out the Festival years. Vision: 2025, aiming to achieve a 50% reduction in outdoor event-related greenhouse gas emissions by 2025. But the ambition, momentum, and environmental literacy of the outdoor events community have flourished. The main Five years into the journey, more than 100 outdoor events driver for sustainability identified by event organisers is all across the UK have joined the Vision 2025. With the UK overwhelmingly the internal commitment of the company, hosting the international COP26 UN climate talks this year, staff, or festival team; followed by audience expectations as and the climate and ecological crisis taking a leap into a secondary driver. ‘Lack of expertise’ is no longer identified public consciousness, it was time to take stock of where we as one of the top three barriers to environmental action. are. This report renews our commitment to: • Two thirds of events now have a sustainability coordinator or someone responsible for environmental • Reduce reliance on fossil fuels and continue aiming to initiatives in their team reduce diesel consumption by 50% by 2025 compared with 2014 figures • 1 in 4 events have a dedicated sustainability budget • Reduce waste where possible, aiming for no • 1 in 3 events created a new public engagement biodegradable waste sent to landfill and achieving 50% campaign about the environment in 2019 recycling rates • 1 in 3 events introduced a new environmental policy • Work with audiences, suppliers, and artists to positively and/or action plan for their event in 2019 influence travel choices and reduce travel-related • More events overall are reporting and addressing their emissions carbon emissions • Measuring and reporting key impacts to measure • Environmental action is increasingly important to progress festivalgoers according to audience survey data • Speaking out to audiences and stakeholders and using The benchmarks for camping music festivals show a our creative voices to contribute to the public narrative reduction in waste per audience member per day from about positive change 2.8 kg in 2014 to 2 kg in 2019, driven by initiatives like The Vision 2025 community of outdoor events has created reusable cups and working with audiences to reduce the a shared community to share knowledge and expertise, amount of waste left behind in campsites. and galvanise commitment to act together towards shared Energy now makes up 77% of a festival’s on-site CO2e aims. This report is another building block on this shared footprint, and waste 23%. There are still blind spots for data roadmap. on a range of impacts including more detailed audience Please consider joining at www.vision2025.org.uk travel data, artist and contractor travel, and material/ resource use and food, but examples of some individual events starting to collect and analyse this information. 6 * (per audience member per day on site) FOREWORD Since writing the Show Must Go On Report in 2015, the context for environmental sustainability has profoundly changed around us. Taking effective action on the climate crisis is now accepted as an urgent priority across society, in most parts of the events and music industry - and is increasingly expected by event audiences. We are seeing real shifts in practices at events, and there is significant and realistic scope for improvement. In 2017 I met Phillip, organiser of Ndau Festival of the Arts We can’t all be experts in environmental science, in Chipinge area, Zimbabwe. It struck me, in the way that behavioural psychology or green communications. But we the obvious sometimes hits you in a breath-taking way, that can, and are, beginning to work together as an industry, while event organisers like myself in the UK think about creating a strong ‘community of interest’, a shared increasingly erratic weather and the changes we may need knowledge base and a movement for change toward better to make to wet-weather infrastructure in future, people in environmental practices. the community where his event takes place are dying as a Vision:2025 has brought the festival industry together to result of climate change. They have experienced repeated co-fund comprehensive free-to-use resources for everyone and increasingly severe floods and drought, were badly in the industry to use. hit by Cyclone Idai. Ndau festival has become an essential part of meeting the challenges in Chipinge: bringing the Event organisers provide experiences that bring people community together, raising awareness about what is together, and everyone in the industry can help to provide going on around them, harnessing the power of the arts vital leadership for the most important challenge of our in communicating the tools and skills to cope and make time. essential changes. This report is a benchmark, a point of reflection, and a We must also act, in whatever way we can – acknowledging rallying call. The content is expanded in the Vision:2025 the climate crisis, even if the flooding is not at our door yet - online Knowledge Hub, a comprehensive, dynamic and making changes, inspiring others, and actively contributing trusted source of information about sustainability for events to a future in which everyone can thrive. In the words of and the music industry. Share your information, contribute Greta Thunberg, “this is not a drill”. case studies or help to fund us. Any way you can, take We all need robust information to make good decisions action now. about the environmental performance of our events and companies. There are issues to tackle which require evidence-based approaches and solutions.
Load more

Recommended publications
  • PERFORMERS VIE for LATITUDE FESTIVAL CABARET SLOT Submitted By: the Stage Newspaper Monday, 10 May 2010
    PERFORMERS VIE FOR LATITUDE FESTIVAL CABARET SLOT Submitted by: The Stage Newspaper Monday, 10 May 2010 The booktheact.com-sponsored ‘Win-A-Gig at Latitude 2010’ competition has attracted a large number of high quality acts of all types from right across the country ahead of the entry deadline of Friday May 14. All acts are competing to secure a prime-time Friday night cabaret slot at this year’s sell-out festival, held on Suffolk’s Sunrise Coast from July 15 to 18. A selection of entrants can be viewed at www.booktheact.com/latitude. Michael Vine, President of the Agents Association, and The Stage Newspaper’s Mark Ritchie are to join Tania Harrison of Festival Republic in deciding who will win. Harrison, Arts and Special Events Promoter of Festival Republic said: “I’m looking for entertainers who demonstrate quality, skill and originality in their performance and whose delivery and showmanship will wow the Latitude crowd. There’s every indication that the high calibre of entries will mean the final choice is going to be a hard one, so I’m absolutely delighted that Michael and Mark are able to bring their wealth of showbusiness experience and expertise to the judging panel.” Fifteen short-listed acts will be announced on May 24 and the winning act on June 1. All shortlisted acts' profiles will be viewable at www.booktheact.com/latitude. Ends Notes for Editors: booktheact.com is the UK's only web-based multi-media directory of live entertainment acts with full online booking and contract signing facilities.
    [Show full text]
  • Birmingham Cover
    Online Worcester Cover.qxp_Worcestershire 30/04/2015 09:35 Page 1 WORCESTERSHIRE WHAT’S WORCESTERSHIRE ON WHAT’S THE MIDLANDS ULTIMATE ENTERTAINMENT GUIDE WORCESTERSHIRE ISSUE 353 MAY 2015 MAY www.whatsonlive.co.uk ISSUE 353 MAY 2015 MARK BENTON INTERVIEW INSIDE INSIDE PART OF MIDLANDS WHAT’S ON MAGAZINE GROUP PUBLICATIONS GROUP MAGAZINE ON WHAT’S MIDLANDS OF PART Vicky Entwistle leaves the cobbled stones of Coronation Street behind her... interview inside Joshua Jenkins on playing the lead in The Curious Incident of The Dog In The Night-Time interview inside INSIDE: @WHATSONWORCS WWW.WHATSONLIVE.CO.UK @WHATSONWORCS FILM COMEDY MARK THEATRE LIVE MUSIC VISUAL ARTS ROCK LEGEND AT GENTING ARENA EVENTS KNOPFLER FOOD & DRINK & MUCH MORE! The Drum F/P May 15.qxp_Layout 1 27/04/2015 20:45 Page 1 Contents May Region 1.qxp_Layout 1 27/04/2015 19:20 Page 1 May 2015 Editor: Davina Evans INSIDE: [email protected] 01743 281708 Editorial Assistants: Mark Benton Brian O’Faolain [email protected] talks crime on the French 01743 281701 Riviera p6 Lauren Foster [email protected] 01743 281707 Adrian Parker [email protected] 01743 281714 Jamie Ryan [email protected] 01743 281720 Sales & Marketing: Lei Woodhouse [email protected] 01743 281703 Chris Horton [email protected] 01743 281704 The Rise And Fall Subscriptions: Adrian Parker Of Little Voice [email protected] 01743 281714 Vicky Entwistle and Chris Managing Director: Gascoyne in Brum p31 Paul Oliver [email protected] 01743 281711 Publisher and CEO: Martin Monahan [email protected] 01743 281710 Graphic Designers: Lisa Wassell Joshua Jenkins talks about playing the lead in the National Theatre’s Chris Atherton The Curious Incident Of The Dog In The Night-Time.
    [Show full text]
  • ANDERTON Music Festival Capitalism
    1 Music Festival Capitalism Chris Anderton Abstract: This chapter adds to a growing subfield of music festival studies by examining the business practices and cultures of the commercial outdoor sector, with a particular focus on rock, pop and dance music events. The events of this sector require substantial financial and other capital in order to be staged and achieve success, yet the market is highly volatile, with relatively few festivals managing to attain longevity. It is argued that these events must balance their commercial needs with the socio-cultural expectations of their audiences for hedonistic, carnivalesque experiences that draw on countercultural understanding of festival culture (the countercultural carnivalesque). This balancing act has come into increased focus as corporate promoters, brand sponsors and venture capitalists have sought to dominate the market in the neoliberal era of late capitalism. The chapter examines the riskiness and volatility of the sector before examining contemporary economic strategies for risk management and audience development, and critiques of these corporatizing and mainstreaming processes. Keywords: music festival; carnivalesque; counterculture; risk management; cool capitalism A popular music festival may be defined as a live event consisting of multiple musical performances, held over one or more days (Shuker, 2017, 131), though the connotations of 2 the word “festival” extend much further than this, as I will discuss below. For the purposes of this chapter, “popular music” is conceived as music that is produced by contemporary artists, has commercial appeal, and does not rely on public subsidies to exist, hence typically ranges from rock and pop through to rap and electronic dance music, but excludes most classical music and opera (Connolly and Krueger 2006, 667).
    [Show full text]
  • Marc Brennan Thesis
    Writing to Reach You: The Consumer Music Press and Music Journalism in the UK and Australia Marc Brennan, BA (Hons) Creative Industries Research and Applications Centre (CIRAC) Thesis Submitted for the Completion of Doctor of Philosophy (Creative Industries), 2005 Writing to Reach You Keywords Journalism, Performance, Readerships, Music, Consumers, Frameworks, Publishing, Dialogue, Genre, Branding Consumption, Production, Internet, Customisation, Personalisation, Fragmentation Writing to Reach You: The Consumer Music Press and Music Journalism in the UK and Australia The music press and music journalism are rarely subjected to substantial academic investigation. Analysis of journalism often focuses on the production of news across various platforms to understand the nature of politics and public debate in the contemporary era. But it is not possible, nor is it necessary, to analyse all emerging forms of journalism in the same way for they usually serve quite different purposes. Music journalism, for example, offers consumer guidance based on the creation and maintenance of a relationship between reader and writer. By focusing on the changing aspects of this relationship, an analysis of music journalism gives us an understanding of the changing nature of media production, media texts and media readerships. Music journalism is dialogue. It is a dialogue produced within particular critical frameworks that speak to different readers of the music press in different ways. These frameworks are continually evolving and reflect the broader social trajectory in which music journalism operates. Importantly, the evolving nature of music journalism reveals much about the changing consumption of popular music. Different types of consumers respond to different types of guidance that employ a variety of critical approaches.
    [Show full text]
  • FREEVIEW DTT Multiplexes (UK Inc NI) Incorporating Planned Local TV and Temporary HD Muxes
    As at 07 December 2020 FREEVIEW DTT Multiplexes (UK inc NI) incorporating planned Local TV and Temporary HD muxes 3PSB: Available from all transmitters (*primary and relay) 3 COM: From *80 primary transmitters only Temp HD - 25 Transmiters BBC A (PSB1) BBC A (PSB1) continued BBC B (PSB3) HD SDN (COM4) ARQIVA A (COM5) ARQIVA B (COM6) ARQIVA C (COM7) HD ARQIVA D (COM8) HD LCN LCN LCN LCN LCN LCN LCN 1 BBC ONE 65 TBN UK 12 QUEST 11 Sky Arts 22 Ideal World 64 Free Sports BBC RADIO: 1 BBC ONE NI Cambridge, Lincolnshire, 74 Shopping Quarter 13 E4 (Wales only) 17 Really 23 Dave ja vu 70 Quest Red+1 722 Merseyside, Oxford, 1 BBC ONE Scot Solent, Somerset, Surrey, 101 BBC 1 Scot HD 16 QVC 19 Dave 26 Yesterday 83 NOW XMAS Tyne Tees, WM 1 BBC ONE Wales 101 BBC 1 Wales HD 20 Drama 30 4Music 33 Sony Movies 86 More4+1 2 BBC TWO 101 BBC ONE HD 21 5 USA 35 Pick 36 QVC Beauty 88 TogetherTV+1 (00:00-21:00) 2 BBC TWO NI BBC RADIO: 101 BBC ONE NI HD 27 ITVBe 39 Quest Red 37 QVC Style 93 PBS America+1 726 BBC Solent Dorset 2 BBC TWO Wales BBC Stoke 102 BBC 2 Wales HD 28 ITV2 +1 42 Food Network 38 DMAX 96 Forces TV 7 BBC ALBA (Scot only) 102 BBC TWO HD 31 5 STAR 44 Gems TV 40 CBS Justice 106 BBC FOUR HD 9 BBC FOUR 102 BBC TWO NI HD 32 Paramount Network 46 Film4+1 43 HGTV 107 BBC NEWS HD Sony Movies Action 9 BBC SCOTLAND (Scot only) BBC RADIO: 103 ITV HD 41 47 Challenge 67 CBS Drama 111 QVC HD (exc Wales) 734 Essex, Northampton, CLOSED 24 BBC FOUR (Scot only) Sheffield, 103 ITV Wales HD 45 Channel 5+1 48 4Seven 71 Jewellery Maker 112 QVC Beauty HD 201 CBBC
    [Show full text]
  • The Political Economy of Informal Events, 2030
    The Political Economy Of Informal Events, The Political 2030 Economy of Informal Events, 2030 Written and edited by James Woudhuysen AAAW_03.19_001_Cover.indd All Pages 17/05/2019 11:29 The Political Economy Of Informal Events, 2030 AAAW_03.19_002-009_Chapter Zero.indd 2 17/05/2019 11:21 Written and edited by James Woudhuysen Visiting professor, forecasting & innovation, London South Bank University Foreword by Julian Agostini, Mash Media Alan Miller, Night Time Industries Association Nick Morgan, We Are The Fair Published by Access All Areas, in association with the Night Time Industries Association and We Are The Fair Access All Areas, 2nd Floor Applemarket House, 17 Union Street, Kingston-Upon-Thames KT1 1RR Advisory team Tom Hall and Paul Colston Graphic design Sean Wyatt-Livesley, Emma Hart, Oscar Spinks, Kateryna Smirnova ISBN 2019: 978-0-9576478-7-9 Please note: Except for the Foreword, and where individuals are quoted at length, the views in this paper – and the errors – are those of the author alone. He thanks everyone who is quoted; Andy Grimsey, solicitor with Poppleston Allen, for help with the legal intricacies of licensing, and Michael Kill, CEO of the NTIA, for work on how the music festival season and particular music festivals relate to UK recorded crime, both national and local. © Copyright Mash Media. All material in this publication is copyright and remains the property of the publishers. They neither necessarily agree with the views expressed by interviewees, nor accept any responsibility for any errors of interpretation in the subject matter of this publication. No part of this publication may be copied or reproduced, stored in a retrieval system, or be transmitted in any form by any means – electronic, mechanical, photocopying, recording or otherwise – without the prior permission of the publishers.
    [Show full text]
  • 1489596882 BL Festivals Guid
    WE’RE FESTIVAL VETERANS Getting value for money from your festival branding activity requires research, planning, creativity, and an appreciation that you’re venturing into an environment where brands can be welcomed, tolerated, ignored or vilified. We have a long history of helping clients win cut through at festivals around the world, these include: R ECOVE FESTIVALS NOT RIGHT F OR YOU? THINK AGAIN With younger festival goers increasingly priced out of the game, today’s festival audience largely comprises Millenials, people in their thirties. This also explains the increasing number of festivals catering for families, cultural, literary and culinary enthusiasts. It also means an opening of the way for brands that previously might have never thought about investing in a festival. And a growing number are realising this is an environment that can yield results; there’s a lot more to festivals than mud, booze, rock and roll. KNOW YOUR FESTIVAL HEDONISTIC Global Gathering, Big Chill, Exit, Tribal Gathering, Tommorowland, Boom Town, 2000Trees MAINSTREAM Glastonbury, V Festival, Big Day Out, Tea in the Park, Oxygen, Isle of Wight, Wireless, Reading & Leeds Festivals FAMILY FRIENDLY/ CULTURAL Secret Garden Party, Sonar, Green Man, WOMAD, Camp Bestival, Big Feastival, Wilderness, Somersault Brands that can work their way into the festival environment in a natural, creative way can engage this audience while they’re in a highly receptive state. To do this, there are a couple of simple principles we employ: 1. IDENTIFY ‘WHY’ Identifying your ‘why’ is all about finding a festival with which your brand can legitimately demonstrate a shared purpose, common ethics and values.
    [Show full text]
  • Broadcasting & Convergence
    1 Namnlöst-2 1 2007-09-24, 09:15 Nordicom Provides Information about Media and Communication Research Nordicom’s overriding goal and purpose is to make the media and communication research undertaken in the Nordic countries – Denmark, Finland, Iceland, Norway and Sweden – known, both throughout and far beyond our part of the world. Toward this end we use a variety of channels to reach researchers, students, decision-makers, media practitioners, journalists, information officers, teachers, and interested members of the general public. Nordicom works to establish and strengthen links between the Nordic research community and colleagues in all parts of the world, both through information and by linking individual researchers, research groups and institutions. Nordicom documents media trends in the Nordic countries. Our joint Nordic information service addresses users throughout our region, in Europe and further afield. The production of comparative media statistics forms the core of this service. Nordicom has been commissioned by UNESCO and the Swedish Government to operate The Unesco International Clearinghouse on Children, Youth and Media, whose aim it is to keep users around the world abreast of current research findings and insights in this area. An institution of the Nordic Council of Ministers, Nordicom operates at both national and regional levels. National Nordicom documentation centres are attached to the universities in Aarhus, Denmark; Tampere, Finland; Reykjavik, Iceland; Bergen, Norway; and Göteborg, Sweden. NORDICOM Göteborg
    [Show full text]
  • SPRING / SUMMER 2017 ‘Morning After’ Drink Drive Campaign Resources the ISSUE
    morning-after.org.uk @morning__after SPRING / SUMMER 2017 ‘MoRNING AftER’ dRINk dRIvE cAMPAIGN RESoURcES tHE ISSUE There are dozens of music festivals all over the UK during the spring/summer months, many of which draw huge crowds. Many festivalgoers are likely to consume large quantities of alcohol over two to three days and then quite possibly drive home the morning after the event. But it’s not only people attending festivals who are susceptible to morning after drink driving; during the summer months large amounts of alcohol are often consumed at weddings, BBQs and evening parties. Our campaign highlights the issue of morning after drink driving in an informative and non-threatening manner. We provide people with information to help them make an informed decision as to whether they will be safe and legal to drive the ‘morning after’. STENNIK | TWO RESoURcES For several years the ‘Morning After’ campaign has Summer provided low-cost resources to enable road safety teams and other stakeholders to remind drivers about of this issue. Festival Day one Day two The summer 2017 resources include a ‘summer festival’ 6 PINTS 4 BOTTLES poster (right), summer night out poster (next page), A6 OF BEER OF CIDER postcards and a wallet sized drink drive information card (below). m 5 VODKAS 5 G&TS o r n 3 SHOTS i 4 SHOTS n The resources are backed by an g - a LONG ISLAND ICE TEA BOTTLE OF PROSECCO ( f established website which t e r SEX ON THE BEACH TEQUILA SUNRISE . received more than 800,000 page o r g views in 2016), an online drinks .
    [Show full text]
  • NOEA Yearbook2018
    CREATE / COLLABORATE / CONTROL 2019 YEARBOOK CELEBRATING 40 YEARS National Outdoor Events Association AS THE UK’S LEADING OUTDOOR TRADE www.noea.org.uk ASSOCIATION NATIONAL OUTDOOR EVENTS ASSOCIATION 2019 YEARBOOK 3 CONTENTS An Introduction to the National Outdoor Events Association 5 Code of Professional Practice | Legal AdVice | Insurance Panel 6 Message from the President and Vice President 8-9 UniVersitY of DerbY – Event SafetY Diploma 9 NOEA – Values and Goals 10-11 CEO’s Report 12 NOEA Scotland 13 General Council Members 2018/2019 Picture GallerY 14 General Council Members 2018/2019 Contact Details 15 NeW Council Members 16 Events IndustrY Forum 17 So Where Did It Go Wrong – A Suppliers PerspectiVe 18 40th AnniVersarY of NOEA 18-19 Business Visits & Events Partnership Working With VisitBritain 20 Special Memberships and Affiliations 21 Event Solutions NOEA 16th Annual Convention and AWards Dinner 21 2018 AWard Winners Pictures 22 Judges for the AWards 23 NOEA 2018 AWard Winners 24-25 Recording Breaking Convention 25 NOEA AWard Sponsors Logos 25 Futures Sponsors 26 AWards Sponsors 27-28 Media Partner 28 2Can Productions Members NeWs 29-38 Front cover photographs: Annual Convention and AWards Dinner Packages 42-43 Stage Lighting SerVices, Tintern AbbeY List of NOEA Members – Full details 44-67 Bournemouth 7s, SomersbY Cider Garden Classified Headings IndeX 68-76 We Are the Fair, El Dorado FestiVal Richmond Event Management Ltd, The opinions expressed by contributors to this publication are not Bristol Balloon Fiesta always a reflection of the opinions or the policy of the Association National Outdoor Events Association, PO BoX 4495, Wells BA5 9AS Tel.
    [Show full text]
  • Sponsorship Packages
    SPONSORSHIP PACKAGES 6 DECEMBER - TROXY, LONDON WWW.FESTIVALAWARDS.COM Annual Celebration of the UK Festival Industry THE EVENT An awards ceremony that will leave UK festival organisers feeling celebrated, indulged and inspired. A highlight of the UK Festivals Calendar, the UKFA was founded in 2002 and is now celebrating its 15th year. With over 650 festival organisers, music agents and trade suppliers in attendance, the evening brings together the UK Festival scene’s key players for a night of entertainment, networking, street food, innovative cocktails and an exclusive after party – all held at the historic Troxy in London. Recognising the festival industries’ brightest and best, previous award winners include Michael Eavis (Glastonbury Festival), Peter Gabriel (WOMAD), Download Festival, Latitude and TRNSMT. We look forward to celebrating 2018’s triumphs with this year proving to be bigger and better than ever. THE BENEFITS The Awards offer sponsors the opportunity to network with the UK’s leading festival influencers and gain extensive exposure: EXCLUSIVE NETWORKING OPPORTUNITIES With the UK festival industry’s key players in attendance, the Awards offers unparalleled opportunity to network and engage one-on-one with decision makers. POSITION YOUR BRAND IN FRONT OF THE UK’S TOP FESTIVAL ORGANISERS Last year’s shortlisted festivals are the most influential, established and recognisable in the country. The UK’s greatest influencers will be attending the event and sponsors will have the opportunity to showcase products and services to a broad prospect base. UK FESTIVAL AWARDS 2017 SPONSORS & SUPPORTERS SPONSORSHIP OPPORTUNITIES HEADLINE PARTNER SPONSORSHIP Bespoke Sponsor Packages £20,000 If you are looking for a more unique package, contact us for The Headline Partner package is designed to offer your brand details about bespoke sponsorship packages.
    [Show full text]
  • Children, Technology and Play
    Research report Children, technology and play Marsh, J., Murris, K., Ng’ambi, D., Parry, R., Scott, F., Thomsen, B.S., Bishop, J., Bannister, C., Dixon, K., Giorza, T., Peers, J., Titus, S., Da Silva, H., Doyle, G., Driscoll, A., Hall, L., Hetherington, A., Krönke, M., Margary, T., Morris, A., Nutbrown, B., Rashid, S., Santos, J., Scholey, E., Souza, L., and Woodgate, A. (2020) Children, Technology and Play. Billund, Denmark: The LEGO Foundation. June 2020 ISBN: 978-87-999589-7-9 Table of contents Table of contents Section 1: Background to the study • 4 1.1 Introduction • 4 1.2 Aims, objectives and research questions • 4 1.3 Methodology • 5 Section 2: South African and UK survey findings • 8 2.1 Children, technology and play: South African survey data analysis • 8 2.2 Children, technology and play: UK survey data analysis • 35 2.3 Summary • 54 Section 3: Pen portraits of case study families and children • 56 3.1 South African case study family profiles • 57 3.2 UK case study family profiles • 72 3.3 Summary • 85 Section 4: Children’s digital play ecologies • 88 4.1 Digital play ecologies • 88 4.2 Relationality and children’s digital ecologies • 100 4.3 Children’s reflections on digital play • 104 4.4 Summary • 115 Section 5: Digital play and learning • 116 5.1 Subject knowledge and understanding • 116 5.2 Digital skills • 119 5.3 Holistic skills • 120 5.4 Digital play in the classroom • 139 5.5 Summary • 142 2 Table of contents Section 6: The five characteristics of learning through play • 144 6.1 Joy • 144 6.2 Actively engaging • 148
    [Show full text]