A Warm Welcome

from the Executives,Staff and Tutors of

Cambridge International College -
Britain

STUDY & TRAINING GUIDE

FOR MODULE ONE ON

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 EVENTS MANAGEMENT
STUDY GUIDE FOR MODULE ONE
A full ‘Study & Training Guide’ will accompany the
Study or Training Manual(s) you will receive soon by airmail post or courier.
This Study Guide - like all our Study & Training Materials - has been written by
professionals; experts in the Training of many hundreds of thousands of ambitious
men and women in countries all over the world. It is therefore essential that you:-

 Read this Study Guide carefully and thoroughly

BEFORE you start to read and study Module One,
which is the first ‘Study Section’ of a CIC Study &
Training Manual you will receive for the Program for
which you have been enrolled.

 Follow the Study Guide exactly, stage by stage and

step by step - if you fail to do so, you might not
succeed in your Study & Training or pass the
Examination for the CIC Diploma.

 STAGE ONE

Learning how to really STUDY the College’s Study & Training Manual(s) provided -
including THOROUGHLY READING this Study Guide, and the full ‘Study &
Training Guide’ which you will soon receive by airmail post or courier.

 STAGE TWO

Studying in accordance with the professional advice and instructions given

 STAGE THREE

Answering Self-Assessment Test Questions/Exercises

 STAGE FOUR

Assessing - or having someone assess for you - the standard of

your answers to the Self-Assessment Test

 STAGE FIVE

Preparing for your Final Examination

 STAGE SIX

Sitting the Final Examination

Remember: your CIC Program has been planned by

experts. To be certain of gaining the greatest benefit from
the Program, it is essential that you follow precisely each
one of the SIX stages in the Program, as described
above.

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 STAGE ONE is your thorough reading of this ‘Study Guide’
ABOUT CIC STUDY & TRAINING MANUALS
A CIC Study & Training Manual (which comprises 6 Modules - the first Module of which
follows) supplied by the College as part of your Program is NOT simply a text book. It
must therefore not be read simply from cover to cover like a text book or another
publication. It MUST be studied, Module by Module, exactly as explained in the following
pages. Each CIC Study & Training Manual has been designed and written by specialists,
with wide experience of teaching people in countries all over the world to become
managers, administrators, supervisors, sales and accounting personnel, business-people,
and professionals in many other fields.

Therefore, it is in your own best interests that you use the Study & Training Manuals in
the way CIC’s experts recommend. By doing so, you should be able to learn easily and
enjoyably, and master the contents of the Manuals in a relatively short period of time - and
then sit the Final Examination with confidence. Every Study & Training Manual is written
in clear and easy to understand English, and the meanings of any “uncommon” words,
with which you might not be familiar, are fully explained; so you should not encounter any
problems in your Studies and Training.

But should you fail to fully grasp anything - after making a thorough and genuine attempt to
understand the text - you will be welcome to write to the College for assistance. You must
state the exact page number(s) in the Study & Training Manual, the paragraph(s) and
line(s) which you do not understand. If you do not give full details of a problem, our Tutors
will be unable to assist you, and your Training will be delayed unnecessarily.

Start now by reading carefully the following pages about Stages Two, Three and Four.
Do NOT, however, start studying the first Study & Training Manual until you are certain
you understand how you are to do so.

STAGE TWO - STUDYING A CIC MODULE

STEP 1

Once you have read page 1 of this document fully and carefully, turn to the first study
section - called Module One - of Study or Training Manual One.

Read the whole of Module One at your normal reading pace, without trying to memorise
every topic covered or fact stated, but trying to get “the feel” of what is dealt with in the
Module as a whole.

STEP 2
Start reading the Module again from the beginning, this time reading more slowly,
paragraph by paragraph and section by section. Make brief notes of any points,
sentences, paragraphs or sections which you feel need your further study, consideration or
thought. Try to absorb and memorise all the important topics covered in the Module.

STEP 3
Start reading the Module again from its start, this time
paying particular attention to - and if necessary studying
more thoroughly - those parts which were the subject of
your earlier notes. Do not pass on to other parts or topics
until you are certain you fully understand and remember
those parts you earlier noted as requiring your special
attention. Try to fix everything taught firmly in your mind.

Note: You might not wish to, or be able to, carry out
Steps 1, 2 and 3 one after the other. You could, for instance, carry out Steps 1 and 2 and
then take Step 3 after a break.

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 STAGE THREE - ANSWERING SELF-ASSESSMENT TESTS
STEP 4

When you feel that you have fully understood and learned everything taught in the
whole Module (and if necessary after a further careful read through it) turn to the Self-
Assessment Test set at the end of it, and read the Questions/Exercises in it carefully. You
do not have to attempt to answer any or all of the Questions/Exercises in the Test, but it is
best that you do so, to the best of your abilities. The reasons for this are:-

 By comparing your answers with the Recommended Answers printed in the Appendix at
the end of the Module (or after the final Module in a Manual) you will be able to assess
whether you really have mastered everything taught in the Module, or whether you
need to study again any part or parts of it.

 By answering Questions/Exercises and comparing your attempts with the Recommended

Answers, you will gain experience - and confidence - in attempting Test and Final
Examination Questions/Exercises in the future. Treat the Self-Assessment Tests as
being ‘Past Examination Papers’.

Professional Advice on Answering Self-Assessment Test (and

Examination) Questions and Exercises
1. You may answer the Questions/Exercises in a Self-Assessment Test in any order you
like, but it is best that you attempt all of them.

2. Read very carefully the first Question/Exercise you select, to be quite certain that you
really understand it and what it requires you to do, because:

 some Questions/Exercises might require you to give full “written” answers;

 some Questions/Exercises (called “multiple-choice questions”) might require you only

to place ticks in boxes against correct/incorrect statements.

In your Final Examination you could lose marks if you attempt a Question/Exercise in the
wrong way, or if you misread and/or misunderstand a Question/Exercise and write about
something which is not relevant or required.

3. Try to answer the Question/Exercise under ‘true Test or Examination conditions’,

that is, WITHOUT referring back to the relevant section or pages of the Module or to any
notes you have made - and certainly WITHOUT referring to the Recommended
Answers. Try to limit to about two hours the time you spend on answering a set of
Questions/Exercises; in your Final Examination you will have only two hours.

4. Although you are going to check your Self-

Assessment Test answers yourself (or have a friend,
relative or colleague assess them for you) practise
writing “written” answers:-

 in clear, easy-to-read handwriting;

and

 in good, grammatical language.

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 STAGE FOUR - ASSESSING YOUR ANSWERS
STEP 5

When you have answered all the Questions/Exercises set in Self-Assessment Test One to
the best of your ability, compare them (or ask a friend, relative or a colleague/senior at
work to compare them) with the Recommended Answers to that Test, printed in the
Appendix at
the end of the Module (or the last Module in a Manual.) In any case, you should
thoroughly study the Recommended Answers because:-

 As we have already explained, they will help you to assess whether you have really
understood everything taught in the Module;

and

 They will teach you how the Questions/Exercises in subsequent Self-Assessment

Tests, Progress Tests and in your Final Examination should be answered: clearly,
accurately and factually (with suitable examples when necessary) showing your
knowledge and understanding, with details and explanation, and how they should be
planned and welllaid out for maximum effect and marks.

MARKS AND AWARDS

To assist in the assessment and grading of your answers, the maximum number of
marks which can be earned for each answer to a Self-Assessment Test
Question/Exercise is stated in brackets at the end of each one.

The maximum number of marks for any one Test is 100.

Your answers should be assessed fairly and critically. Marks should be awarded for facts
included in your answer to a Question/Exercise, for details, explanations and descriptions,
for presentation and for neatness. It is not, of course, to be expected that your answers
will be identical to all those in the Appendix. However, your answers should contain the
same facts, although they might be given in a different order or sequence - and any
examples you give should be as appropriate to the Questions/Exercises as those given in
the relevant “Recommended” Answers.

Add together the marks awarded for all your answers to the Questions/Exercises in a
SelfAssessment Test, and enter the total (out of 100) in the “Award” column in the
Progress Chart which you will find with the full ‘Study & Training Guide’ when you
receive it. Also enter in the “Matters Requiring Further Study” column the number(s) of
any Question(s)/ Exercise(s) for which you did not achieve high marks.

GRADES

Here is a guide to the grade your Self-Assessment Test Work

has achieved, based on the number of marks awarded for it:

50% to 59% PASS

60% to 64% HIGH PASS
65% to 74% MERIT
75% to 84% HIGH MERIT
85% to 94% DISTINCTION
95% to 100% HIGH DISTINCTION
The Examiner who assesses your Final Examination answers
will take into account that English might not be your national
or main language. Nevertheless, to be able to assess whether you really have learned
what we have taught you, he or she will need to be able to read and understand what

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 you have written. You could lose marks if the Examiner cannot read or understand
easily what you have written.

5. Pay particular attention to neatness and to layout, to spelling and to punctuation.

6. When “written” answers are required, make sure what you write is relevant to the
Question/Exercise, and concentrate on quality - demonstrating your knowledge and
understanding of facts, techniques, theories, etc. - rather than on quantity alone. Write
fully and clearly, but to the point. If you write long, rambling Final Examination
answers, you will waste time, and the Examiner will deduct marks; so practise the right
way!

7. The Questions set in our Self-Assessment and Progress Tests should be treated as
being “Past Examination Questions”. Therefore, you should read and study carefully
the ‘recommended answers’ we provide because they form an integral and essential
part of the Study & Training Program as a whole. Read the wording of each Question/
Exercise carefully, and note, in particular, how our answer to each is presented and
explained fully and clearly - not too briefly; whilst at the same time being detailed, but
not over-long and rambling. To gain high marks, your own answers should certainly be
no shorter or less detailed than our Recommended Answers.

It is important that your own answers to Test and (in due course) Examination Questions/
Exercises are presented in a similar clear, detailed and easy to read style, to ensure
that you receive the best possible marks and award in due course for your Examination
Work. Brief, incomplete answers, or lists of unexplained “bullet points”, are not
sufficient to gain good marks. It is better for you to write in more detail than too little, so
long as your answers are clear and relevant. Include examples where helpful, and use
wisely all the “time allowed” (usually two hours) in which to write full, well-explained
answers. Plan your answers, and ensure that you answer all sections or parts of each
question.

An Assessor needs to be shown by your answers that you really have understood what
we have taught you in the Modules - and that you could implement and use the various
subject-matters in practical work situations - so make sure your answers demonstrate
that!

8. When you have finished writing your answer, read through what you have written to see
whether you have left out anything, and whether you can spot - and correct - any errors
or omissions you might have made.

Warning: some Questions/Exercises comprise two or more parts; make certain you have
answered all parts.

9. Attempt the next Question/Exercise in the

SelfAssessment Test in the same manner as we have
explained in 1 to 7 above, and so on until all the
Questions/Exercises in the Test have been attempted.

Note: There is no limit on how much time you spend on

studying a Module before answering the Self-Assessment
Test set on it, and some Modules are, of course, longer than
others. You will, however, normally need to spend between
twelve and fifteen hours on the thorough study of each
Module - and that time may be spread over a number of
days if necessary - plus approximately two hours on
answering the Self-Assessment Test on each Module.

STEP 6

Study again thoroughly the section(s) of the Module relating to the

Question(s)/Exercise(s) to which your answers did not achieve high marks. It is important

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 that you understand where or why you went wrong, so that you will not make the same
mistake(s) again.

STEP 7

When you receive the complete Study or Training Manual One** from the College by
airmail post, ‘revise’ - study again - Module One printed in it, and then turn to Module
Two and proceed to study it thoroughly in exactly the same way as explained in Steps 1,
2 and 3 in this ‘Study Guide’.

When you have completed your thorough study, follow steps 4, 5 and 6 for the
SelfAssessment Test on Module 2.

Continue in the same way with each of Modules 3, 4, 5 and 6 until you have attempted
and assessed your work to Self-Assessment Test 6, and have completed the study of
Study or Training Manual One. But - and this is important - study the Modules one by
one; complete Steps 1 to 6 on each Module before you proceed to the next one (unless
during the course of your reading you are referred to another Module).

**Note: When you receive Study or Training Manual One by airmail post or courier, it will be
accompanied by a 24-page ‘Study & Training Guide’ (containing a ‘Progress Chart’) which
you MUST read very carefully before starting your study of Module Two.

Above are scenes from a Graduation Ceremony held in Egypt attended by

College Vice Principal, David Lawson, who presented awards to CIC
Members from Egypt, Saudi Arabia, Kuwait, Qatar, Libya, Yemen (middle left)
and Nigeria (bottom left)

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 STUDY & TRAINING MANUAL ON

EVENTS MANAGEMENT
Module One
CONTENTS

Module One - The Event Project

10

Historical background to events The

modern meetings & events industry Broad
categories of events: personal,
corporate, arts & culture, sporting,
associations, media, advertising, community,
educational, common interest groups,
political
Guide to sizes of events Indoor and outdoor
event venues Events and projects: events
management and project management skills
differences between events and other projects:
time and financial constraints Events
and attractions:
relationships and differences
site and event attractions, combinations
Parties to an event: initiators,
planners, manager, stakeholders,
sponsors, service providers, promoters
Stakeholders: primary and
secondary positive and negative
the host community Event creation:
environmental scanning:
information gathering and analysis the “five Ws of
event creation”: reasons why an event is to be
held; profit, fundraising, etc who an event is
for; participants, spectators, attendees when best
to hold the event, considerations where to hold an
event; the venue, considerations what purpose is to
be achieved by the event brainstorming to produce
ideas Feasibility of an event: technical
feasibility financial feasibility
viability - possibility of achieving its objectives

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 The WOW factor of an event:
adding something special or memorable
Theming the event:
developing its concept into a theme to shape and unify the
event Using checklists - example The event program:
the detailed schedule of
activities The summarised printed
programme Programming:
the art of selecting and arranging the elements of an event

Recommended Answers to Self-Assessment Test One 26

You will find the Contents/Syllabus of what you will learn in Modules 2 to 12
of this Program starting on page 28

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 Module One
THE EVENT PROJECT
Introduction
In general terminology an “event” is an occurrence or a happening at a determinable time
and place; a planned public or social occasion. However, in the context of events
management, an “event” can be defined as:

“A temporary public gathering of people for a purpose”.

The need to organise and hold or conduct or “stage” an event is by no means a modern
phenomenon. Ever since groups of people - families, clans, tribes, communities -
gathered together there has been a need to hold events, commonly for social, cultural or
trading purposes. From the earliest times and the beginnings of civilization, leaders of
tribes or armies would gather to conduct peace talks or negotiations.

In ancient times, just as today, sometimes huge organised celebrations were held to mark
the accession of a new leader - such as a king, pharaoh, emperor or president - or the
marriage of notables, or the burial of a deceased leader, or for reasons of religious
observance or ritual or professions of faith, such as feast days, fast days or festivals.

Amongst the enormous variety of reasons or motivations for staging events, many serve
as social opportunities for people to strengthen their local communities, whilst others
spread awareness for “causes” - some community related, such as a concern for the local
environment - whilst others fundraise for local, national or overseas causes - such as to
alleviate famine, aid victims of earthquakes or conflicts, and many others. There are
events which help to bring people together, helping them to communicate and, as
appropriate, to share and gain a better understanding of their diverse cultures.

Some events are organised for political purposes, either for leaders of countries or parties
to “put across” their messages, or to address matters of national or public interest or
importance, or to give citizens the opportunity to “voice” their concerns and to be heard by
government. Some events might be used by governments or citizens to resolve civil
issues or to celebrate national or religious holidays, or for the joy of participation and
entertainment, such as parades, pageants, festivals and carnivals.

It is important to emphasise the “temporary” nature of events; the term means: “lasting for
only a limited period of time; not permanent”. Some events might have very short
timeframes; just an hour or two. Others might extend over days or weeks or even longer -
but they are not “permanent”, that is, lasting or intended to last or remain relatively
unchanged indefinitely. For example, a stage play at a theatre might be performed day
after day over many weeks or months; it is not by definition an event. But if the cast of the
play put on a special gala or one-off fundraising performance, that could be classed as an
event.

The Meetings and Events Industry

It is quite accurate to refer to the “meetings and events industry”, because the “industry”
produces, markets and provides or “stages” products - which are organised events. The
meetings and events industry is far-reaching and diverse, but can be divided broadly into a
number of sectors, based along “content” lines, as follows:-

 Sports and similar activities requiring competitors’ physical dexterity and skills, and/or
mental skills.

 Business meetings, conferences, expos (short for expositions or exhibitions).

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  Tourism, travel and hospitality

 Culture, the arts and music

Events can be staged for both profit and non-profit reasons, or “motives”, by businesses,
by central government, or by local government or civic departments, or by large or small
communities. Events can be held for commercial, celebratory, entertainment or specific
reasons and/or for “causes” - such as fundraising for specific purposes.

The variety of events which might be organised is enormous, and is evolving year by year,
but we can see them as falling primarily into a number of broad categories, which include:-
Personal events: These might be held to celebrate what are called “life moments”,
such as birthdays, anniversaries, marriages, funerals, memorials,
religious festivals, and celebrations such as baptisms (or
equivalent in different religions).
Corporate or
business events:

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(AGMs), retreats, incen tive and award cerem onies,
development and team building activities, ,sponsored events,
profession
produ al hes, celebrations, recreation
ct launc
galas,
symposiums.

Cultural and
religious events:

These might be conducted for entertainment, such as musical

performances, concerts, theatre, opera, recitals, ballets, plays,

,
performances, visual arts, art exhibitions, museum tours,

y
multicultural, local community, celebrations, cultural shows, or
religious ceremonies.

se n.
r i
Je rita
B
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 Sporting events:

These might involve competitions or matches, ranging from small

local events to large-scale events like the World Games or World
Cup football, golf, cricket, baseball, rugby, hockey, tennis, athletics,
motor rallies and racing, and many others.

Professional These might be industry-specific trade conferences, trade and

association events: agricultural shows, professional and personal development
sessions, awards nights, celebrations, members’ meetings,
product or service initiatives/launches.
These include marketing functions, sales promotional activities,
product launches, awards ceremonies, roadshows, special
events, sponsored events, exhibitions. Events are commonly
staged as a “marketing tool” for strategic marketing and
Med
e communication by organizations of all sizes. Businesses can
via or benefit from promotional events by communicating with current
adve
e and potential customers and/or clients. Such “advertising-
rtisin
n focused events” can involve press conferences, promotional
g
ts events, or product launches which introduce new products onto
: the market.
Community, NGOs These are conducted by organizations for various reasons and in
and associations various ways, including to celebrate national days, to fundraise, to
events: build awareness, for charities; and through events such as
campaigns, celebrations, tourism promotions, village fetes,
carnivals and pageants, air displays.
Educational: These include on-campus functions, festivals, freshers or rag
colleges, universities weeks, dances and proms, graduation ceremonies, awards
and schools events: presentations, open days or open evenings, celebrations,
openings of new facilities.
Common interest These are held by organizations (such as clubs, associations and
groups’ events: societies) or groups of people who share a common interest and
who work together to protect and promote that interest. The
interests of different groups can differ widely, from collecting
(postage stamps, coins, books, etc) to various sports, outdoor
activities, animals and livestock, religion, and recreational activities
(reading, sewing, cooking, and many others.) Their events are

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 equally wide-ranging and differ in size, and can include scouting
jamborees, “special days” (such as World Youth Day), horse
racing, international sports events, guest speakers, visits of
religious leaders, public events and celebrations, parades, sports
matches/competitions, tourism, dog or cat or horse or other animal
shows and competitions.
Political events: These, as we have already mentioned, include rallies, campaigns
and public demonstrations which might be held to show or solicit
support for a potential leader or a political party or to use people’s
combined “voice” to bring matters to the attention of the
authorities, locally or nationally.
You will appreciate that some seemingly similar events might fall into two or more of the
broad categories; for example, a musical event might be staged not only to entertain and
to give pleasure to listeners and viewers, but also as a fundraiser (to generate income and
to gain donations) for a particular cause. Some events are “one-off”, but increasingly the
interest generated in events and the momentum of events is an encouragement to repeat
them yearly, bi-annually, or every 4 years. Whatever the event, for it to be “viable” it must
be capable of successfully achieving its objective(s).

Another way of classifying events is according to the number of participants (and/or

spectators). Although there is no fixed rule, an often-used guide is:-

 small events are composed of up to 30 persons

 medium-sized events have up to 100 participants

 large events are attended by up to 300 people

 mega events (such as the Olympic Games)

might involve thousands of people

Events might be put on - or “staged” - by many different people, groups of people or

organizations, including businesses, central and local government agencies, professional
associations, events agencies or industry professionals, media and advertising
enterprises, communities, non-governmental organizations (NGO’s), charities, educational
institutions, special interest groups, sporting leagues/competitions, and numerous others.

Locations or “venues” where or in which events might be held are equally diverse, and
vary considerably in size, and can include:-

 Indoor: Stadiums and arenas, gymnasiums, theatres, hotels, school halls, town or village
halls, purpose built halls or convention centres or conference halls, marquees, boats,
boardrooms, places of interest (religious premises, theme park buildings, zoo buildings,
heritage or historic buildings) and many others.

 Outdoor: Stadiums and arenas, sports fields or pitches, swimming pools, parks,
beaches, greenfield (farm) sites, greenfield (national parks), deserts, on water (such as
regattas and boat races).
Events and Projects

A “project” is a temporary or short-term endeavour with a defined beginning and end,

which is planned and carried out to produce a unique product, service or result.

“Events management” is the application of project management skills to the creation and
development of both small and large-scale events, such as festivals, conferences,
ceremonies, formal parties, concerts, sporting events and conventions. It involves
studying the event aims and purpose, identifying the target audience, devising the event
concept, and co-ordinating the technical aspects before actually “launching” the event.

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 The processes of planning and co-ordinating the event are usually referred to as “event
planning”, which amongst many activities can include: budgeting, scheduling, site
selection, acquiring necessary permits, co-ordinating transportation and parking, arranging
for speakers or entertainers, arranging decor, organising event security, undertaking
health and safety assessments, arranging for catering, co-ordinating with third party
vendors, preparing emergency plans, and a wide range of other matters.

The modern “events & meetings industry” includes events of all sizes, ranging from
enormous, world-wide events like the Olympic Games, down to business breakfast
meetings. Many industries, charitable organizations, and interest groups hold events in
order to market themselves, build business relationships, raise money, or celebrate
achievements.

Although the term “event project” is widely used, in practice an event can differ in a
number of significant ways from other types of projects. Very often any type of project is
“time-constrained”, which means that it is required to be completed within a specified
timeframe agreed in advance, and it is important to keep a project “on-time”, because
there might be “penalties” for running “over-time”. But the end date for a project might be
changed, delayed or even “put on hold” if circumstances warrant. There are some projects
which can be delivered in stages or phases; that is, some parts of a project might be
completed whilst other parts of it are on-going and continue to be worked on.

However, the end date of an event is almost always fixed well in advance and cannot be
changed under any circumstances; even if the preparations for it are incomplete, which is
summed up in the statement: “the show must go on”. By this we mean that the event is
the culmination of work over a period of time - which is sometimes quite lengthy - but all
the effort are directed into the final or “end product” - which is the event.

Equally often an event - just like any other project - is constrained by funding or finances
available or by the “budget” allocated - that is, an amount of money available for spending
which is based on a plan made in advance for how or on what it will be spent. Every effort
needs to be made to keep a project “on-budget” - that is, within the allocated or anticipated
costs - and not allow it to run “over-budget” - that is, costing or being more than the
amount allocated or budgeted. Whereas with some projects financial and other resources
might be varied as circumstances change, the resources committed to an event are likely
to remain constant.

Events and Attractions

An “attraction” in this context is something which appeals to people, who might be

residents of an area, or visitors or tourists to that location. An attraction is something
which creates and arouses interest and a desire to see, or to hear or to participate in; it is
really an appeal to the senses (such as sight and hearing) and might motivate people to
visit a particular location - such as a building or an arena or stadium - or to take a holiday
or vacation in a particular destination.

There are “natural attractions” such as mountains (which may be individual peaks or
mountain ranges or chains), volcanos, rivers, waterfalls, canals, lakes, deserts, glaciers,
canyons, rolling countryside, beaches, game reserves, fjords, and so on; as well as
climatic conditions, such as sun, blue skies, clean/fresh air, etc. Others are “man-made
attractions”, such as museums, libraries, art galleries, theme parks, zoos, wildlife parks
and

marine centres, historic or religious sites and buildings and other constructions, or those of
architectural interest, antiquities, and so on.

The possible range of attractions is very large and varied, and that range is continually
being widened as people are able to travel more widely within their own countries or to
other countries, and to experience other cultures. Nevertheless, it is possible to categorise
attractions as falling into three main categories:-

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  Site attractions - which might be countries or areas of countries or groups of countries,
or geographical regions, islands, or cities or holiday/vacation resorts. In effect, it is the
location itself which appeals to people.

 Event attractions - which might be exhibitions, important sporting fixtures (such as the
Olympic Games and the World Cup Football Final), international conferences, carnivals,
festivals, religious ceremonies, and so on. Many people opt to visit the location
because of what is taking place there at the time they propose to visit - or they will time
their visits to coincide with the particular event being staged.

 Combined site and event attractions - many sporting and other events are likely to have
greater and added appeal if they are held in locations which also have site attractions
(natural and/or man-made; for example a skiing competition which is held in a beautiful
snow-covered mountainous location with historical connections).

Despite their sometimes close relationship, there are significant differences between
events and the attractions in or around which they take place, and especially between
temporary events and permanent attractions such as historic venues, although many
events take place for a pre-planned period at such venues. Two examples will help to
make the distinction clear:-

 Many permanent art galleries put on exhibitions of the works of local or well-known
artists, or those by grand masters for a limited period only. Such exhibitions might last
for several weeks or even for as long as a year, but whilst their attraction to both local
residents, visitors or tourists is clear, their limited duration places them in the category of
events.

 Historic buildings such as castles - which are themselves attractions - might contain
added attractions, such as permanent exhibitions of historic costumes or weapons or
furniture - which are open to the public for all or part of a year. However, from time to
time a military display - or “tattoo” - might be staged for spectators in the castle grounds,
which is clearly an event in its own right.

Quite often, one “event” is itself composed of two or more separate smaller or sub-events.
For example, an event might be a week long music festival or cultural festival. At different
times during that week:

 In the case of the music festival, there might be a number of quite separate but
connected musical performances by different bands or orchestras or groups playing
different instruments, styles of music, etc, concurrently or on different days, at different
times and perhaps in different locations within the venue.

 In the case of the cultural festival, there will probably be a variety of cultural activities,
such as plays, shows and dances held concurrently or on different days, at different
times and possibly in different locations within the venue.

During each of the festivals, some of the sub-events might appeal to different people, who
will be spectators of or performers in some of these sub-events but not in others.

The organisers (see below) of the “main” or “over-arching” event will delegate or transfer
responsibility for organising the “sub-events” to other people or groups, but will co-ordinate
and control each of the sub-events so that each takes place when and where it has been
planned, to ensure that the overall event proceeds smoothly.

The ‘Parties’ to an Event

Some events are “spontaneous”, that is, they occur as a result of a sudden impulse or
inclination and without premeditation or prior planning. For example, the unexpected news
of the death of a “beloved” leader or another national or well-known figure or star might

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 result in a sudden and unplanned - spontaneous - outpouring of grief, which might spill
over into the streets.

In direct contrast, the event of the actual funeral later of that same person is likely to be
planned, organised and managed in meticulous detail, and might follow long-standing
tradition or laid down and expected ritual. There might be pomp and ceremony, music and
speeches, and the funeral procession might be witnessed by many thousands of people
lining the streets along which the cortege passes (as well as possibly hundreds of
thousands, or millions more watching on television or via social media, etc.)

In this Program we are concerned with the second scenario, that is, with events which are
predetermined and initiated, planned and organised and staged for specific purposes. For
the successful “delivery” of a managed event it is necessary to plan times and a
“program”, bearing in mind that there is a definite end to the “project” - which is the event
itself.

Depending on its size, scope and objective(s), the staging of a planned event might
involve a number of different people, groups of people, as well as entities, such as
businesses and government agencies. We can categorise them broadly into four
groupings, and although we will be discussing each in more detail during the Program, we
can summarise them at this time as being:-


The Event Initiator(s):
This may be one person or a group of people who instigates
or begins the creation process leading to the staging of an
event by coming up with a “concept” - an abstract idea - for
a new event, or by setting in motion the processes
necessary to stage a similar event to one which was
staged previously.


The Event Planner(s):
Once the concept for an event is accepted, the next stage
involves planning it. Event planning involves working closely
with the initiator(s) to design an event which reflects the
vision the initiator has for the event, and which meets the
event’s objective(s); in effect, the plans are the “theory”,
indicating the routes to achieving the objectives by
converting the concept into reality. The initial discussions
with the initiator are likely to concern event ideas, themes,
desirable dates and budget guidelines, which are all part of
the event planning process.

Planning of various event aspects continues all the way through until the actual event
takes place (and often also continues after its conclusion.) Planning might be
performed by just one person in the case of a small event or meeting. For larger events,
planning might be undertaken by a number or team of people, or a “planning
committee” or an “organising committee” might be set up, perhaps supported by
advisors, specialists and a range of other persons and entities.

A mega event, such as the Olympic Games, will have “national planning committees”,
which are ultimately accountable to the overall international body, the IOC (International
Olympic Committee).

Depending on the type and size of an event, the person(s) responsible for planning might
be employees of the organization staging the event, or might be unpaid “volunteers”, or
the function might be “outsourced” or transferred to professional event organising
businesses, or there might be a combination of the foregoing.

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 
An Event Manager: He or she is a vital member - the leader
- of the event planning team. Every type of event is made
up of numerous parts which must fit together like pieces of
a jigsaw puzzle; all those pieces must ultimately come
together smoothly - or “seamlessly” - to create and deliver a
successful event. Successful events have all the relevant
and related pieces coming together at the right times and in
the right places, smoothly and efficiently and according to
the agreed plan.

An event manager is the person who is tasked with executing the plans and transforming
the theory into “reality”, that is, into the end product: the event itself, and who takes
responsibility for the creative, technical, and logistical elements. Those responsibilities
can include overall event design, brand building, marketing and communication
strategy, audio-visual production, script writing, logistics, budgeting, cash flow planning,
risk assessment, human resource management, negotiation, and client service. The
various activities might be undertaken by other people, but the event manager or leader
is ultimately responsible for co-ordinating and controlling their efforts, and he or she is in
every respect a “manager”.

All the responsibilities mentioned, and others, are examined and considered in the
Modules of this Program.


Stakeholder(s): They comprise a person, group of people or organization having an
interest or concern in an event. Stakeholders can affect or be affected by the actions,
objectives and policies of the event organiser, or decisions taken regarding, activities, or
outcomes of an event.

Stakeholders involved will vary from event to event, and

might include: the event organiser’s employees, a
volunteers service, contractual providers (such as catering,
merchandise, amusement, structures and equipment
businesses) emergency services (such as the local
ambulance service, police, and fire services) the local
council, transport services (bus, coach, rail, as appropriate,
parking), representatives of media, participants, members
of the public who attend the event, and the “audience”
which comprises those at whom the event is directed or
aimed.


Sponsors: These are businesses (and sometimes government agencies and/or other
types of organizations) which support - usually financially, but sometimes in other ways
- the event being planned and staged.

Sponsorship is not an act of “charity” - it must show some form

of positive return on the “investment” (ROI) in the event
made by a sponsor. A wide range of benefits might accrue
to a business from carefully selected sponsorship, including
raising brand awareness and creating buyers’ preferences
for those brands; creating positive public relations (PR) and
an awareness of the organization as a whole; supporting a
sales promotion campaign, or using corporate hospitality to
promote good relations with customers and/or clients.

The organization receiving the sponsorship - referred to as the “sponsee” - stands to

benefit significantly from both financial support and/or other forms of backing from an
established partner, provided that both parties agree a set of common objectives to
underpin the sponsorship. We consider corporate sponsorship in detail in Module 5.

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 In addition to the foregoing, a range of other parties might be involved in the planning and
staging of certain events, including:-


Event service providers - who or which might be used for catering, cleaning and waste
disposal when needed, as well as for security and risk assessment as required by a
particular event. Party and equipment hire businesses are usually able to provide
anything needed for an event, ranging from chair covers to scaffold ing, stage
equipment, lighting, sound systems, stages, props and seating. Although event
suppliers generally provide such tangible items, they might also be called upon to
provide operational support such as information technology and catering, when needed.
Broadly speaking, they fall under the event planning and management section.

 Promoters - who or which have a crucial part to play in the organisation and staging of
certain major events. An entertainment promoter in industries such as music, wrestling,
and sports is an individual or organization in the business of (that is, whose main
business activities are) marketing and promoting live events such as concerts/gigs,
sports events, professional wrestling events, festivals, raves, and nightclub/disco
activities.

An event promoter’s task is to generate “buzz” for and excitement about up-coming
events, ranging from concerts to monster-truck rallies, and to “get people in through the
gates” - that is, to ensure people (the paying public) buy tickets and attend the event.
Promoters are tasked with developing strategic marketing plans to cover all available
avenues of advertising in advance of the event. Depending on the arrangement
between an event organiser and a promoter, a promotor might also handle event
security, ticket sales, admission (entry) to an event or establishment (door policies),
decorations, and the booking of entertainers.

Stakeholders

The stakeholders for a particular event might conveniently be classified as being either
“primary” or “secondary” on the basis of the nature of their engagement in the event,
and/or on the basis of the impact which they might have on the event which is to take
place or which is taking place.

 Primary stakeholder groups are deemed essential to an event because without them the
event cannot happen or cannot take place; without the direct support of these
stakeholders the event would not be viable, and could not achieve its objective(s). The
essential primary event stakeholders can include employees; volunteers; sponsors;
suppliers; support services. Spectators, attendees, and participants can also be
primary stakeholders because they support the event which would be unviable without
them; in return, they are “rewarded” with entertainment or some other source of
satisfaction.


Secondary stakeholders are also important to the success and survival of the event, but
they do not have the same direct impact on the event as do the primary stakeholders.
These stakeholders might include local and/or central government agencies; the host
community; emergency services; general businesses; and tourism organizations.
Media organizations (newspapers, TV, radio, etc) which support or promote the event
(in return for advertising revenue) can also be classed as secondary stakeholders
(unless they are sponsoring the event, in which case they will be classed as primary
stakeholders.)

You will appreciate that not all stakeholders are “equal” - in terms of input or influence -
and most, if not all, stakeholders are likely to have different requirements and
expectations. Event organisers and managers need to treat each and every stakeholder
carefully according to their requirements and expectations; a failure to do so could
jeopardise the success of an event due to lack of co-operation or outright hostility and
obstructiveness.

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 Stakeholders might exert either a positive or a negative influence:-

 A “positive” stakeholder sees and acknowledges the event’s positive and desirable
outcome, and might also benefit from its occurrence and success in one way or another
(for example, hotels, retailers or food outlets in the vicinity of an event might benefit
from an influx of visitors to the area). These stakeholders can assist the event
organisers and manager in various “positive” ways (such as publicity) to successfully
stage an event.
 On the other hand, a “negative” stakeholder sees and anticipates undesirable outcomes
from the staging of an event, and might be unfavourably impacted by the event or its
outcome (for example, residents or those living nearby might be affected by noise, dust,
litter, traffic congestion, etc). This type of stakeholder is less likely to help the event to
be successful, and might actively attempt to obstruct or delay or prevent it happening.

In some cases a section of the public - which might be the “host community” in which the
event is to take place and on which it will impact - or the general public at large can be a
stakeholder. In this situation it would be impractical to engage with the whole community
or population, and therefore the event initiators and/or organisers will consult their public
figures or local or national leaders to better understand their requirements and
expectations. An important consideration might be the local or national media, which might
report on the event favourably/positively or negatively, and in doing so might influence the
thinking and behaviour of other stakeholders.

Event Creation

Event creation and “theming” (deciding upon the event’s themes) are at the very heart of
the event management process, and that applies both to new events, and to events which
have been held previously and which are being repeated. These processes determine the
quality of the “event experience” and the emotional impact which the event has in due
course on its audience.

Event creation is a crucial element of the research and design stages of the event
management process (see Fig.1/1) during which critical decisions must be made about the
overall style and content of the event. Successful event creation will result in an “event
concept” which will be a powerful driver of the other components of the event, and of the
whole event management process.

Fig.1/1. the event management process

research

evaluation design

implementation planning

Environmental Scanning

Before important decisions on the theme and program of the event are made, it is
important to take some time to analyse the context in which the event will be staged; for
example: What are the current social and environmental forces which are likely to have
an impact on the event?

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  Are there political considerations which need to be taken into account?

 What is the state of the country’s economy, and how will that influence people’s
willingness to purchase tickets or to spend money on the event?

 What themes or trends are current (popular and unpopular) in the marketplace?

 Are there established “interest groups” which are likely to connect with the event, and is
the event likely to gain the attention and support of the media?

 What or who is the potential audience, that is, what types of people from what areas and
in what age groups are likely to attend, and how can they be reached?

It is important to have a sound “feel” for the event context and the market before
embarking on the process of developing the event concept.

There are five key questions - often called the “five Ws of event creation” - which
should be asked and answered thoroughly as part of the event creation process:
Why? Who? When? Where? What?
Why?

What is the purpose of the event, why is it going to be held? What will it be trying to
achieve, and what will be the critical measures of its success? The event might have a
number of objectives, such as to attract and entertain an audience, to make a modest
profit or to raise funds (perhaps aiming at a specific target figure or amount) or to raise
awareness of a sponsor’s product, and so on. The event concept will need to support and
satisfy these objectives. (We discuss in a later Module the subject of objective-setting for
events.)

Who?

Who is the “target audience” - the particular group at which the event will be aimed? Some
events, for example, might attract multiple market segments, for example, families and
young singles/couples. A clear understanding of the “target market” of the event will assist
in tailoring the event concept to appeal to and meet the needs and tastes of its audience.
(We consider audience selection in the Module on marketing.)

When?

When is the ideal time to hold the event? This can involve a consideration of what time or
season of the year, what day of the week, and what time of the day or night will have the
best “fit” with the requirements of the event and the needs of the audience. This will, of
course, vary according to the exact nature of the event, and to the behaviour patterns and
availability of the audience. For example, a family event might best be held on a weekend
during the daytime. An event targeting an audience of young singles and couples might
best be held on a Friday or Saturday night. An event for senior citizens might best be held
on a weekday morning or afternoon.

In some countries many outdoor events will be particularly sensitive to seasonal factors,
such as weather and available daylight. The timing of most events will need to take into
account “global factors” such as public and school holidays/vacations, elections, major
sporting events and other events with a similar time frame, which might compete for
audience attendance and media exposure.

Where?

Where is the best venue or location to stage the event? Choosing the venue for an event
will involve both operational and aesthetic considerations. Practical issues will include: the
hire/rental costs and preparation or “set-up” costs; the capacity of the venue in relation to
the anticipated number of attendees; ease of access, transport and parking; availability of

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 necessary facilities, such as staging, power, water, catering and toilets; and also the
flexibility of the venue management and the levels of co-operation and assistance which
are likely to be given to the event organiser and manager.

However, the choice of venue will also be an important factor in the creative impact of the
event. Ideally, the venue should contribute to the overall “ambience” (or character) and
“atmosphere” (the pervading tone or mood) of the event. Choosing an attractive venue
might add to the appeal of the event; for example, staging a concert on a riverbank or in a
botanical garden. Choosing an unusual venue might add an element of surprise or
adventure; for example, finding a venue not usually available to the public, such as a
factory or a military barracks. Choosing a formal venue might add to the dignity and
importance of an occasion, such as using a town hall or a cathedral (or similar religious
building) in which to stage an official ceremony.

Usually the managements or owners of potential event venues - such as those which offer
facilities for conferences and weddings - provide a range of services which support the
delivery of an event, including catering, bar service, cleaning, washroom facilities and
security. In contrast, in some circumstances an event organiser might hire/rent a venue as
a “blank canvas” - that is, it has no content and it can therefore be “custom-designed” or
built and filled to the specific requirements - and all aspects of the event can be planned
around it. (Account must be taken of the fact that everything erected will have to be
dismantled or disassembled and removed from the venue at the conclusion of the event.)

A venue might be a “built environment”, such as a banquet room or a sports centre,

whereas the term “site” is generally used to refer to an outdoor space, such as a large
garden or a park, at which an event is held. A “greenfield site” refers to a site which has
no permanent buildings or other infrastructure, and therefore all equipment needs to be
brought in, including portaloos (portable or temporary toilets), kitchens, bars, stages,
seating, etc (and removed after the event.)

Selecting a venue will involve balancing all the foregoing diverse features and factors, and
making the best choice in relation to the perceived needs of the event. (These issues are
discussed further in the Module on site selection and layout.)

We discuss event venues in detail in Module 6.

What?

What concept will best achieve the purpose or objective of the event? Deciding on the
event concept will determine the program and content of the event, and ultimately the
success of the event product in the market place. In determining the event concept,
research through libraries, the Internet and observation of other events will help to start
ideas flowing.

A helpful group creativity technique is to engage in a creative “brainstorming session” (see

Fig.1/2) with colleagues and stakeholders in the event. They should first be briefed on the
“parameters” - the limit or boundaries which define the scope - of the event, and then they
can be invited to let their collective imagination soar by devising a range of creative
options for the event.

Fig.1/2. the brainstorming process

define the parameters of the event identify

event stakeholders and colleagues brief

them on the parameters of the event

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 brainstorm a wide range of event ideas

evaluate and prioritise these ideas

identify the ideas that best serve the needs of the event

choose and refine an event concept

The basic rule at this stage of the process is that there are no rules. Any idea, no matter
how improbable, outlandish or impractical, should be raised and discussed openly.

As the initiator or organiser guides the

process, people will often “spark off” one
another, with one spontaneous idea
leading to the next. Sometimes the
group members will reach “dead ends”,
and the idea will go no further; at other
times an idea will resonate within the
group, and lead to further exciting ideas.

Ultimately the group must be steered

towards identifying and evaluating those
ideas which best serve the needs of the
particular event.

The final choice will be developed and refined to become the event concept. Sometimes
this might be resolved in a single session, or it might require several sessions over an
extended period of time. However, it is often viewed as one of the most enjoyable and
productive aspects of event creation, and often proves the old adage that “two heads are
better than one”.

Feasibility of the Event

In this context ascertaining the “feasibility” of an event (that is, determining whether it is
capable of being accomplished or brought about) involves making a detailed analysis and
evaluation of the proposed event (or another type of project) to determine whether:-

 It is technically feasible; that is, it is possible and practical to do easily or conveniently.

 It is feasible within the estimated budget; that is, it can actually be staged given the
estimated costs and within the financial and other resources - the “budget” (see Module
4) available or allocated.

and

 Will it be viable, and will achieve its objective (which might be fund raising, brand
awareness, increased sales, profit, or any other).

Having gone through the “five Ws of event creation” processes, it is necessary to

determine the feasibility of the event. Some key questions which need to be asked - and
satisfactorily answered - include:-

 What physical resources (facilities and equipment) are available or are accessible to
support the event?

 What are the rough, estimated, costs? (in terms of time, personnel, money)

 How can any potential barriers to the successful running and delivery of the event be
overcome?

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  Is there sufficient time available for proper planning?

Should any of the answers ascertained be unfavourable, the event might have to be
examined and re-thought out and amended, or perhaps even postponed or, in the worst
case scenario, abandoned altogether. However, once it has been ascertained that the
necessary resources are available, and it has been agreed that it is feasible to undertake
the event, the next stage - planning - can begin.

Adding the ‘WOW’ Factor to an Event

Great events are unique, and include that extra special “something” which distinguishes
them and sets them apart from other events. In the event industry this is sometimes called
the “WOW factor”, or the “unique selling proposition” (USP). This often attracts media
attention, and helps the event to be remembered and admired.

The WOW factor can arise in several ways, such as from a distinctive or unusual feature
of the environment or community in which the event is planned. Examples might include:
a sculpture exhibition taking place along the cliff-tops between two towns or resorts; a
military display or tattoo at a castle, or a march across a famous bridge to create a
symbolic “bridge” between cultures.

The “WOW factor” might be a famous headline artist or star or a special guest, such as a
visiting president or prime minister attending a conference; a technical innovation such as
a youth festival conducted online on the Internet and/or through social media channels; a
spectacle such as the making of the world’s largest omelette - or a tortoise or toad race!
The only limit is the imagination and creativity of the event initiators and organisers - and
the ability and availability of resources to deliver the concept.

Properly conceived and implemented, USPs have the potential to make an enormous
contribution to the impact, profile and success of an event.

Theming the Event

In this context a “theme” is a thread or an idea running through and recurring in or

pervading an event, which has the effect of linking its different elements together in getting
across its overall message to the target audience. Once the event concept has been
decided, it should be developed into a “theme” which shapes and unifies all aspects of the
event. The theme will determine the overall look, style, colours, sounds and atmosphere
which together go to make up the “event experience”.

The organisers of many larger events adopt a “colour scheme” which is repeated on all
items produced for an event, such as tickets, programmes, uniforms, decor, posters and
merchandise, all of which help “attendees” (participants, spectators, visitors, guests) to
“identify” with the event.

The range of themes is limitless, and new ones “dreamt up” might depend on the
imagination and creativity of initiators and organisers. Some examples of themes include
historical, geographical, cultural, sporting, musical, entertainment, artistic, food and wine,
cooking, objects (such as motor vehicles, boats, electronic devices, clothing and footwear,
and many others).

Typical aspects of an event to which the theme might be applied include:-

Posters
Entrances
Brochures
Websites
Staging
Print, radio, TV, Internet advertisements
Sets and costumes
Site decoration

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 Compere (a person who introduces the performers or contestants in a variety show)
Banners/signage, branding and logos
Performers
Other event elements such as:
Staff uniforms
Catering facilities

A simple “check list” like that illustrated in Fig.1/3 can help to establish the appropriate
elements which have the potential to be themed for a particular event, and those can be
“ticked”  in the relevant box. In the space alongside can be written some suggestions as
to how that particular aspect or element might be themed for the event. The check list can
be added to or otherwise amended to as and when necessary so that it is applicable to
each specific event.

Fig.1/3. checklist for elements with the potential to be themed

Checklist for Theming

Name of Event: ______________________________________________________

Date(s): ____________________ Venue (if known): _______________________
Event elements suitable for theming:
Advertising 

Transport 

Entrance 

Site decoration 

Programme 

Signage 

Staging 

Compere 

Performers 

Food/catering 

Facilities 

Crowd control 

Staff uniforms 

Programming 

The successful theming of an event can create a memorable experience for the event
audience, and contribute in no small measure to achieving the objectives of the event.

Having come up with ideas for a theme, it is necessary to consider the availability and
costs of suitable venues, that is, places in which to hold or stage an event which will be
consistent with the theme. As we discuss in Module Six, there might be a choice between
fairly standard - or “traditional” - venues, and more unusual or different venues. The
former might require only relatively inexpensive decoration to make it “match” with the

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 chosen theme. In contrast, although more unusual venues can increase the “WOW
factor”, the costs of providing suitable lighting, sound and catering might provide serious
challenges, as well as increased - and even prohibitive - costs.

Program and Programme

In everyday usage the words “program” and “programme” are often used interchangeably,
with “programme” commonly being the British English spelling of the word, and the spelling
“program” being increasingly used because of its association with computer software -
programs.

To avoid confusion, you should note that in these Modules we refer to the “event
program” (or simply “program”) as being the official and very detailed overall schedule of
activities which are intended should take place step by step from the start of the particular
event to its conclusion, and which will guide the activities of the event manager and his or
her team.

The program is therefore the central organising component of the event. For example:-

 The program for a sporting event will govern which competitors participate or compete at
what times and where.

 The program for a conference will stipulate the times of lectures and workshops, what
topics are offered, and who is presenting or speaking in each case.

 The program for an annual awards dinner will set out what time people should arrive,
what time each meal course will be served, and the time at which each award
presentation will take place.

In contrast, we use the term “programme” to refer to a printed or computerised “document”

which is issued (or sold) to participants, spectators or members of the audience or
spectators of an event. Basically it is an abbreviated version or summary of the event
program, containing relevant information, but not in such detail as in the event program.
For example:-

 The programme for a sporting event will state what game, match or heat will take place
when and where, and might list the names of the participants, as individuals or as team
members and, when appropriate, the positions which each plays (such as a forward or
a defender or goalkeeper of a soccer team) and might also contain photographs of
competitors and/or of the whole team.

 The programme for a theatre stage play will list the names of the actors (the performers)
and the role or part each one plays, and might divide the overall performance into acts
or scenes, explaining in each case where the action on stage should be visualised as
“taking place”. Photographs of the “leading” performers or “stars” might also be
featured, with perhaps a group photograph of the entire “cast” (the group of actors).

Programming

What is called “programming” is the art of carefully selecting and arranging the various
elements which go to make up an event so that they create the maximum impact on the
audience. These elements will naturally vary according to the nature, scope and scale of
the particular event. They might include music and dance performances, singing, comedy
or acrobatic acts, street theatre, arts and crafts activities, games and displays, speeches,
award ceremonies, or various others - of which there are legion.

In creating the program for a particular event, it is important for the organisers and
arrangers to consider the “flow” of performances and activities, so that the interest of the
audience is aroused and maintained.

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 In many cases it is important also to consider the “shape” of the event program - by this
we mean the rise and fall of intensity and emotion which it evokes in the audience, and the
build-up towards a “climax” - that is, the most exciting and important part of a story, play,
or cinema film or movie which occurs usually at or near the end of it. The traditional
formats of the theatre can be a useful aid in programming, including such devices as the
“transformation scene” of the pantomime, during which the setting is magically transformed
in the final scene.

The balloon and Chinese lantern releases and firework displays “finale” (that is, the last
part of a piece of music, an entertainment, or a public event, especially when it is
particularly dramatic or exciting) of many modem events are close “cousins” of the theatre
tradition. Used creatively, the event program has the potential to take the audience on an
“experiential journey”, and to connect with their emotions in order to create and maintain a
memorable event experience.

Note: In this first Module we have introduced you to a range of important principles in
event creation, planning and management. We expand on many of them in the following
Modules in the Program.

SELF-ASSESSMENT TEST ONE

You will find Recommended Answers to these Questions, with which you may compare
your answers, in the Appendix which starts on the next page. The maximum mark which
may be awarded for each Question appears in brackets at the end of the Question. Do
NOT send your answers to these Questions to the College.

No.1. With examples, explain who the stakeholders of an event might be, and what
distinguishes primary from secondary stakeholders. (maximum 30 marks)

No.2. Describe the various types of attractions, explaining in what ways they differ from
events, and why - despite those differences - there is often a close relationship between
attractions and events. (maximum 30 marks)

No.3. Explain the necessity to undertake “environmental scanning” at an early stage in the
creation of an event, and describe important factors which might need to be analysed and
considered before making important decisions in relation to the proposed event.
(maximum 30 marks)

No.4. Place a tick in the box against the one correct statement in each set.

(a) The “five Ws of event creation” are:

1 whether, when, where, whilst and for whom.
2 weather, why, which venue, worthwhile and whenever.
3 what, weekday or weekend, where, workers and
why. 4 why, who, when, where and what.

(b) A positive event stakeholder:

1 has enjoyed it and encourages the organisers to stage it again in the future.
2 might be unfavourably affected by it and might try to delay it or prevent it occurring.
3 sees a desirable outcome and/or might benefit from its occurrence and success. 4
can influence peoples’ opinions favourably or unfavourably towards the event.

(c) Sponsors of an event:

1 support an event financially or in other ways without expecting anything in return.
2 support an event financially or in other ways in the expectation of receiving publicity
or some other positive return.
3 provide services for an event, such as catering, cleaning, waste disposal
and security.

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 4 are groups of people who have specific interests and who will support an event if it
furthers their interests.

(d) Brainstorming is:

1 stress related, arising from the hectic and noisy event environment.
2 a method used to promote an event by repeated radio and TV advertising.
3 a technique used to compare the features of potential venues for an event before
deciding on the most suitable one.
4 a group creativity technique for gathering spontaneous ideas from its members.

(e) In the event industry the “WOW factor” refers to:

1 something extra special which promotes or attracts greater attention to an event.
2 the likely cost of staging an event and its feasibility in view of the
resources available.
3 the necessity for the organisers to decide whether to stage an event during a week
day or over a weekend.
4 the economic conditions in the country which might determine whether
sufficient numbers of people could afford to participate or attend an event.

(2 marks for a statement correctly ticked - maximum 10 marks)

Appendix
RECOMMENDED ANSWERS
TO SELF-ASSESSMENT TEST ONE
TEST ONE

No.1. The stakeholders for an event might be individual people, a group of people or an
organization who or which have an interest or concern in that particular event; they can
affect or be affected - favourably or unfavourably - by the staging or the activities of the
event. Events rely on a range of stakeholders (or partners) for design and delivery, and
therefore it is important at the outset to identify who the key stakeholders are for a
particular event. They might be a mixture of one or more of: clients, participants,
spectators, performers, venue owners, volunteers, local businesses, the local council, local
police, area ambulance service, the local community, a funding body, sponsors, the media,
and/or others.

Once stakeholders for an event have been identified, their interest and involvement in the
event and their specific needs should be assessed to determine how those needs can be
met or fears allayed through the design and delivery of the event. For example, local
businesses might need to be assured that their trade will not be adversely affected by the
event - therefore, where possible the participant and spectator activities related to the
event should not prevent others from using local amenities, or cause excessive noise,
dust, traffic congestion, etc. A group such as sponsors will seek positive media coverage
and an enhanced community image, and therefore the event should include newsworthy
aspects which also take into account the local community’s needs.

Primary stakeholders are those persons or groups or organizations who or which are
essential for the viability and success of an event; that is because without them and their
“direct” support the event could not come about, or be staged successfully. Primary event
stakeholders can and do vary from event to event, but they can include: employees,
clients, volunteers, sponsors, suppliers and support services. In addition, spectators,
attendees, and participants are also commonly considered to be primary stakeholders
because the event would not be viable without their support.

Other people and groups and organizations might also be important for the success and
survival of the event, but they might not have the same direct impact on the event as do

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 the primary stakeholders; and they are referred to as being secondary stakeholders. They
might include: the host community, local and/or central government agencies; emergency
services; businesses in the area; and tourist offices. In addition, media organizations
which support or promote the event might also be categorised as being secondary
stakeholders; although if they are sponsoring the event they will be primary stakeholders.
support or promote the event might also be categorised as being secondary stakeholders;
although if they are sponsoring the event they will be primary stakeholders.

No.2. Basically an “attraction” is anything which appeals to peoples’ senses, such as sight
and hearing, taste or touch; it creates and arouses interest in people and creates a desire
to see, or to hear or to participate. Those people might be residents of an area, or visitors
or tourists to that location, and an attraction motivates people to visit a particular location
or venue, which might be a natural feature or a building or an arena or a stadium; or to
take a holiday or vacation in that particular destination.

Some attractions are “natural” phenomenon and features, such as mountains, volcanos,
rivers, waterfalls, canals, lakes, deserts, glaciers, canyons, rolling countryside, beaches,
game reserves, fjords, and others. Certain climatic conditions of areas or regions are also
often natural attractions, such as sun, sea and sand; clear blue skies; clean/fresh air.
There are also many “man-made” attractions, such as historic or religious sites and
buildings, bridges, towers and other constructions, and those of architectural interest;
antiquities; museums, libraries, art galleries, marinas, theme parks, fairgrounds and
entertainment centres, wildlife parks and zoos and marine centres, and many others.

In some cases a particular location appeals to and attracts people; what are termed site
attractions might be countries or areas of countries or groups of countries, or geographical
regions, islands, or cities or holiday/vacation resorts. In contrast, particular events such
as conferences, sporting fixtures, concerts, carnivals, festivals or religious ceremonies
might attract people to visit a particular location at a particular time. Such events might
attract people to visit the location because of what is taking place there at the time they
propose to visit - or they might time their visits to coincide with the particular event being
held.

There is often a significant relationship between attractions and events. That is because
events often have greater and added appeal if they are held in locations which also have
site attractions; for example, a yacht race held in a beautiful natural bay, or in a
spectacular man-made marina.

However, despite their sometimes close relationship, there are important differences
between events and the attractions in or around which they take place. That applies in
particular between permanent attractions such as historic venues, and events - which by
definition are temporary - which might be held within or nearby those attractions. For
example, a museum is likely to have permanent or long-term displays or exhibits open to
the public. But from time to time special exhibits might be staged - for example, of
archaeological artefacts from another country - for short periods, which are events in their
own right although they might attract visitors to the museum and its other permanent
exhibits.

No.3. Environmental scanning is the process of gathering and analysing information about
the prevailing and future conditions or circumstances in which an event might be staged. In
many situations such scanning needs to be done at an early stage because the data gained
might influence decisions made about holding the event or about certain aspects of it. If it is
found that circumstances are not favourable, the decision might be reached not to hold the
event at all, or to scale it down, or to hold it in a different location or at a different time, or to
modify it in some other way.

For example, if the political situation in a country is unstable or if an election is imminent, it

might be problematic to hold an event in the country until the instability is resolved or it
might be wise to delay the event until the election has been completed. Similarly, the
prevailing economic situation might have a bearing; if the economy is weak, people might
be unable to afford to travel to attend the event, or be unable to afford the entry or ticket

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 charge. On the other hand, if sufficient people have money to spare, the event could
achieve its objectives, which might include fundraising and/or profit making.

Peoples’ attitudes, likes and dislikes vary from time to time, and what might be popular at
one time might be less so at another time. The data scanning process might indicate
trends or themes which are likely to appeal to sufficient numbers of people to make an
event a success, or to avoid making costly mistakes by staging events which will not be
popular.

The data might also help to determine who the most likely “customers” - participants,
spectators, attendees - are likely to be, and how to reach or “target” them by advertising or
other means, and the time of the year, and possibly days of the week or timings which
would best suit them or enable them to become part of the event in one way or another.

In summary, an analysis of the data gathered will help event initiators, planners and
organisers to determine why an event should be held and what its objectives should be;
who it will be held for; when is the best time to hold it; which is the best location or venue
in which to stage it; and what its concept should best be in order to achieve its objectives.

No.4. The correct statement from each of the sets selected and ticked:

(a) 4 (b) 3 (c) 2 (d) 4 (e) 1

WHAT YOU WILL LEARN ABOUT

EVENTS MANAGEMENT
IN MODULES 2 TO 12 OF CIC’s TRAINING PROGRAM

Module Two - Event Personnel

The event manager or leader:

definition of management
definition of a manager
range of duties and responsibilities
skills, abilities and expertise needed
The activity of management:
definition of a leader functions
of management: planning
organising
co-ordinating
commanding
controlling
The event team:
composition and diversity
stages in group
formation:
forming, storming, norming, performing
Short-term event teams:
special problems presented casual
and temporary workers using volunteers and
students lack of commitment finding
the most suitable tasks, making work “fun”
Diversity of event teams:
range of skills, talents and
abilities group norms and

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 cohesion creative teams and
brainstorming
Briefings and de-briefings
Need for contingency plans
Unspoken communication or body language
Improving communication skills:
clarity and conciseness
confidence, empathy, respect, feedback
The creative team:
duties and responsibilities of:
the artistic director
designer
music director
performance co-
ordinator
technical director
production manager Other
services and personnel
Decision making:
stages in the decision-making process
Time management:
its importance in event
management what should be
achieved tips for improving time
management Module Three - Event
Planning

The event concept and purpose:

examples of how and from what ideas arise
Identifying opportunities factors
to be considered events leaving a
legacy
The vision and the mission statement:
why they should be put down in
writing
practical example Event strategy:
how an event’s goals will be achieved Setting
SMART goals or objectives: specific,
measurable, achievable, relevant, time-based
variety of bases for setting objectives SWOT
analysis:
considering strengths, weaknesses, opportunities and threats
factors to be taken into account
practical
example Lead time:
reasons why it must be taken into account
contingency
periods Event dates:
some factors to consider:
nature of the event, weather, target audience,
clash diaries, complementary
activities,

competition, resources
Shoulder periods The
venue:

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 event history, venue history and reputation, location,
budget, conditions of contract, audience, timing,
services and resources, transport and parking,
infrastructure and layout, restrictions, reinstatement The
event action plan: detailing key event project stages or
milestones major activities detailed in an action plan The
event business plan: communicating the strategic plan
for taking the event forward association with and
difference from the action plan benefits of preparing a
business plan key areas to be addressed in the
business plan suggested sequence for a documented
event business plan: front cover and contents
introductory summary
background and history overview of the
current year or period the development plan:
going forward event requirements
marketing and communication plans
financial plan and considerations
management and business controls
risk
management
the presentation
Reviews of the business plan

Module Four - Event Budgets and Financial Planning

The event budget as a forecast and projection

Income and out-goings Importance of financial
control: dangers of the lack of control
Manual and computerised (spreadsheet) budget
preparation: the need for flexibility and
amendments Some do’s and don’ts of budget development
The need for transparency Sources of event income:
public grants sponsorship merchandise
sales
concessions, franchises and licences
entry or participation fees
stand or area rental charges raffles,
sweepstakes, competitions and games
ticket sales - spectator entrance
charges advertising in-
kind sponsorship and donations Typical
event expenditure, including:
travel & accommodation, trophies &
awards postage & telephone, stationery
& printing, medical fees, venue hire/rental,
insurance, promotion, equipment hire,
transport Example of a live event budget

Financial Accounting & Management Control

Importance of financial data and statements

The need for careful monitoring and recording of financial
data Recording transactions - bookkeeping:
manual recording, books of account
computerised accounting software packages
the dual aspects of a transaction: receiving and giving
cash transactions and credit transactions assets
and liabilities

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 Cost-oriented and income-oriented
events: break-even Budgetary
control
Profit or surplus
Financial control before, during and after an event
Event goals and finances:
feasibility studies
Appointment of a financial controller:
duties and responsibilities
obtaining quotations in writing:
avoiding guesswork and
assumptions Major areas needing
financial control: income - receipts of
money:
security for cash
receipts by cheque, credit/debit cards, direct debits
payments - expenditure:
authority to make
payments petty cash; the
float and imprest
Purchase orders
Sales invoices
Final Accounts:
receipts & payments accounts:
events and organizations for which they are prepared
specimen
income & expenditure accounts
events and organizations for which they are prepared
profit & loss accounts:
events and organizations for which they are prepared
balance sheets

Module Five - Corporate Sponsorship

What sponsorship involves

Reasons for the increase in sponsorship opportunities
Benefits for sponsors:
advertising targeting
communicating corporate values
business to business (B2B)
connections corporate
hospitality stakeholder benefits
Factors to consider in deciding whether to seek sponsorship
Finding sponsors for events identifying
potential sponsors - profiling compatibility of
products with an event’s audience:
practical examples
major sponsors and sponsors for sub-events
Components of sponsorship packages:
title or name sponsorship
exclusivity
brand exposure and
branding media exposure
advertising
merchandising rights
sampling opportunities
discounted tickets and merchandise
prices long-term relationship

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 hospitality opportunities product
creation literature distribution
Specimens of sponsorship packages and opportunities
Setting the value of sponsorship: getting the
“balance” right between too high and too low Costs
associated with delivery of packages to sponsors
Approaching prospective sponsors: the
sponsorship plan what each sponsor might seek
proposal to sponsor: tailoring to
each potential sponsor The sponsorship proposal
document: what it should contain:
keeping it brief and to the point
presentation, the need to attract the eyes of readers
the cover or
front page brief
overview
audience profile and attendance
levels benefit/packages available
to sponsors prices of packages
Answering questions from potential sponsors:
number of attendees expected
attendee demographic
breakdown other sponsors
types and prices of sponsorship
packages return on investment
expected Sponsorship agreements or
contracts:
why they are needed
typical issues covered specimen
of a sponsorship agreement
On-going relations with sponsors
Branding plans
Post-event reports

Module Six - Event Venues

Increase in variety of venues available

Crucial importance of the correct venue selection
Assessment of the logistics
involved Event dates and venue
availability Basic considerations:
indoor or outdoor
audience capacity how
long venue will be needed
need for public transport access
Selecting a location:
target audience or guest list
budget available
Factors in venue selection Sources of venue information
Facets of suitability: dimensions, environment,
facilities, location/position, cost
Site visits
Agreeing prices and terms: what is and what is
not included in the hire/rental charge
negotiating with venue
managements ascertaining any
restrictions who pays for insurance,
security, etc
Specimen of venue hire/rental agreement relating to

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 restrictions on the use of the
venue Booking and confirmation:
checking the draft agreement/contract
Follow-up site visits Non-traditional
venues: architectural spaces
experiential venues moving
venues
Factors to consider in using non-traditional venues:
food and drinks, lack of furniture, tableware,
etc lack of security

Food and Beverages at Events

Outsourcing food and beverage supplies

Hotels and restaurants:
types of catering which might be offered:
canapés, full meals, buffets, carveries,
BBQs waiter service and self-service
Venues without facilities for food and beverages:
employing outside caterers
Outsourcing to independent businesses at venues:
finding suitable/reputable
concessionaires controlling
concessionaires trading licences
needed health & safety
considerations site fees or
percentage of takings Ordering supplies
and arranging services:
obtaining
quotations the
tendering process
purchase orders

Module Seven - The Event Program and Schedule

The schedule as a timetable: chronological order Developing

the program schedule:

factors to be considered, checklist

typical component parts:
main or core entertainment/focus
secondary entertainment/focus
support
entertainment/activities
ancillary activities
practical examples of events
Timing program activities:
special features to consider
consulting other parties involved:
competitors, sponsors,
exhibitors multiple
performances
concurrent activities timing
and sequencing of activities
time intervals, commercial breaks
Event ceremonies: opening,
welcome, closing speeches
award/medal presentations
contingency planning in case:

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 dignitaries are late or fail to turn
up crowds are dispersed
dignitaries arrive at busy or
slack times Using Gantt charts as graphical
illustrations to: plan, co-ordinate and
track specific tasks manual and
computerised versions identifying tasks
which:
can be executed in
parallel must be
executed in sequence
Event programmes for distribution to
patrons printed versions, typical
contents entry forms for competitive
activities production and format:
single sheets, pamphlets
and booklets in-house or
professional reproduction
methods of distribution
advertising: helping to
offset production costs
setting prices sponsors’
advertisements, local business advertising

Module Eight - Legal Issues

Responsibilities under the law

Liabilities: legal responsibility for acts or omissions
Organisational structure and legal status:
unincorporated bodies:
committees of clubs, associations,
charities, etc sole owner businesses:
formation and registration
simplicity of management business
partnership firms: reasons for their
formation partnership agreements:
duties and
responsibilities of partners limited
companies: shareholders or
stockholders meaning of
limited liability incorporation and registration
parent companies: separating event
income and expenditure Insurance for Events

Definition of an accident
Risks, hazards and consequences
Circumstances in which insurance cover is
needed Types of insurance cover for events:
general public liability
employers liability event equipment
and property cancellation or
abandonment of an event
third-party damage Arranging events
insurance: directly with insurers through
insurance brokers information which might need
to be provided the policy: sum insured,

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 subject matter, exclusions Insurance and the
law: insurable interest utmost
good faith indemnity: types of compensation
Insurance claims charitable status:
fundraising activities donations and
corporate philanthropy taxation and
other advantages Sanctioning: permission
from a legal or governing body lump sum fee
or capitation fee Copyright:
moral or legal entitlement to have or do something
literary and artistic rights
assigning of rights
illegal use, copying and plagiarism
Contracts and agreements:
legal enforceability
unrevoked offer and unconditional
acceptance acceptance of legality
consideration from both/all parties
terms and conditions An
event’s own contracts:
drawing up, wording and contents
terms and conditions
contracts with franchisees, performers,
contractors general guidelines for event
organisers and managers Quotations for:
supply of goods and/or services hire of
equipment, furniture, marquees, etc
Purchase orders Licences and permits:
common reasons why they might be
required: public entertainment
trading/market trading sale of
liquor/alcoholic beverages gambling
- raffles and games of chance Performing rights:
royalty payments to copyright holders
Performing Rights Society Disability
issues:
complying with the law on access and facilities

Module Nine - Event Logistics and Production

Assessment of resources needed:

production equipment, facilities, services, personnel, time
allocating sufficient time for production
Logistics in events: ensuring the flow of
resources into and out of a venue Factors in site or
venue design: anticipated size and
demographics of audience indoor or outdoor,
seated or standing access and infrastructure
requirements Checklist for physical production
resources Checklist for facilities and services Factors in
site or venue layout: capacity, features which
might decrease it Access, egress and flow for vehicles and
pedestrians: dangers to avoid, pinch points,
disabled access vehicle/pedestrian intersections
access for emergency vehicles
adequate space around concessions and WCs
Sterile areas

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 Ground conditions and site topography:
features to consider assessment of weather
conditions, contingency plans
Existing site features: hills, gullies, trees, overhead cables
Safe placement of equipment and services
Sanitary facilities for men and women, disabled people
hand washing facilities
Checklist for site or venue considerations Local
residents; domestic and business:
advance meetings, keeping them in the picture
avoiding nuisances which can lose their
goodwill;
congestion, noise, litter
Need for clear signage: directional,
information, safety and warnings,
emergency, welfare, environmental
appropriate dimensions, design and placement
sponsors’ signage or banners
licences or permits for signage display
Checklist of facilities for the disabled and special needs groups
Litter and waste management:
checklist of matters to be
considered Site or venue plan or map:
why and by whom it is needed
features and facilities to be
included developing the master
plan Communications:
a key logistical concern
mobile/cellphones, 2-way radio transmitters, runners
evolving a communications
plan printed materials,
screen messages public address
announcements emergency
situations

Module Ten - Event Health and Safety

Categories of people to be protected:

persons employed by or working for or at the event:
full-time, part-time, trainees, volunteers
statutory legislation and legal liabilities
persons participating in an event:
attendees, spectators, visitors, guests
duty of care persons who might be affected by:
excessive noise, vibration, congestion, noxious smells,
air pollution, and other forms of nuisance
Responsibilities of the event organisers or managers:
health and safety arrangements to control risks Risk
assessment: identifying and reducing hazards and risks
taking all reasonable measures to control risks
appropriate management systems for each phase of an event
co-ordination of workers and work activities on
site/venue temporary demountable structures (TDS):
safe erection, siting and use, inspections Crowd
management:
event organisers’ or manager’s overall
responsibility typical hazards presented by a
crowd variety of hazards presented by the
site/venue Barriers and fencing:

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 typical purposes served at events:
perimeter, queuing, influencing crowd behaviour
preventing overcrowding and surging,
providing physical security, shielding hazards from people
considerations in using and placing barriers
Planning for incidents and emergencies:
taking account of key risks, contingency planning
consultation with local emergency services
incident report forms The emergency plan
basic matters to be covered:
getting people away from the immediate danger
summoning emergency services
handling casualties Emergency procedures:
raising the alarm, informing the audience
onsite emergency response, first aid and medical assistance
crowd management
evacuation of people with disabilities or mobility difficulties Evacuation:
planned escape routes, signage and
lighting ensuring exits are clear and
available Show stop:
rapid and controlled halt to activities
preventing risks to the audience, initiating evacuation
liaison with key people involved show stop
procedures and announcements Transport on site:
reasons for movements into, through and out of the site/venue
keeping people and vehicles apart adequate
access and exit points, ring system Electricity:
major risks posed on site/venue
steps to be taken to reduce risks Health
and safety signage: warning,
prohibition and instructional signs
Customer logistics
Importance of transport links to and from an event:
transportation logistics for events in rural settings
Ticketing: distribution, collection and security
concerns revenue from advance ticket sales
electronic and mobile issue of tickets, SMS text ticketing Queuing
and queue management:
presentation of entry tickets on arrival
physical queuing: queue capacity, entertainment, signage
fast track queuing, premium payment virtual queuing
via mobile/cellphones Exit strategies: staggering exit times,
hospitality quests planning exits from events held in
remote locations

Module Eleven - Event Marketing and Promotion

Creating public awareness of an event

Different media
Market research: how best to promote an event
Devising a marketing strategy:
taking account of unique challenges
Situational analysis: ascertaining the
data on which to base strategy Formulating
marketing strategy, considering:
budgetary
constraints time
constraints personnel

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 constraints Identifying target
markets:
the most likely target markets
where the target audiences are or will come from
Building the audience database:
market analysis market
segments and demographics comparisons
with competitive events Setting SMART marketing
objectives: specific, measurable, achievable,
realistic, timely
practical example
Developing the marketing strategy:
positioning and characteristics The
marketing mix: product, price, place,
promotion - and people
Determining what an event offers
Cost of attending
Making attendance easy and convenient
Promotional campaigns:
getting the right message to the right
people Marketing tools: printed
materials, media advertising, the Internet
What makes an event newsworthy
Sponsors and promotion
Forms of paid advertising online
Using social media; encouraging “sharing”
Viral marketing
Audience research
Post event evaluation and reporting:
meetings and de-brief reporting, checklist
Planning for the next event

Module Twelve - Building Event Businesses

Entering the events industry: finding a

niche whether to be a generalist or a
specialist
preference for working with social, corporate or non-profit clients
preference for small or medium size events

Professional planning and organisation of: weddings ceremonies

and receptions advice on venue, clothing, flowers,
photography, catering birthday parties: venue, themes,
decor, entertainment, catering wedding anniversary celebrations:
venue, catering, renewal of wedding vows, flowers, decor, music
family events: engagement, going way, coming home parties, etc
types and sizes of meetings: briefings,
conferences, conventions, congresses, seminars
organiser’s duties before, during and after meetings Seating
arrangements:
descriptions and illustrations of 10 popular
layouts The business venture:
characteristics of entrepreneurs reasons
for venturing into business business units:
sole owner, partnerships, companies:
advantages and possible disadvantages or each
The business plan: matters to be covered
What business capital is and why it is necessary
Possible benefits of working from home,

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 disadvantages Securing clients via: family
and friends, emails, texts, phone calls using
social media designing and building a
website, blogs Importance of referrals from satisfied
clients
Building a network of contacts
Developing goodwill
Building relationships with clients Event
organising and planning fee structures:
flat rate, percentage of expenses, hourly rate
Accounting records
Event business insurance cover and policies
ASSOCIATED PROGRAMS YOU MIGHT LIKE TO STUDY NEXT
Diploma in Hotel Operations & Management
This Program trains men and women to be professionals who
are knowledgeable in the operations and management of
hotels. Every hotel has departments performing different
functions which need co-ordination to ensure guest
satisfaction. Hotels of many sizes, standards and types exist,
catering for differing demands of guests, but all are businesses
providing core services and their prosperity and profitability
requires managers with the understanding, skill and ability to
ensure staff are efficient, that guest needs are met, and that
quality services are provided.
Major Topics Covered in this Diploma Program include:

 Hotels as businesses: functions, types, locations, sizes, standards, amenities; types of

guests, planning services, organisation and management structures. Rating, categories.
 Hotel products: accommodation, food, beverages; tangible and intangible features,
services. Marketing, promotion, methods of selling hotel products, brochures, the
internet, websites.
 Hotel front offices: duties of receptionists, reservations, check-in, check-out, guest
relations, guest billing, cashiering, complaints; product knowledge, staff attributes.
Uniform staff. Guest expectations, amenities, attractions, security, functions and events,
guest reviews.
 Hotel bedrooms, types of room, occupancy, supplements, doors and windows, furniture,
fixtures, decor, en suite facilities. Housekeeping department: staff training, supervision
and motivation, work rotas, room inspections, servicing, room status, linen, security.
 Hotel catering: purchasing, storing, issuing foodstuffs, security, hygiene, food preparation.
Kitchens, restaurants, ambience, layout, menus, types of service, restaurant staff,
control.
Hotel beverages, bar sales, restaurants, room service, minibars, additional guest services.
 Financial accounts and statements, hotel computer systems, ownership, profitability,
starting or taking over a hotel. Recruitment of hotel staff, training, motivating,
supervising and controlling. Staff development, welfare, relations, organisation and
communication.

Diploma on Tourism & Travel Management

Tourism is important to countries worldwide; “tourism income”
contributes to their economic development. For economies
and peoples to benefit fully, tourism development must be
planned, controlled and be sustainable; and local culture,
environment, flora, fauna, attractions protected. A country’s
infrastructure and superstructure need planned improvements
for access by road, rail, air or water. Destinations must be
marketed to prospective travellers by state bodies, tour
operators and travel retailers. This Program deals all those
topics and more.

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 Major Topics Covered in this Diploma Program include:

 Motivations for travel, the tourism industry: structure, organisation, products, services;
national & international importance of tourism, infrastructure, effects on balance of trade.
 Economic and social consequences of tourism: income from tourism, the income
multiplier, planning for tourism development. State involvement, safety and security of
tourists.
 Measurement of tourism: why it is necessary, factors which influence demand; uses of
tourism statistics for arrivals, expenditure, tourist behavioural patterns, market
intelligence.
 Tourism markets: leisure and activity, business travel, VFR, cultural, educational, health,
common interest travel; destinations, access, locations, attractions, sustainability.
 Passenger carriers: transport by air, rail, road, sea, inland waterways. The hospitality
industry, hotels & accommodation units, restaurants, other eating places,
entertainment, activities, catering. Reservations systems, itineraries, fares. Travel
insurance.
 Tour operators, types and standards of accommodation; economics of tour operation.
Components of package tours (IT), optional extras. Environmental protection.
 Public and private tourism marketing. Advertising, brochures, displays, websites:
marketing and design. Promotional campaigns, objectives, targeting, competition,
communication.
Events Management also gains an exemption towards the Baccalaureate and EBA.
ASK THE COLLEGE FOR MORE INFORMATION ABOUT (AND THE FEES FOR)
THESE PROGRAMS, OR VISIT WEBSITE www.cambridgecollege.co.uk

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