Event

Resource
Management
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Contents
UNIT 1..............................................................................................................................

Types of Entertainment, Purposefor Entertainment, Content in Entertainment, Analyzing Performance -

Music, Dance, Theatre and other athletic performances, Working with the performers - Mindset,
Amenities, Communicatio ns , T he Spec ial Case : Ce leb rities

UNIT11... ... .... ... ... .. .. ... .. .. ... ... .. .. ... .... ... .... ... .... ... ... .... ... ... .. .. ... .... ... .... ... ... .... ... ... .. .. ... .... ... ...

Setup Considerations for Decor - Prior to the Event and At the Event, Staging & Seating needs,
Knowing Rigging, Objectives of Event Lighting, Video & Projection, Introd uctio n to Audio, Types
of Special Effects - Streamers, Confetti, Fog, Smoke, Lasers, etc., Technological Terms - Audio
Visual Services & Equipment's Risk and Safety

UNIT Ill......... .................................. ....... ....... ......... ................. ....... .......... ................. ......

Logistics - Tackling Basic Logistics for Large Events, Accommodating Home-O ffice Visits, Banquet
Room Set up, Hiring Caterers versus Self Catering, Leaming Environment Sea ting Options,
Removing Distractio ns & Potential Hazards, Accommodating Guests with Disabilities

U NIT IV............................................................................................................................

Inv itees - E xtending and Responding to Invitations, Protoco l for Formal Invitations, Unraveling the
What-to-Wear Dilemma, Interpreting Business Dress & Formal Attire, Creating Name Tags,
Badges, and Security Passes, Theater Etiquette and Audito rium Seating, Rock Concerts and Music
in the Park, At- Home Entertaining, Family Focused Eve nts, Speaker Preparation, Gratitude &
Appreciatio n , Gi fting & Lasting Memento, Gift Selection and Shopping Tips

Note: This document is strictly private, confidential and personal to its recipienL, and should not be copied, distributed
orreproduced in whole or in part. norpassed toany third party. The learner resource contains most of the topiL-s,
however students are expected to refer other book..fi andresources too.
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Index

Serial Page
Number Name of the topic Number

1 Introduction to the Subject 3

2 Unit I - Entertainment Events 4-34

3 Unit II - Staging and Performances in Events 35-91

4 Unit Ill - Logistics in Events Production 92-140

5 Unit IV - Invitations and Attendees 141-172

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INTRODUCTION TO THE SUBJECT
This subject serves as a guide for you to understand event resource management. At the outset the
types of entertainment and the purpose of entertainment is discussed elaborately. Thereafter the
performance of music, da nce, theatre and other athletic performance are analyzed followed by an
understanding of the mindset of performers.

The subsequent unit analyses in detail the setup considerations for decor prior to event, during the
staging of event.Other aspects of event such as event lighting,video and special effects are discussed
with elaboration on equipment risks and safety.

The third unit deals with logisticsand tackling the basic logistics for large event in details. Other
concepts with reference to large events such as banquet room, setting up of large events, catering,
accommodation of guest, learning environment and seating options in are discussed in detail.

The fourth unit would enable students to understand different types of invitations that are used in
events marketing so that they can make the right choice when organizing an event themselves. It
would also introduceother related management concepts like dressing, badge preparation, attendees'
etiquettes, and performer management
EVENT RESOURCE MANAGEMENT

UNIT- I

Entertainment
Events
0 Unit Description
When the event planning world is vying to caprure gu ests ' a ttention and attendance and have
their client's industry buzzing about their upcoming event, it is important that youdevise a way
in which the event would stand out from thecrowd. 'Entertainment' is the much-needed plunge
taken for any event. Today, guests are looking for entertainment from the moment they walk
into the event. Entertainment also helps in keeping the event's energy high and consistent.

Knowing the importance of entertainment in events, this chapter would explore the types and
purpose of entertainment and would analyse performances in terms of music, dance, theatre
etc. It includes various examples and case srudies to help understand the entertainment aspect
of events. It also includes details on skill sets necessary for an effective performance and
working with performers - their mindsets, amenities and communicatio ns needed.

Learning outcomes

At the end of this chapter the student should be able to. ...

Identify different types of entertainment

Gain insights into the purpose and content of entertainment
Analyze performances in terms of music, dance, theater and other athletic performance
Chec k the mindsets, amenities and communications required while working with performers
 Types of Entertainment
Entertainment is a partof life. It not only promotes physical
health, but also mental well-being. People who involve in
fun activities for entertainment purposes are less likely to
fall intoa pit of depress ion . Entertainment can be in the form
of a task or it can also be an idea. Stories were the first
forms of entertainment that originated in ancient times
when a story teller would use sounds, moves, and gestures
to create entertainment. Over the years, entertainment took
many shapes and expanded from general public to royals.
Royal court rooms used to organize spectacles near palaces
to entertain people.
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According to the Oxford English Dictionary, entertain in its earliest usage meant "[t]o hold
mutually; to hold intertwined." What entertains a given individual is a subjective matter of taste.

Enterlllinm ent Cl/ II be defined in Vllf iOIIS IV{tys:

ngle pe,former or a multi-act extravagan,za ca11 be fully defined by an analysis of three components or characteristics: for,m reas

nt is:

ly by pe,formers"
ublic performance or a light comic or adventure novel."

nt:

means for those who use the media and expect to be entertai11ed by their content, ii is e11joyment that we most ofie11 fi

Different types of entertainments are organized during events on a small and large scale. These
include music, humour, dance, games, performance & reading. The type of entertainment
that must be used in an event depends on what the event is and accordingly one or more typesof
events can be selected.
 Fi g ure I.I T ypes of Entertainm ent

Music: A musical event can have

performances that use human voice and a
combination of musical instruments for
entertainment. Different types of music
genres can be chosen for different types of
events. The genre of the music must be fit
to the type of event that is being executed.

l Example I

A formal VIP dinner can have a musica l event in which a classical piano may be played
as the right fit. II can be hosted in a restaurant where classical singers and players may be
gathered to perform a small show for the entertainment for the VIPs.
 A business luncheon would need a formal receptio n in which
classical music can be introduced for the entertainment at the receptio
W h at you n area. While making a choice of any music type to be played, audie
actually need - nce has to be kept in mind. Attendees of a corporate event could be
Food, clothing senior management and thus, a class ical theme would be appropriate but
and shelter.
in cases of the younger audience of fresh graduates, a bandof
Everything else
is entertainment. musicians or D Js may be more appropriate choice for the
Aloe entertainment in the event. The choice of the entertainment music
Blacc would depend on several such factors including audience age and
gender, event theme, geog raphy, cultural background of auendees.

A mix of genre can also be used such as in the case of event where a custom play list of music
has been played.

l Example 2

For example, in a corporate event, slow music may be appropriate during presentatio ns ,
however for a cocktail party, live music which is louder and livelier may be used.

However, while taking a decision on music to be played in a closed venue, the constra ints that the
venue may havealso have to be considered as they can affect the choice of set up and installation
of audio and video equipment' s.

l Example 3

For example, if the venue has carpets installed then then any live tunes can get absorbed
by the plush carpets and thus, more speakers would be needed to accommodate. This can
affect the budget of the project and in case the budget of an event is limited, the n the
event manager would have to face the challenges.

Music must also be chosen such that it sufficiently fits the event location including its technical
capabilities , a mbience and grandeur. The surrounding that the event venue provides to the event
space must match with the chosen genre as well as presentation of the music.
 l Example4

For example, a jazz saxophonist may not be able to sufficiently cover the audience in a
huge conference hall but would be able to play well in an intimate dinner se uing that a
corporate may have between its representatives and their clients.

ln case a band is chosen for an event, the event producer must know if the venue provides
sufficient outlets for powering up all the equipment's that would be needed in the event.
Performers may be given the space for rehearsal before the actual event to find out if there are any
challengeswith the venue such that corrections can be made, or provisions can be gathered before
the actual musical performance is carried out at the venue.

Dance: Dance is a form of entertainment that branches

out to different types. It can be serious when conveying
a country's in1portant narratives or history, and it can
also be in the form of comedy. Dance is also one of the
few forms that combine other forms, including sing ing
and storytelling. Today ' s genre seems to be an era of
dance reality shows. Every general ente rtainment
channel (GEC) has at least one dance reality show
broadcasted on-air. The format of these shows like
" Dance lnd ia Dance" are quite engaging and fun.

Games: Games are played either for entertainment or for

some kind of achievement. Even tl1e spec tato rs viewing
others playing games get entertained by watching the game
show. Common games that are a part of events include
playing cards, gambling, bowling, football, cricket, paintball,
and many more.

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Humour: It is an important contributor of entertainmen t in

different types of events and performances such as opera,
film, theatre, games, and literature. A verbal humour played
by a jester could involve ridicule, teasing, niche , jests , a nd
obscenity. Comedy is often made a part of an event for
entertainment of people. For example, nowadays many
corporate companies orga nize 'stand-up comedy events' for its employees. These events have a
therapeutic effect where employees can burst their stress in laughter.
 Pe r formance:Before the invention of video and audio record ing, performances in front of a live
aud ie nce was a major source of entertainment. Theatrica l performances covered a wide range of
genres including drama, theatre, and music. In the early centuries, playwrights and royal courts
put forward performances that had complex storylines and also included acting, dancing, and
singing.

A common aspect when performing in front of a liveaudience

is the immediate response shown by the audience. If a play is
deemed as entertaining or worthy, audiences showed their
appreciation with app lause. On the other hand, if they didn't
like it or if it was distasteful, then they also showed their
dissatisfaction directly.

Reading: When various forms of entertainment were received

for the social classes or simply too expensive for the common
folk, reading became a very reliable form of entertainment
Books are not too costly, and they could be reread or traded with
fellow book enthusiasts. Reading also has various uses such as
getting information, to pass the time, to record local folklore or
to provide a simple form of distraction.
Seeing that people wanted to read to be entertained, various
authors in time created different genres purely for entertainment.
There are even some books that provide some degree of
interaction from the reader when he/she chooses a specific
option from a list of choices and ii leads to different endings or
outcomes of the story.
Cartoons and comics also belong in this category, since they are in printed media although they
include graphics or drawings to provide an entertaining story plot. Comics range from

r.,
philosophica l views to those that are simply made for entertainment.

Example 5

the Jaipur Literature Festival is the world's largest free event of its kind. II is held at the Diggi Palace of Jaipur and reading se
gardens. Along with this, the festival conducts speaker sessions, poem sessions, various contests and a festival bazaar with
 I
Purpose of Entertainment
The reason for any given entertainment concerns the overall message delivered by a performance.
It is the 'why' question answered. The performance must satisfy the audience and clientand deliver
the promised results based on the original reason for the entertainment. For special event
production purposes, the audience's interes ts are usually represented by a single person (e.g. a
clie nt or event manager) or a small number of persons(e.g. an organizing committee) during the
planning process, and it is this person or these persons who must articulate the reason for the
entertainment to the producer. Here, then, are the main reasons we produce entertainment
shows for specia l events.

Some reasons are as follows:

Education A powerful reason is the imparting of knowledge to

an audience; it may be based entirely on learning or
may be a small part of a larger show with
multiple
goals.
Sc ripted show This occurs when entertainment is used with the
main goal of providing - or helping to provide -
knowledge to the audie nce. To do this successfully,
it is vital to havea professional scriptwriter who will
work closely with you to incorporate all the vital
information and agree (up front) to do "rewrites"as
needed. A theatrical director and rehearsal hall
for
the cast will also be required.'
Existing act Knowledge may also be imparted through the
inclusion of performers who use education as part
of their act, such as cultural dance groups who
explain the origins of their dances (e.g. Chinese,
Native American, African), storytellers, or
handwriting analysts (personal knowledge), among
many.
Filling in between event segment gaps There is no more impressive method of physica lly
moving crowds than to have them follow highly
visual and loud performers. Using a marching band
or other 'noisy' entertainment to lead people can
save considerable time, especially with a large
audience, and can be a nice segue from a reception
to dinner or between event segments.
Se nsitizing People Psychologists define the primary emotions as fear,
anger, sadness, joy, surprise, disgust, and contempt.
An emotion is considered a response to stimuli that
involves characteristic phys iologicalchanges -
such
as increase in pulse rate, rise in body temperature,
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greater or less activity of certain glands, change in
rate of breathing - and tends in itself to
motivatethe individual toward further activity
(Emotion, 2004). Any performance that is able to
trigger strong emotions and subsequent feelings,
to stir the audience inside, will be memorable, no
matter what the performance genre (e.g. music,
dance, comedy,
acting).
Motivating and Inspiring People Motivating an audience is distinctly different
from emotionally moving them, although they
will undoubtedly experience some strong feelings
when
being motivated.
Decoration A novel and frequent use of entertainment in events
is as decoration. The performer(s) take on the
persona of decorations that can be either stationary
or moving, interactive or inactive. Costumed living
statues, interactive entertainers (e.g. stilt walkers,
mimes, dancers, and others in themed costumes who
move amongst guests anywhere but on a stage), and
look-alikesare typic alof decorativeentertainment.
Announcing, Introd ucing, or For this use, performers may announce,
Advertising introduce, and advertise people, products, se rvices
, and activities. These reasons are lumped together
because the concept for each is similar. Some
examples best illustrate this concept:

Celebrities as masters of ceremonies.

Herald tmmpets to sound a call to dinner, to
introduce anot her segment in an event, or to draw
attentio n to speaker.
A personalized video greeting from a celebrity or
from an automated talking head as part of a product
introduction.
Creating Ambience Particularly in theme events, establishing the rig ht
amb ie nce for the event is one of the first
considerations producers have. The ambience can
be so much more than static decor or Iighting, even
if the lighting is automated. Adding other sensory
input in the form of live entertainment helps to set a
'living' mood. This can be done for any number of
reasons, such as providing an atmosphere for
easy

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discussion, for conducting business, or for relaxing.

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 Rewarding Performance and for Frequently, producers are called upon by clients to
Image Purposes 'just give me something really good.' This would
seem to yield the conclusion that not all
entertainment needs to have a deep reason.
Realistically, there usually is one if the event
manager or client is asked the right questions. For
example, an incentive client may make just that
statement, although the real reason for the
entertainment is as a 'reward' for top sales people
(i.e. meaning motivational content).

r. Example 6

ads on the white lands. There are also other places to be visit during Rann Utsav like, Histor ica l s ites, Wild Life Sanctuary, G

Content in Entertainment
Content has been the undisputed king in the entertainment industry. As important as robust
dialogue and complex characters are to entertainment, it' s equally valuab le to understand that
content generation isn' t just perfectly edited words and ideas but how they are presented. The best
movies and television shows make sure their content is unique and entertaining. Music and
literature also rely on good vocabulary and impressive tell tales to connect the message with the
setting.

Entertainment events have to be fun and lively for those attending as well as intellectually
stimulating to the business community it is catering to. Events have the economic values as they
generate income for the business community or the cause. Different types of entertainment event
have differentcontent in it. In exhib itions, the content of the event would have art exhibits, theme
parks, trade shows, museums, and festivals. A live entertainment would have a banq uet, concerts,
dance, street theatre, dance, magical show, fashion, show, parades, opera, comedy show,
video art, variety, fireworks, and so on. When ente rtaining the masses, an event producer may
deal with
co ntent like radio program, broadcasting, performers, performing art, sports, comedy, and film
production.

l Example ?

"The Kapil Sharma Show" makes sure to write catchy dialogues and script that can
speak to a modem audience; along with matching the content with stage set and main plot
of the show. Also, the popular kids' reality shows on televisions like ' India's best
Dramebaaz', ' Lil Champs' etc. are also scripted in order to add more cuteness and
innocence to the content.

Analyzing Performance - Music, Dance, Theater

and other athletic performances

In en tertainment industry, the experie nce of the audience is the most important factor for success.
This experience of audie nce is affected by several even t related factors such as setting of the
event venue, ability to meet the expectatio ns of the event, pre-event planning, planning for and
post event phases. A wow factor has to be created for the audience if the performances have
to be succeeded. A number of management strategies and actions can make the experience of
the audie nce memorable such as planning, leading, designing, marketing, budgeting, controlling,
logistics, staging, analyses, lightening, special effects, sounds, entertainment, transportation,
parking, staffing, emergency services, sales, accommodatio n , layout considerations, directio ns ,
safety considerations,and infrastructure.

The interaciton framework at the event can also affect the financial performance of an event. This
framework includes consideratio ns of interactions happening between suppliers, audience,
customers, managers, artists, performers, themes, and products.

Different performances can have different requirements and considerations during the event that
must be understood by the event producer.These include musical sequences, dance, and theatrics
per formances. The definitivecharacterist ics a n d styles of each of these types of performances
are discussed below.
 Music
Musical events need a Jot of planning to be able to
achieve the objectives of the entertainment. A live music
performance is the most common type of music event that
is conducted worldwide. Live music can be defined as a
performance event that involves a liveperformance ofan
artist or a band on a specific or combination of thegenres
of music. Live musical performances usually last for a
few hours and can attract over 20,000 spectators in a
single event. Because of the large number of audiences
involved in musical events, it is essentia I that proper
event planning is done and executed as the event needs to be managed in a very short span. The
event coordinator would have to take care of the safety and security needs of large number of
aud ie nces. A music event requires a lot of skills in the event manager such as the skill of
imagination and experience of managing performances. An event manager would need to
understand the requirements of the musical event and find the people who are both capable and
enthusiast ic a bout the events.

All the interactions happening in the event and accomplishments during the event are measured
to truly analyse the performances. A live musical performance already creates some expectatio ns
in the minds of visitors and when they are met, a memorable experience is created. This is made
possible through the right intervention of the managers in making arrangements for the live event
performance. The event manager and the management team have to work along the four key
functions to ensure that success is achieved in the event. These include planning, organization ,
leading, and controlling. ln a musical event, the success is also largely depended on the artists or
performers who would be performing in the event before audience. Below mentio ned exa mple
describes the impact of performance.

-- •
9 f'I Example 8

til Stadium, Mumbai, and it was beyond successful- in terms of attendance. Bieber made everyone swoon to his music.
s,and a performance with absolutely no efforts put in. II was pitchedas possibly the biggest live performance ever by an int

Here are few importantaspects of musical performance:

• T ec hni q ue: Whether vocal or instrumental, good technique is necessary forgoodperfonnance.The
important evaluationcr ite ria are:

o Pitch and harmony: It refers to the ability of the musician or vocalist to hit the
correct notes within musical phrases without wavering to one side or the other
of the targe t note's pitc h.
o Rhythm and tempo: It refers to the appropriatenessof the rhythmic interpretation
of the piece, and how well the music ian, group, or vocalist sustains the rhythm
through complex passages.
o Dynam ics: Dynamics means relative loudness. Good technique is reflected in a
wide range of dynamics from very soft to very loud, which leads to an improved
interpretation of the music.
o Tone quality: By tone is meant the clarity and qualityof an instrument's sound or
the quality of a voice. Practical technique: For musicians, this refers to manual
dexterity and flexibility and how well difficult passages appear to be played.
o Style: Style refers to the style of music and how well a musicia n or voc alist can
consistently interpret it.
o Psychology: It is well known that music profoundly affects human beings on a
deep, emotional level. This can be studied in the vast field of music psychology.
Here we limit d iscussion to only a few pertinent concepts that may help in the
analysis of musical performance at special events.
• Theatr ica l direction: Use of props and dia loguedelivery are fundamental elements to
watch out for when evaluating the presentation of a play or any staged entertainme nt.
Dance

Dance is an art form that is performed through non-verbal

communication that is used for expressing emotions and
feelings. Dance troupes come with their own pen drive that
they can use for rehearsals on the stage to get accustomed to
it before the event. There could be one song, or a routine
practiced in this rehearsal. While doing rehearsal, the
performersassess the stage quality, ease of use, ability to
hear music, and need to change the choreography for
matching the staging considering the entrance, exit, green
room distance, and route to travel.
Dance analysis involves an understanding of choreography
and technique:
 • C h o r eogra ph y: C horeograp hy uses the three basic elements of dance: space, lime, and
energy (Roston, 2000). Space includes both vertical and horizontal planes. In the vertical
plane, choreographers will use low level (i.e. on the floor) moves to lower the energy
level, medium level (i.e. standing) moves to travel in the horizontal plane and to work in
different patterns, and high level to add energy and more spectacular moves such as leaps
and lifts (Roston, 2000).
• Techn ique: Diane Buirs, breaks down technique into essentially four components:
flexibility, strength, focus, and appearance.

Theatre
Theatrical performances include comedian performances and drama. A comedian usually comes
with their own materials prepared. All they need
at the venue is a sound check. A comedy troupe
normally need wireless headsets and
microphones. They must be tested and equalized
which can take IO minutes for a person. Other
keynote speeches and theatrical performances
may have their own laptops devices that have to
be connected that need to be adjusted.

Athletic performances

Implementation of a sports event can have a Jong -lasting

impact considering the popularity of sports. Thus, it is
\I essential that performers and the event facilities are well
managed so that both the ath letes and spectators enjoy the
n sports event. An Olympic event is a large-scale athletic event
that can bring national pride and can also raise good funds
•• 1 for the causes of charity. As successful management of the
athletic performers during an event can benefit the complete
2 3 event industry as well the sponsoring organizations because
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of its widespread reach and audience appeal. In managing a

sports event, the scope of work goes beyond the traditional responsibilities of the event
management as the sports events are ephemeral and are staged again and again. Each time, a
separate staging may be used, and the event has to be managed as a separate project. The
management of an athletic event can be on two levels that include single event management and
the program management in whic h a ser ies of sports are involved as different projects.

WhyPerformers Perform?

There are several reasons:

 To en ter no w Flow refers to 'an interior state which can be described as the
merging of action and awareness, the holistic sensation present
when we act with total involvement, a state in which action
follows action according to an internal logic, with no apparent
need for conscious intervention on our part.'
To connect with the Connecting with an audience is the ultimate validation for their
audience existence that performers seek. Of course, negative connection
is also possible and if it is obvious to them, performers must
make immediate changes to try to re-establish a positive
connection .
To rec .e i ve recognition The occasional accolade letter or annual corporate personnel
reviews do not come close to the ecstatic screams of an
adoring audience. Why else would the Rolling Stones still be
performing after 40 years? They certainly do not need the
money!
To .e ive remuneration Unfortunately, performers must live and, unlike the Rolling
rec Stones, most of those who work in special events are not
highly paid, contrary to the opinion of some uninformed
clients and
the general public.

Skill set necessary for an effective performance

Although performance strategies vary amongst genres and amongst individual performers, there
appears to bea universal set of criteria that combine to define the skill set necessary for an
effective performance: charisma or stage presence, technical proficie ncy, and choice and
interpretation of material.

C hari ma Webster's dictionary defines charisma as 'a special charm or allure

that inspires fascination or devotion.' ln other words, it is stage
presence. Stage performance is a skill that must be nurtured and
developed.
Placement Being close to the front edge of the stage (downstage) brings the
performer into a seemingly more intimate relationship with the
audience.
Eye contact Periodic direc t eye contact with audience members is considered
very positive and enhances the feeling of intimacy.
Facial expressions This is one of the more difficult skills to master for good stage
presence. Basically, the facial expression of a performer should
mirror the material that is being performed: sad song = sad
expression; upbeat song = smile; and so on.
Costuming No matter what the circumstances of the performance, good
costuming is essential in helping to establish a 'professional' look.
 Too ofte n this is the last thing that performers - and producers -
think about.
Interaction with other In some situations that do not include group interactio n as a
p er form ers c ho reog raphed or rehearsed part of the performance,
onstage
performer inte ractio n can signal to the audience that the
performers are having a good time and help to transfer that feeling
to the audience.
Audience This is one of the most powerful and e ffective ways to gain
participation audience support and enhance charisma. Proper technical
preparation must be in place as well (e.g. adequate audio and
lighting).
Technical Proficiency It reflects the audience's knowledge of the genre. If a violin virtuoso
is hired for a corporate dinner, will the audienceappreciate the
performer's virtuosity because of only the performance or because
of the association of the performance with the name of the
performer? Will a performance by a Beatles clone band receive a
standing ovation only because of the perfect delivery of the material
or because of the stage presence of the performers and the fact that
everyone in the audience likes Beatles songs? These are difficult
questio ns to a nswer, and the results are never cons istent. Perhaps
rather than trying to analyze what makes a technically proficie nt
performance, ii is easier analyze the universal difficulties
e ncounte red by performersin striving to achieve proficiency, as
postulated by Beeman (1997).
Pushing This is the obvious effort shown in the interpretatio n of s ymbolic
materials. An example might a jazz musician trying too hard to
impress by 'over playing.'
Concentration If the performer is not totally engaged with the task of performing,
it can also provide a distraction.
Adequate preparation The lack of adequate preparation and rehearsal makes it impossible
to present material in a smooth and spontaneous way.
Choice and How well material for a show is chosen and interpreted will be
Interpretation of partly determined by how successfully the producer has conveyed
Material to the performer the goals of the event and the demographics of the
audience. Al one end of the spectrum, as noted by Beeman (1997),
'the performance may fail due to miscalculation of context,
resulting from several causes.

At the other extreme, the successful choice and interpretatio n of material may lead the audie nce
to mutually share the experience of ' flow' that the performer is feeling. This is the ideal situation
and it often res ults in the standing ovation so sought by performers.

Armed with adequate knowledge of the event and the audience, the performer can make
informed decisions on content and interpretatio n based on several considerations.
• Relationship of the material to audience demographics: Demographics of course,
refer to age, sex, language, occupation, and special interests. Appealing to only one or
two aspects of demographics rather than their totality can mean choosing incorrect
material.
• Relationship of the material to the goals and reasons for the event: Although this
may seem obvious, ii is not. Often, a client may tell a producer that they only want a
great show. It may be necessary to read between the lines of this statement.
• Universality of material: If evoking emotion s is de sired , nothingdoes ii better than using
subject matter that has universal appeal. This includes good versus evil, family values,
love and honesty, striving to improve, and patriotism.
• Suitability for the genre: Thisessentially means that a performer should exercise caution
if choosing material that may cross genres.
• External enhancement of the perfor mance: Any performance can usually be enhanced
by technical wizardry. Proper lighting cues (e.g. fading stage lights to black after a
routine or performance segment and waiting exactly the right amount of time before
fading back up), proper audio (e.g. using the correct microphones and speaker
placement), special effects (e.g. pyrotechnics , confetti cannons, fire), or augmenting the
show with dramatic visuals on large screens can add to the effectiveness of the
performance.
• Interpretation: Also, sometimes considered as the style of the performer, this involves
many factors and its success is often governed by the audience's personal tastes.
 Case Study 1

A monsoon mela in Lucknow, India

A Saavan Mela was organised at Sanatkada,

Lucknow to celebrate the monsoon season.
It was an extraordinary evening with stalls
of handicraft, silk clothes, bangles, apparels,
jewellery, a mehendi designer, etc, put up at
the event. There were food stalls entailing a
varie ty of monsoon Indian delicacies.

Madhavi Kuckreja, event organiser of the event said, "We organised this Saavan Mela in
a tradition alstyle. We also put together the old and traditional kind of indian food
whether it is chaat, kulfi, different kinds of pakaudi, mangaudi. There was keema ka
samosa among other things. Basically, all the things that one likes to eat when the
weather gets beautiful. There are bangles and mehendi. And there' s a little baithak, with
people singing songs of saawan, which is again to celebrate mother nature. We have tried
to do it in a very traditional way. Somehow I feel this culture is getting lost with time
and we believe in reminding the people of the beauty of our culture."

The mela had some moving performances by various artists who sang monsoon related
songs. The evening concluded with everyone s inging saawan ghazals and enjoying the
different monsoon delicacies laid out for them.

Question:
1. Explain, what were the entertainment highlights in this event?
2. Why do you think the theme of the event was unique and entertaining?

Source: timesofindia.indiatimes.com

Working with the Performers

he reason for hosting the event giving careful consideration to the events target audience. The program content should be selec
requirements. A range of performers to keep people interested from the event's start to finish shou ld be chosen to complement
performers that fit into the event's theme. The crew can use the services of agencies to assis t in locating these performers.
 • At some events and festivals, copyrig ht laws may apply when songs are performed that
are not the entertainer' s original pieces. One needs to be aware of these requirements to
pay a performers' rights ' fees.
• During the site visit, ensure that the venue provides amenities tha t yo ur e vent performer
might be expecting. These can sometimes be cum bersome to take care of. Nonetheless
speakers and performers usually keep a list of things required handy, the performers
manager or the performer itself is the best person to speak to sort this, along with the
venue manager who can also give advice on this. Typica lly, it ranges from a shower,
overnig ht sleeping arrangement, to to wels.
• During the visit to the venue, check to see if there are dressing rooms or changing rooms
to facilita te the spea ke rs/ p erfo r mers that can be used as a green room.
• Ensure that the performer has separate entrance if is it a class performer to avoid creating
nuisance. The area of the room, the smell, the deco r, the sho wer, lockable door,
lightning, view from the room, temperature, ex its, access ibility etc all adds up to making
it a comfortable space for the entertainer/ performer.
• Performers can be expensive, and they need to be provided with all the needed comfort to
be able to perform well suc h as snacks and coffee along with the comfortab le changing
rooms during the vent performance.
• To be able to manage the event involving performers well, it is essential to understand the
mind-set of the event performers, provide them all required amenities a nd co mmunicate
with them well.

Mindset

• Mindset or the headspace describes a psychological state of a performer, athlete or a speaker.

• A live event needs them to be able to perform best and thus, they have to have the mind-set
for the same to be able to deliver their peak performance. For this, they need to have a
harmony created between mind, spirit, and body for performing the task at hand
• Different performers may be using different strategies to reach this stage before the actual
performance happens at an event. Some use pacing, others pray, have fun, drink coffee, review
scripts, practice, do stretches, or talk to others available in an event. Subconsciously or
consc iously, every performer uses these tactics to calm down and reach a high level of
performance.
• Some performers also show diffe re nces in their own personalities such that when they
perform, they behave in a complete ly different way that can even astonish people knowing
them. If the personality difference in such casesare more, the performer would need more time
to relax and prepare for the event.
• Anthropologist Turner (1988) sai d that a performance involves a frame, a flo w, and a
reflection. A frame is the boundar ies w ithin which the role of a performer is determined,
meanings related to those roles, and the environment in which they are operating. In a layman
terms, a frame can be considered as an entertainment show event.
 A perfom1er has this realization that any performance is something out of the regular routine or work and thus, n
Thus, it is essential for an event producer to give the performer sufficient time for preparation before the event s

Example 9

nal Sports Club of India in Mumbai, 2015 can be credited to the wonderful perfom1ances of the actors and their togetherness as

yed the lead role of Belle (aka ' Beauty' ) states "I've made one huge family working on Beauty And The Beast."

the role of Beast, agrees and further adds "E very day is a humbling experience where you walk into rehearsals and are just in aw

Amenities

To ensure that the perfom1er gets sufficient comfort for preparation before the event to get to the
required mind-set for the actual perfo m1ance, some amenities have to be provided to them.
These amenities include:

Changing Rooms: Changing rooms or green rooms

can be in the fom1 of a room in an indoor venue or
a tent in case of an outdoor venue. Whatever is the
shape of the room, it has to be reserved for the
performer. A typical room prepared for the
performer must be large, well-lit and well heated.
These rooms should have enough space to be able
to store all what is needed by the perfom1er. The
green room must be constructed close to the actual
performance area and should e ith er have an internal
facility of washroom or should have a washroom nearby.
At the same time, the event manager must also ensure that the performer should not be seen by
the public while going to the washroom. There can also be a situation when multiple performers
are performing in a group in which case separate rooms should be reserved for the group for two
genders. If two separate rooms cannot be formed, a dividing pipe with draping must be provided.
Some performers like those in dancing may also need a secondary quick change of dress in
between performances. This area could be formed using a curtain behind the stage with good
lighting but at the same lime, ii should in no way be visible to the audience.

Refreshments: Refreshments are required by the

performers if they have to stay on the site for over 2
hours which includes their performance time
especially when this period extends a meal hour. A
performer may not need a full meal Iike the guest,
but some snacks should be provided which can
contain a sandwich, cookies, water, juice, coffee or
soft drinks. They may not be provided with any
alcoholic beverage before the performance, but they
may be allowed one glass post performance
provided they are consuming the same out of the
sight of theaudience and will not bedriving after the event performance is over. Any consumption
should not happen before the audience and thus, the performer should not be allowed to consume
food made for guest unless the producer gives him or her a special permission.

Other Amenities: Besides the changing room and refreshments, a performer may also need some
additio nal amenities such as moving chairs, tables, normal chairs, hangers, movable clothing
racks, mirrors, electrical outlets.

Amenities for Vocal artists and Musicians: Vocalis ts

need to warm up their voice in a quiet place and thus need a
separate room when they do not have to face any
disturbance. They would also require water on stage to keep
them hydrated. Thus, water and drinks needed on stage must
be kepi at an appropriate place before the start of the event.
Musicians have a maximum allowed play time as set by
American Federation of Musicians which has to be
considered by the producer while planning an event. A
musician or a group of musicians can perform for up to 90
minutes at a stretch after which a break of 15 to 20 minutes
can be taken depending on the energy levels of the
musician
who is performing. A dance band or the background music artist can perform for up to 60 minutes
before taking a break.

Musicians also need their instruments so that they can practice before the event. Instruments like
pipers and bagpiper need a lot of warm up and thus, their performers must be given a space
away
from audience for warm up. Acoustic pianos require tune up after they are moved to the stage and
thus, a performer would need to nm a soun d check on the stage before performing which can
take up to 2 hours and thus, symphony musicians have to be allowed on the stage from 2 hours
before performance. ln this time, they can get their instruments tuned as well as make other
placements and arrangements for instruments.

Amenities for actors, speakers and comedians: These performers need

to remember their lines and thus, they need a quiet area where they
can review scripts and rehearse before performance. Actors need lime to
get into the character for which they must be provided with a quite space.
They may also be provided with special props that they need to use in
the performance and thus, have to be kepi on the stage before
performance.
S.:.1111:t· fu.c.pil:com

Amenities for Dancers: Dancers should have their bodies in

perfect conditio ns before the performance. Thus, they require green
rooms that are big enough for them to perform exe rcises and
stretches for warm ups. They are normally given informatio n o n the s
ize of the room provided and the amenities that would be given.
Sometimes, dancers may also need to take a quick run through
the stage for
s.,.o·, •- •-® un derstanding the placements and then practice the dance using a
CD at the greenroom. If the space that was promised turns out
to be
smaller, dancers would need to make adjustments. Thus, usually happens when the
commun ica ti o n between performers and the event producer is not e ffective.

Amenities for Athletes: Athletes performing on stage need

much more stamina than needed by other performers. So, before
the next set can be performed they need a break of close to 20
minutes after performing one set.

Variety Performers: Variety performers include magicians,

jugglers, mind readers, acrobats, fire performers, table acts, stilt
walkers, animal acts, cultural performers, and hypnotists. Many
of these variety performers need props to be placed on the stage
before the performance could begin. Every act has a uniqu e
e le ment and thus, unique props may be needed such as:
• Magicians and fire performers may need indoor pyrotechnics or flash pots to be placed on
stage and fire extinguishers or other safety equipment placed nearby
 • Table acts like fortune tellers, tattoo artists, car plyers, graphologists, a nd caricature
artists may need the producer to place their chair and tables.
• Acrobats and cartoonists may need a headspace near the stage for warm up before
performance.
• If animal acts have to be performed, then the performers would first need to make an
assessment of the area for safety enclosures and animal heeding areas.
• Sand artists need special lights to be placed on the stage before the event performance.

The length of shows of the artists also vary as below:

• Animal acts take 5- 15 minutes

• Jugglers need 15-30 minutes
• Magicians need 30-45 minutes
• Hypnotists need 60-90 minutes
• Table acts need up to 2 hours
• Stilt walkers need 20-30 minutes

Communications

Effective communication with performers is critical for good performance. The communication
happens between event organizers and the performers through contracts, calls, and face to face
interaction during and post events.

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perlel'aance con tract

....Jutdie
natClllllllrmtlle
At ...6-.,-· After the even t show yo■r
dired .. e pa1ut... , wi6 spedfie details
apprK iation

Figure 1.2 Co mmun ication Flow beh'vee-n Event Organiser and Performers

Request for performance: General performance happens when the event producer first connects
a performer seeking his or her services. At this point of contact, the event producer needs to give
the performer detai ls like date, time, venue, performance duration, event typeand theme,
programs preceding and following them, audience size and demographics , and ot h er event
parameters. This informatio n is necessary for the performers as they would have to make
adjustments in their timing and performances accordingly.
 Hi [agent first name] ,
s [celebrity name) available on [date )? The market is [city, state , or co untry ] , and will take
hank you, [your name)
i

How to e,mail a celebrity booking Agent - Sample urerpt from a request letler

After Agreement to perform: Once they agree for performance and a contract is agreed to be
signed , they would also need to know what amenities they would be provided and other
requirements at the event venue before they could sign the agreement. These include green
rooms, requirements of the costumes, parking fee if charged, load-in method, book-back policies,
drinking and eating policies guest allowance and so on.

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Cont ra ct : T h e next level of contact with the performer through a contract which would contain
things like remuneration policies, event schedule, running order, cancellation policies, overtime
performance policies, stage plot, floor plan, and payment schedules.
 L IVE PRO M O T ER - ARTIST CONTRA CT
Dated: _

THISAGREEMNET to, the se,vlces of music and/or entertainment described below between:

{nameof artist}(Including artist's crew and aooompanylngmusiciansand/or entertainersasdesaibed below), whose

addressis [address of the Artist} hereinafter joinU,,,andseverally referred to as "Artist• and

{nameof promoter}whoseregistered officeis [address of promoter}hereinafter referred to as "Promoter"

DEFINITIONS:

Agreement: this agreementand anyand an schedules attaehed to it or incorpo,atedin it by reference.

shallconsist of one (1)Artist's Key Member, five (5) .AocompanyingMusiciansand two (2}
Arti st's Crew.

Aooomoanvina Musici [nameof sccompanying musician (1)]

ans· /namoof accompanying musician /2)/
[nameof accompanying musician (3)]
/namoof accompanying musician /4)/
/nameof occomponying music/on (5)/

{nameof keymember)
Artist's Key Member:

AQisfsCrew;
/nameof
of f'
A
oger](Tou r manager)
pri n]( Secu ritypenon
p
Eoeaaement{
Any ammgement(s), event or series of event that the Promoterwill provide for the Artist.
s}:
{9ddre-ss of Venllfl}
llml!I.
{oapadly of Venue]
Venue
Caoagty· means events or circumstanoesoutside a party's reasonable control, including but not
limi ted to actsof GOd, sb'ikes, lock outs, accidents, wat, fite, act or omissict1of
Force Maieur governmen,t highway authoritiesor any telecommunciationscarrier, operator or
e administration or other competent authority, o, thedelay or fal1ul"8 in manufacture.
production, or supply by third parties of equipment or services.

In consldEWallon of the mutual promises and agreements of the parties hereto, ashereinafter setforth, itIs agreed as
follows :

1. Engagement
a. TheAnlst agrees toperloon at the Venue on {doto(s) and me(s) of the Engagement(s)]. Full detals ol
the EngaQ&ment are set out in St;h@duJo 1
b. . Itls mutually agreed that the perforrnance(s) will start promptly at the time(s) indica ted.
c. Theperformanoe time Shall be no shorter than one (1} and thirty( 30) minu tas and should not exceed two
(2) hours unlessotherwiseagree,d

2. ArtJst's Undertakings
a. Artist shell attend the Engagement as proc1Xed by Pro moter and perform the Engagement to the
best of theArtist's skill and ability in a professional andpunctual manner in willing oe>opera tion
withothers;
t) 2013 Avtoaotlaw COOl Page 1 or 6
6 pages

Between contract and performance: The contract date and actual performance date could be far
apart and in between, there could be changes in the events in between that have to be
communica ted to the performer immediately. This would include changes in the start time,
rehearsal time, and show length time.
.Just before the event: One day before the event, performers are called to confirm the details. A
final form is given to the performer at this point with details like green room amenities , parking
details, load-in directio ns , meal arrangements,sound check expectations and other set up details.

At the time of event: In the event, the performers have to be treated with respect. They should
have the proper directions so that they can easily discover the event area and do not get frustrated
searching. The directions can include venue entrance details, outdoor navigation, fencing, pass
codes for entry, and so on. If codes for entry cannot be given, then somebody should be deployed
to attend to them as they enter the event venue to meet them on arrival and escort to the green
room. This would ensure that they are not late for the event and reach the green room on time.
From the time of their arrival to the time of their performance, they must be kept informed about
what is happening in the event including any changes in the start times or durations after sound
check and set up is completed.15 minutes before the performance, they should be moved to a
stand by area or near the area of performance where they would wail for their performance.

After performance: Once the performance is over, the performer has to be thanked for
performance. If the performance did not go well, the performance should not be given a negative
feedback at this point but can be given later.

The Special Case: Celebrities

Celeb rities ca n attract people to an event but at the same lime,

they can be expensive to engage. They can also be complex
contract riders and have specific personal requirements that they
negotiate in a contract. They may negotiate their pre ferences for
transportation, meals, accommodatio ns , a nd even at times the
green room requirements. These additional ride rs can end up
costing more than the base contract fee. However, most of them
are reasonable m their negotiations. Here are some
recommendations on how cele brities can be managed, and these
include:

• Determine the budget of the client organization so that the

celebrity can be decided.
• Considering the needs and greets of the event, search for the artists who would be willing
to associate.
• Determine the most suitable act for the event.
• List down all the availab le acts and respective cele brities w ho can be approached. Perform
a cost analysis for the top three choicesamong the availab le ce lebrit ies.
• Inform the client about the options and ask to choose from.
• Based on the choice of the client, make a written offer to the celebrity to get the
performer and seek a 50% payment at the same lime.
• Ensure that the access to the venue is gained in the morning of the event day and
negotiate the set up with the venue vendor the night before that.
• Schedule a meeting for the production team and give them the list of performers and
celebrities.
• Delegate the responsibilities to the right people at the start of the event.
 Case Study 2

For every two minutes of glamo ur, there are eight hours of hard work.
- Jessica Savitch, American journalist

This aptly describes the life of a celebrity and artist manager. While the artiste or
sportsperson has most certainly put in a lot of work to have "arrived", it's the job ofa
manager to help them reap the benefits and "live the life". And that is a lot of work. But
that is what it takes if you want to be indispensable to the likes of Shahruk Khan, Sania
Mirza, and Viral Kohli.

Celebrity careers can last as long as a few decades or might be over before you can say
"flop". In that varying span, the celebrity manager has to get the in-demand person the
right brand tie- ups and the best price.

It is also the celebrity manager's job to recognise talent and nurture it before the medals
and accolades prove the point. It pays huge dividends to identify a sport, or a genre (in
the case of music) that is likely to catch the imagination of the masses in the coming
years and pick a rising star in that field. And this takes foresight.

"We did not want to limit ourselves to cricke t, and based on the country's talent pool,
the industry landscape and our gut feel, we identified sports such as boxing, wrestling,
football, hockey, and squash. With boxing on the top of our charts, we signed-up
Vijender Singh in 2005. And the rest, as they say, is history," says Neerav To mar, co
founder, Infinity Optimal Solutions (!OS). Singh subsequently moved on to another
agency.

Pros & Cons of being a celebrity manager

• Hobnobbing with celebrities
• Working with big brands
• Travel all over the world
• Potential to develop a wide-reaching network
• Big deals can mean big pay-offs
• Prospect of starting one's own company in about
10 years
• Not a desk io b
Questions :

I. Do you find celebrity management exciting? Which celebrity would you like to
manage and why?
2. Discuss the skills needed to manage a celebrity.
 EVENT RESOURCE MANAGEMENT

!§ Summary

In this chapter, we have learned

• Entertainment is an activity that can hold audience interest by giving them

pleasure.
• Different types of entertainments include music, banquets, humor, dance, games,
perfom1ance & reading.
• Three reasons why entertainment is important for the success of the event are I .
Entertainment engages guests 2. Entertainment reflects your values and vision 3.
Entertainment helps re ach potential cl ients.
• Different types of performances have different needs and these performances include music,
dance, theatre, and athletes.
• While managing the musical event, event producer needs to work on planning, organizing,
leading and controlling
• Dancers usually need a space for rehearsal before the actual perfom1ance.
• Theatre perfom1ers would need time for sound check of the wireless headsets and
microphones.
• Athletic performers need more stamina to be able to perform and thus, need special care before
the performance
• While working with performers, their mind-set has to be understood and the right mind-set
has to be attained
• Perfom1ers make use of different strategies to reach a level of mental, physical and spiritual
ham1ony s uch as use pacing, others pray, have fun, drink coffee, review scripts, practice, do
stretches, or talk to others available in an event
• A perfom1er works in a frame that includes role of a perfom1er, their meanings, and the
environment
• Amenities provided to perfonners include green rooms, refreshments, equipment' s and other
special amenities depending on the type of performer
• Special amenities needed by musicians include water or juice on stage, a space for warm up,
and pre-placed instruments
• Special amenities needed for dancers include a large green room, a quick-c hange room near
stage, and facilities for CD or DVD play for rehearsal
• Effective communication with performers is critical for good perfom1ance
• Special performers need special equipment's and objects to be placed on stage before the
perfom1ance. These include flash pots and fireextinguishers for magicians, and special
chairs and tables for fortune tellers, body massagers, ta ttoo artists, car plyers, graphologists,
and caricature artists.

35
.,._. Study Questions
Cons ider the following questions as you read thro ugh the unit.

Q I Fill in the blan ks

I. isanactivity that can hold audience interest by giving them pleasure.

a. Entertainment b. T ravel

C. Media d. Marketing

2. uses the three basic elements of dance: space, time, and energy.
a. Choreography b. Technique

c. Theatre d. Cinematography

3. or the headspace describes a psychological state of a performer, athlete or a

speaker.
a. Amenities b. Mindset

c. Etiquettes d. Personality

4. pr det pereorsculde green rooms, refreshments, equipment's and

other special amenities depending on the type of perfom1er.
a. Enterta inment b. T ravel

c. Media d. Amenities

5. caattract people to an event but at the same time, they can be expensive
to engage.
a. Celebrities b. Catering Staff

c. Housekeeping d. Event coordinators

(Answers: I. a, 2. a, 3. b, 4. d, 5. a)

Q II Tru e or False

I. Pitch and Harmony refers to the ability of the musician or vocalist to hit the correct notes.
2. Live music can be defined as a performance event that involves a live performance of an artist
or a band on a specific or combination of the genres of music.
3. Content is not necessary in the entertainment industry.
4. Venue should provide amenities that your event performer might be e xpecting .
 5. . E ntertainment that is in tune with the persona of your company will make a
negative impression on your guests.
(Answe rs: I. True, 2. True, 3. False, 4. True, 5. False)

Q Ill Short answer type

I. What are the different types of entertainment?

2. Explain the purpose of Entertainment.
3. What are the general needs of event perfom1ers?
4. Elaborate on the important aspects of musical performance.
5. Write a brief on dance analysis.
6. What are the key communication points between perfom1er and event producer?
7. List the reasons why perfom1ers perform.
8. Write a brief on Amenities required by perfom1ers.
9. What points should be incorporated while preparing a contract with the perfom1er?

Q IV Long answer type

I. Define Entertainment. Discuss types of entertainment withsuitable examples.

2. List down the skill sets necessary for an effective performance.
3. Elaborate on the concept of 'Co ntent in Entertainment'.
4. Discuss 'Live Musical Concerts'.
5. Outline the various amenities required by different performers during an event.
6. Different performers have different mindset before an event. Explain.
7. Explain the communication flow between event organizer and perfom1er.
8. Why is it important to determine the content & purpose of the event?
9. What are key considerationswhile dealing with celebrities?

Ii REFERENCES
Wage11, L. and White, L. (2015). H11ma11 Resource Ma11agememfor the Eve11t Industry.
lo11don: Routledge.
Fuhler, L. (11. d.). Secrets to successful eve11ts resource guide.
Gup,ta A. (2012). Fair Practices: A guide to participating i11 trade fairs. /st ed. MUMBAI.
Mair, J (11. d.).Conferences and conventions.
Goldblatt, J a11d McKibbe, C. ( / 996). The dictio11ary of eveflf ma11ageme flf. New York: Va11
11 Nostra11d Reinhold
EVENT RESOURCE MANAGEMENT

UNIT - II

Setup
Considerations
for Events
0 Unit Description

Event staging is an important ele ment in the creation of a successful event. Event staging often
incorporates complex elements such as riggi ng and lighting trusses, video scree ns, flown sound
systems and even soft goods like scrims, drapes and set materials. Whether your conference req uires
a simple platform for the Chainnan's speech or a runway stage for a fashion event; selecting the
perfect stage can mark the success of your event.

Event staging requires in-depth planning and attention to detail. Event staging must be able to handle
the loads to which it will be subjected. The stage must be stable and selected keeping in mind the
needs of the audience, speakers and artists. This chapter helps you gain insights on the types of
staging, decor planning needed prior and at the event and special considerations of staging and
seating. This chapter will also detail the technicalities of staging which involves rigging, lighting,
video, projection, audio, speakers and special effects.

Learning outcomes
At the end of this chapter the student should be able to....

Outline the setup considerations for decor before and during the event
Explore different types of staging
Identify various partS and configurations of a stage
Understand the concept of riggi ng, riggingpoints and rigging equipment's .
Learn the technicalities of event lighting, video, projections, microphones and other technical tem1s
 Introduction
This chapter mainly contains the technical details of event production such as seating, staging,
rigging, audio and video projection, mies and speakers, and special effects. These technical
cons iderationscan create a beautiful impact on the event and thus, have to be carefully chosen
to not jus t add functionalities to the event but also to the aesthetics.

Set Up Considerations for Decor

For making an event fun, energetic and well
organized, it needs a lot of planning and
backstage preparation. It is importantto keep a
few things in check to give guests a good
experience. Those of us who have planned
events in the past are aware of the substantial
amount of preparation that takes place behind
the scenes. Hosting successful events requires
strategic and tactful planning and
implementation. It is important to note that while every event that is produced is different, many
of the requirements can still match.

Setting up or installing decor can be a stressful undertaking, not only for the designer but also
for the event producer who must coordinate with venue staff and other suppliers. Producers should
be fully aware of all restrictions on decor and of all potential risks by thoroughly reviewing the
event decor plan with the designer. Here are some of the general cons iderations necessary prior
to and at the event.

Prior to the Event

Prior to the event would mean, from the moment the event is being considered till the start of
the event.

signer to ascertain:

act measurementsof the freight ele vator if there is one, sizes and lengths of any connecting corridors, door sizes, and timing restr
 Accessibility of the actual loading dock, including size and number of docks, whether there
is a ramp, parking restrictions for trucks and/or parking areas.
The number, location, and load rating of ceiling hanging points in the event space if rigging
and suspended decor will be used.
The location(s) and rating of house power in volts and amperes, plus which outlets are on
which circuits.
T he location of doors and windows and any effect daylight might have on event decor and
lighting.
The exact measurementsof the event spaceand preliminary locations for decor placement.
Whether there will be any stages, tables, dance floors, or other furniture in the space, plus
the planned number and sizes of everything.
Who will be responsible for providing ladders or scissor lifts.
Any restrictions on scheduling caused by other activit ies in the same or adjoining space,
including noise restrictions.
Any restr ic tions on nailing, screwing, or otherwise affixing decor to venue property.
Any pertinent restrictions relating to fire and the flammability of decor.
Requirements for cleanup before and after the event and whether it will be done by
contracted decorators or by venue staff.
Existing venue color sc heme and whether it must be covered or can be worked into the
event color scheme.
Availability of dedicated preparation areas or rooms for decor staffsuc h as florists.
Availability of a crew break area and availability and cost of refreshments.
Planned setup schedule for venue staff such as power tie-in, stage setup, and table
placement.
Any restr ic tions from the venue for strike of decor after the event, including loading dock
accessibility, noise, or staff.
• The designer should create a preliminary decor design plus a rough floor plan using the
venue infom1ation and all the resources necessary.
• The designer should create a setup schedule of deliveries and timing for all suppliers that
should be reviewed by the producer for integration into the overall production schedule and
for possible cost savings by using existing suppliers such as lighting who can light decor as
well as stages.
• The designer should calculate staff needs for setup and strike based on the approved sc hedule
ensuring that sufficient staff plus a co ntingency factor are included.
• The designer should review and plan for all necessary too ls, including portable elec tric saw,
screw gun, and electric drill and selection of drill bits, duct tape in a variety of colors, 50 ft
measuring tape, hammers, variety of nails and screws, glue gun and glue, zap straps, pencils,
paper, and paint, brus hes, and cleaner if onsite painting is to be done. If setsand hard props form
a large partof the decor, it can be useful to have a carpenter onsite for last minute changes.
• The designer should arrange for all transportation for setup and strike.
• The designer and producer should review safety procedures and risk, including:
 Any setup or strike procedures that could incur a risk or injury to workers, event staff, clients, or venue staff and en
Safety attire (e.g. steel-toed boots, hard hats, gloves) and that it will be used by setup and
strike personnel as required.
f lame retardancy rating of all materials.
Qualifications for equipment operation if designer personnel will be operating it, such as scissor Iifts.
All WCB (Workers' Compensation Board) certificates are current and payments are up to date.

At the Event
At the Event would mean during onsite setup and strike.

• The producer and designer should continuously monitor all work for safety, risks, and adherence
to regulations.
• The producer and designer should co ntinuously monitor the setup schedule and liaise with venue
staff immediately to overcome proble ms as they arise.
The producer and designer should ensure all decor setup is coordinated with other suppliers such
as lighting and A-V to ensure they can work around each other and that their components fit the
decor as planned (e.g. lighting decor).
Edges of flora l d isp lays are finished with moss or grass or edging.
Any battery-operated equipment has new batteries.
All electrical cords for decor are either hidden or taped down safely, preferably using
duct tape in the color of the venue carpet or floor.
All electrical hazards such as lights close to flammable material are moved to safety.
Any support mechanisms for large decor such as pipe and drape hardware for
backdrops or wooden bracing for set pieces is hidden by other decor, specially
manufactured returns, or drapes.
• The designer should ensure finishing touches are applied to all decor elements, such as:
• The producer and designer together should conduct a final 'id iot check' at least I h prior to the
event commencing to ensure there are no safety hazards arid all decor as planned and contracted
is in place.

However, decors will differ on the type, size and scale of events. In this section we will cover
decor setup considerations for Weddings, Corporate Events, Parties and Working with a
Theme.
 We d d ings

Weddings are pretty e motional events. It entails a lot

of things like personality, household background, social
preference, price range etc. While planning decor for
weddings, it is advisable to speak to the client in person.
If the mother of the bride hired you, then make sure you
also talk to the bride and other important family
members collec tively.

For decorating a wedding reception, first factor to discuss with the client is the venue, date and time
of reception. Venues to a great extent determine your creativity. Some venues are flexible and can
accommodate any theme or design, while others can be very rigid and are can be run by hard to
please individuals. It is always advisable to go and take a look at the venue, to ascertain the kind
of chairs and tables needed and how many.

Here, time is a of utmost importance, so that you can gauge how much time you have in hand to
convert your venue into something spectacular. Having got the venue and time fixed, you can now
discuss the personal touches your client needs.

The basic details you need to fix with the client on wedding decor are:
• Central Color Scheme
• The number of guests to be entertained
• Wedding theme for drapes, flowers, lights, stage, mandap, invitation cards and also the car
in which the bride and groom will travel.

To do thisefficiently you mus t haveknowledge and becreative with color combinations and themes.
Colors automatically detem1ine how attractive your wedding venue will look. Professional
decorators prefer to be intimated months before the wedding, as they can play around with various
concepts and color combinations before narrowing it down. Decorating a wedding venue can be
 EVENT RESOURCE MANAGEMENT

o verwhelming and exhausting. It encompasses the use of drapes, flowers, lights, chair covers,
table linen, centrepieces etc. these must be correctly coordinated to create the desired effect.

Corporate Events

Corporate events are what can be called "small

work, big money". Corporate events range from
seminars, Annual General Meetings (AGM),
strategy meetings and product launches, to
investors' forum and analyst meets. Corporate
parties are pretty straight forward.You always
will need to work with thecompany colors, theme,
logo
"'••·•- •= - - - etc. the usage of flowers is very minimal, instead
you work tea light and other c reative highlights. Corporate events generally have themes because
they are easier to manage.

Corporate clients expect you to be very confident and specialized about your business. Your
language and communication must be very professional and creative. This is merely because for
getting corporate events you typically have to go through a bidding process and since you are
unaware of yourcompetition, you just have to be your very best. What segregates you is your
ability to convince theclient that the money they spent in hiring you is used wisely. It is also
useful to have

Parties

A party can be anything from a 25th wedding

anniversary, a jubilee birthday party to a social dinner
party. Decorating parties can be fun and exciting and it
is not very demanding as weddings and business
events. Most clients like to have their party simple and
elegant, nothing jazzy or elaborate. However, few
clients like to

41
 EVENT RESOURCE MANAGEMENT

make a statement by having a grand party, or themed event.

Working with a Theme

Working with a theme is equally exc1tmg and

demanding. It encompassesa high level of imagination
and o riginality. There are various event themes like
retro theme, nautical theme, aqua theme, winter theme,
unicorn theme, forest theme and many more. For
example, aqua theme would need drapes of voile in
aqua and white. For the tables, pale blue linen could
be used to cover the tables. On them centerpieces can
be placed of gold fish in bowls along with tea light
candles or floating carnations in fish bowls.

The theme title us ually dictates the colors to be used and accessories to match. A professional event
decorator must be willing to learn and adapt to suit all client req uirements.

Staging and Seating Needs

Staging is the most basic need of an event and it is used for eleva ting the performer suc h that a clear
line of sight can be created for the audience. A stage creates a boundary between the audience and
the performance area giving an authority to the person on stage to take audience attention. The
quality of stage affects the perception of the audience about the event. An old desk used as the stage
would give an impression of a meeting being held but internally lit stage with changing colour
patterns would make the stage look like hosting a special show for audience. Thus, staging plays a
crucial role in determining the success ofan event. Staging choices are made based on several factors
like audience, venue, budget, video projection, stage usage, and entertainer need.

Types of Staging

Different types of staging include:

42
 House Decking
•Wood Staging
T y pes of Staging Meta lScaffold Stage
Acrylicand Speciality Stage

Figure 2.1 Typtt of S111g ing

House Decking: Many times, the venue itself

provides a stage which is called house decking. A
venue provided stage is us ually prefabricaled units
that are folded and slored at the venue and can
be used whenever needed for an event. These
staging units come in standard sizes like 4' x 8'
and 6' x 8' modules. These modules can be
adjusted with incrementsof 12, 24, 32, 36, and 48
inches. The units have locking mechanisms that
join different modules together to construct the
staging area.

While an event producer needs a stage, an

inspection is first done on the available staging units for underslanding if ii would be safe for the
performers and the audience. If the house deck does not satisfy the safety needs, the event producer
may have to make some additional adjustments to make the stage safer which can incur additional
costs.
 Wood Staging: Wood staging can be a good
option in case house decking is not available.
Wood staging is portable staging that can be easily
dismantled and used repeatedly. Wood staging has
four perimeter frames that are hinged together to
form an open box which is covered bya fifth frame
to give additional support. A ¾ inch plywood is
attached over this box to create the stage. The
"''"'m,.,,._.,- wood platform provides support with cross based
legs of2' x 4' size. These legs can be cut to
make
the stage assume the right height based on the needsofan event. Wood stage is more affordable than
the housing deck and offer custom shapes with easy height adjustments. Another advantage of this
type of staging is that scenic elements can be screwed on the stage directly unlike the traditional
deck that does not have any such flex ibili ty.

Metal Scaffold Stages: II is similar to wood

stage in struct ure but is stronger because of
the use of metal pipes as the material for
constructi on. These structures can be made
taller and they can handle heavier loads.
Metal scaffolds can be erected fast and make
the ideal cho ice for camera platfom1s, spot
lighting, and projections.

Acrylic and Speciality Stage: This type of

stage does not provide an independent
structure and thus, has to be supported by
additional structure to rest on. It is mainly used
for enhancing the stage appearance and it
comes in different colou rs, thicknesses, and
textures. Milk-pollex, a translucent white
sheet is the most used material for this type of
stage. A black acrylic can also be added on
the
top of this stage to create a reflective appearance. The stage can be internally lit with LED lightening.
The stage also provides the flexibility to fuse the video onto the stage such that the entire stage looks
like a video surface. However, video frame panels can be very costly as well as time consuming to
instalI and thus , they are most appropriate for musical concerts and game shows. This typeof staging
is most effective when the audience look down upon the stage occupying the raked seating in an
arena. A jib camera is usually used in s uch a situation to get the Ariel shots of the event.
 Parts and configurations of a Stage

A stage comes in several configurations that create different scenic effects on the stage. There are
five categories of co nfiguration available that include proscenium, thrust, apron, catwalk and
arena.

tTAGE

:::.,,._ iiiifit#

Proscenium Apron Stage Thrust

Stage Stage
.....................
< ;,
;;;;:_ MfPl'i¢f ;>

@ij
/ \
Runway Stage Arena Stage

Figure 2.2 Categories of Stage Configuration

Proscenium Stage: II consist of a proscenium arch that is used for separating audience from
performers through a frame. This configuration is most common with large corporate events.
These stages provide clean vision and have clear visual edges. Scenic elements are usually put
in the backdrop of this stage. In thedownstage, a traveller curtain is used which is used for
hiding or revealing the performance area. However, as the event happens behind the arch in
such a stage configuration, audience may not feel as a part of the event.
 figure 2.3The space on either side of the stage are called wings.
cture frame stage" because the specta tors observe the ac tion through the proscenium arch
Proscenium Stage

Apron Staging: It is a small stage section located in front of the proscenium arch. Also known
as the forestage, the apron is an extension of the stage from the arch to the audience. It can vary
in depth from a narrow 3 ft. to as much as 15 ft. The apron also extends up to 15 ft. beyond
either side of the arch.

STAGE

APRON

AUDIENCE

F ig ure 2.4 Apron Stage

Thrust Staging: Thrust stage is a kind of stage where audiencesgather on three sides of the
playing stage to watch theatrical productions.

Figure 2.5Thru st Stage

Runway Staging: It is another extreme level of thrus t staging and involves a narrow walking strip
that runs between the audiences that face each other on the eitherside of the strip. II is the most
ideal configuration for fashion shows. Video production can become challenging in this configuration
as screens have to be placed behind the audience. Alternatively, a T shaped configurat ion can allow
screens to be placed on the stage for the audience to view and they can view on their right and left
sides when the walking strip is used.

Figure 2.6 Runway Stage

 Arena Staging: In this stage, the performance is managed at the centre of the stage while all the
audience sits on all sides facing this centre. Some presenters do not find it very comfortable as
they are able to face only a limited audience in the venue at one point of time. However, with
experienced presenters, this configuratio n can make the audience feel a part of the presentation
and thus, encourage discussions. However, these stages have limited heights and thus, scenic
element are limited.

Figure 2.7 Arena Stage - Audience surrounding aus id es

Scu«c· eMC.NM<lrJ,

Parts ofaStage

Upstage Upstage
Genter- L.c,ft

Sg,ge Stage St gc
Rig ht center loft

Down1Uge Downstage
center L.c,ft

APRON

Figure 2.8 Part,ofa stage

Different parts of a stage are named based on the point of view which is faced by theaudience.The
area of stage which is on the right of the audienceis called stage right. The area of stage that is on
left of audience is called stage left. The front area of the stage that is close to audience is called
downstage. \\'hen a perforn1er on the stage moves towards the audience, an including path is faced
which makes the upstage. The parts of the stage named with this logic include centre stage, upstage
centre, upstage left, stage left, stage right, downstage right, downstage centre, and downstage left.

Special Considerations of Staging

A staging need to provide support for performers, speakers, scenery, and stage equipment. A
performer may be running or jumping on the stage and thus, it is important that the stage with
locking mechanisms are properly tested for such situations. If there are any lose edges then a
support mus t be provided using duct tapes, sip ties, or C-clamps.However, while using these
additional support units, they should not be made overtight as it can disfigure the shape of the
stage. Overtightening can also cause a risk of collapse in the case of wooden staging.

Carpeting is an important element of staging unit as it adds aesthetical value to the event. It a lso
absorbs the sound of the footsteps which could otherwise get amplified by the stage deck. If the
event venue does not have a carpet but a concrete flooring, carpeting can be obtained from a third-
party provider.

A stage uses a lot of support structures for safety. However, to audience they may not look very
appealing and can give an appearance of unfinished work. Such spaces are visible norn1ally only to
the limited audience but in case of jib cameras covering the stage, the entire stage can get visible to
the entire audience exposing the unclean areas. Thus, it is wiser to give a finish to the perimeterof
the stage using tapes, Velcro, or skirting. On many stages, stage fascia is used which can be
attached to the stage and can add the scenic beauty by ornamentation and painting to complement
the stage theme.

Tenting

Ever since humans developed to the point where they

were able to construct their own shelters, they have sought
to tame nature. Nomadic peoples were undoubtedly the
first to realize that it would be more efficient to c reate a
portable house that required less construction than a
pern1anent one every time they decided to stop on their
journeys. Their crude attempts at such shelters were the
first known predecessors of today's spectacular tented
environments. Over the intervening millennia, tents
have
 EVENT RESOURCE MANAGEMENT

appeared in every conceivable situation, and today they enable special events to take place in
locations that would have previously been inaccessible.

In this chapter, we will explore the use of tents in special events, starting with why and how they are
used today. We will then explain and illustrate the different types of modem tents used in events,
including fabrics and accessories, followed by a review of setup considerations, then a look at
where tent technology is today and where it might go in the next few years, and fina lly end with a
review of risk and safety as it pertains to tenting.

WHY USE A TENT FOR A SPECIAL EVENT?

In essence, a tent is an alternative venue, nothing more, nothing less, but one with very special
characteristics that sometimes make it more attractive than a traditional venue such as a conference
center, a hotel, or another permanent structure. A tent provides an interesting venue, it creates
additional space, and it can be personalized in that it represents a blank artistic canvas. Because so
many of today's special event attendees have used traditional venues on a regular basis, they are
looking to escape from hotelsand convention centers in favor of a unique venue that takes advantage
of the geography, of the local area. Tents afford them the opportunity to do this, often enabling an
event to take place in a locale where no buildings exist but that is an attractive setting in itself.
Additionally, some destinations do not have facilities of sufficient size to accommodate larger
groups and a tent may provide the only alternative for an event. In fom1ing add itional space, a tent
can be placed closer to key activities that require support structures to enable them to take place at all.

Examples are the large temporary tented corporate pavilions at air shows (e.g. Paris and Farnborough
Air Shows) and automobile races.
As a blank canvas, a tent starts with plain bare walls, ceiling, and floor. It therefore permits designers
to transform it into a uniq ue environment with decor and lighting, and even to design complete
interiors as full working offices, restaurant,s clubs, warehouses, and other unique uses such as
prisons. The otherprimary advantage of tents is that they can expand or contract to the required area
relatively rapidly and relatively cheaply when compared with more permanent structures.

TYPES AND STYLES OF TENTS

Tent can be defined as 'a structure composed of a covering made of pliable material or fabric that is
supported by mechanical means suc h as poles, metal frames, beams, col umns, arches, ropes, and/or
cables.' The word 'tent' is sometimes used interchangeably with 'pavilion' and canopy,' though a
'canopy' can also refer to a tent without sidewalls, a small tent, or even an awning-like structure. In
the UK and Australia, the 'marquee' is synonymous with 'tent.' A 'marquee' in the US, however, is
defined as either 'a canopy projecting over an entrance or doorway' or 'a connecting canopy between
two tents.' The explanations of the following four Tent Rental Division categories are provided by

51
the IFAI (2002) and are used with permission. They are generic in nature and do not constitute an
endorsement of a particular tent type, brand, or company.
- .
Pole Tent
This is a tent that features a set of individual poles
arranged beneath the fabric roof to support and define
the shape of thestructure. The fabric roof is tensioned
over the poles and attached to ropes and/or cables at
designated spots around the fabric's edges. The ropes or
cables are anchored to the ground using stakes, augers,
or weights around the perimeter of the tent. Pole-
supported tents are the grandfather of the tent
industryand were once the only type of tent available.
Though they have lost ground to
newer designs, pole-s upported tents remain popular in the US and are still considered an important
part of most tent re ntal inventories. They are also referred to as 'pus h-pole tents.' T raditional pole
tents require center poles; however, newer versions have center poles supported by cabling in the
roof, there by eliminating the interior pole going to the ground. Because of the tensioned roof
structure, these newer versions have a more contoured look. Pole tent sizes range from about IO fl (3
m) X 10 fl (3 m) to 60 fl (18 m) X 300 fl (90 m).

Pipe Frame-Supported Tent

This is a tent with an assemb led
framework made of aluminum or steel
pipes that supports the fabric roof and
defines the shape of thestructure. The rigid
framework allows the tent to be
freestanding without additional support
Sc,un:c:• •
ll ffltr.CC llli
but requires the same rope or cable
anchoring system as a pole- supported
tent to hold it in place, as
specified by applicable fire or building codes. Pipe frame-supported tents are popular for events
that require smaller tents. Most manufacturers make units as small as IO fl (3 m) X IO fl (3 m) that
are easy to set up and tear down. They are also suitable for smaller events that require few, if any,
interior obstructions since the frame system makes interior supports unnecessary. Pipe frame-
supported tents are available in a wide variety of styles and sizes up to widths of 40 fl ( 12 m).
These tents are often not as wind resistant as o ther types.
 Box-Beam, Frame-Supported (Clearspan) Tent
This is a type of tent that features an assemb led framework of
box-beam, I-beams, or truss arches that support the fabric roof
and define the shape of the structure. The stronger construction
of the aluminum or steel box-beam frame makes these tents
more suitable for larger or longer-tem1applications than other
types of tents. T he box-beam framework also allows for large
areas of unobstructed 'clearspan' space beneath the fabric roof
The larger structures require heavy equ ipment because of
the size and weight of their parts. These tents come in
widths ('spans') ranging from about 30 ft (9 m) to almost 300 ft
(90 m) and can withstand higher wind loads than other tent
types. They
are also referred to as 'free-span
tents'.

Tensile Tent or Str uctu re

This is a type of tent that shares some characteristics
with the pole-supported tent but relies more on the
tensioning of the fabric roof for its structural integrity
and shape. The use of tensioned fabric to resist applied
loads and shape the fabric membrane means less of a
traditional support structure is needed to maintain it.
Tensioned fabric structures are now common
architectural features the world over. These permanent
structures, which are manufactured to last for years
after their installation, are referred to as tension structures, tensile structures , or membrane structures.

Inflatable Tent
Not part of the IFAPs definitions, but new on the
horizon, is a variety of large inflatable tents. These
' seem to be almost exclusively manufactured in
China and are adaptable to most of the same uses
as regular tents. However, they mus t be connected
to a constant flow of air by means of a fan. These
inflatables offer several advantages, incl uding easy
erection and dismantiing, the fact that they are a II
c lears pan, and their low cost. They also lend themselves to easy c us tomization with color and
graphics. Stab ility under wind loads, fire-retardant capabilities, air fan/pump requirements, and
anchoring methods for these tents are as yet untestedand unknown. Figure 8.2 shows one such tent
with a length of 16 m or approximate ly 50 fl, a width of IO m or approximately33 fl, and height
of
6.5 m or 20 ft. It is made of polyvinyl chloride (PVC) tarpaulin material and comes in a variety of
sizes.
F a br i cs
The primary fabric for tents is a vinyl-laminated polyester, but
a small percentage of use is still seen for canvas. The newer
polyester fabrics are more durable and resistant to weather
effects, including water and sunlight damage. All fabrics are
treated with flame retardants.

Most tent sidewalls (pieces of fabric generally attached to the

roof structure and used to enclose the sidesof tents) are made
of lighter weight vinyl-laminated polyester. They - and the
Vinyl laminated Polyester Fabric roof structure - can be designed with clear vinyl as windows
Tent
and be
'°"'"'""' """'-';""'•• • as large as the entire tent if desired, although with less strength
and durability.
Determining the Correct Tent Size
Tented events have to be comfortable, and overcrowding is one of the serious errors that a
producer can commit. Depending on the type of event, what follows are some general guidelines
and area allowances for determining the size of tent required. These are also useful for planning
indoor events.
• Stand-up reception or cock tail party: 6 ft2 (0.5 m2) per person.
• Sit-down dinner: I 0-12 ft2 (0.9-1.1 m2) per person, depending on whether the tables seat I
0 or 8 persons respectively.
• Buffet table or bar: I00 ft2 (9 m2) per8 fl long table/bar.
• Auditorium or theater-style seating: 6 ft2 (0.5 m2) per person plus 4-6 fl (1.2-1.8 m) width
for aisles.
• Dance floor: 2-3 ft2 (0.2-0.3rn2) per person, assuming 50 percent of guests are dancing at any
given time.
• Speaker stage or platform: 10 ft2 (0.9 m2) per person.
• Bandstand: 25-306" (2.5 m2) per musician for electronic rhythm instruments (e.g. guitar,
bass, keyboards), including amplifiers and equipment; 10-15 ft2 (1.3 m2) per musician for
acoustic instruments(e.g. brass, woodwinds, strings), including chairs and music stands; 50-
70 fl2 (6 m2) for a drummer; 30 ft2 (2.5 rn2) for a spinet piano; I00 ft2 (9 m2) for full
grand piano; 10 ft2 (0.9 rn2) per vocalist if backup and not moving too much; 30-50 ft2 (4-5
m2) per vocalist for a lead vocalist, and possibly more if partof a show band.

Obviously, for more complicated events such as trade shows, more specific measurements would
have to be made.

TENT ACCESS ORIES AND OPTIONS

In keeping with the requirement for a tented environment to be as comfortable as possible, today's
tents offer options for styles and accessories that will make a tented event equivalent to a classy
hotel ballroom.
 Sourec--a lih• com

Tops
Although traditional white is still the norm for mos t tent tops, various colors and stripes are now
making their way into the market in all tent sizes.For all sizes of tents, particularly clearspan, a
clear top is now an option almost universally. Because of the vinyl used, clear tops are not as
strong as regular material.

Sidewalls
Most tents come with optional sidewalls, which can be installed for weather protection. These can
be plain white fabric (o r any color nowadays), clear vinyl, clear French windows, screen, mesh, real
glass, or rigid PVC. The degree of elegance, fire resistance, or security is up to the user.
Manufacture rs have their own methods of fastening fabric walls to frames, but most involve some
sort of strap system. However, a relatively new method of attachment of walls and ceilings to tent
frames is known as a keder system. In essence, this system allows walls and ceiling components to
slide into frame rails rather than lacing up, thus saving considerable setup time and improving tent
stability. For hard walls, some manufacturers offer complete interchangeability amongst hard walls,
glass walls, and doors.
G u tt e r s
Most tents have optional gutter systems to prevent rain damage. Depending on the tent design, these
come in vinyl and lace to the tent frame or even hard plastic complete with plastic downspouts.

Doors
As with walls, fitted doors can be provided to have a finished look that works with the remainder
of the tent, or they can be customized. Doors can be single or double, and they can have panic
hardware installed. All doors should confom1 to the code standards for tents, including tempered
glass inserts or French panes that may beplacedin them. Smoked glass and sliding doors are also
availableoptions from some rental co mpanies.

Lighting
Standard tent lighting is us ually achieved with bowl or globe lights made of PVC resin. They
come as single units or as multiples in the form of simple chandeliers and are used mostly for
social events. Other industrial style lights that use merc ury vapor or halogen technology and are
very bright are used more for tradeshows and general lighting of larger areas. Generally, all styles
are able to be mounted from tent frame components and also come as freestanding units. More
elaborate chandeliers are available from some rental companies as well as string lights. Theatrical
lighting is used extensively for tented events but is normally designed and installed by a lighting
company.
Not to be forgotten is site lighting. Tents are often set up in unlit locations and if the event will
extend past sunset, it will be necessary to light all access walkways, washroom areas, and paths
connecting tents. As with the inside of tents, industrial-type lights can be used on poles and connected
to portable power generators, or lighted helium globes can be used. These are large tethered
helium balloons with lights inside that float high over a site thus covering a large area.
Liners
'liners beautify tent interiors and mask a multitude of sins, including tent mechanics, wiring,
outdated lighting, and soiled tent tops. The tent liner, in effect, acts as a drop ceiling. Leg drapes
can be added to the tent in blouse or tailored styles to match the lookof the ceiling liner. Liners offer
other practical benefits. They help mitigate outdoor temperature fluctuations, so less power is needed
to heat or cool the structure. The liner provides a sandwich of air between it and the tent that acts
as a blanket of insulation. Liners are offered in pleated and smooth styles. Commonly used
materials includetaffeta polyester, muslin, duvateen, or any flameproof fabric.' Liners also come in
white, black, and up to 50 or more other colors. Most liners are installed and hoisted to the ceiling
using a rope and pulley system, then affixed to the tent frame using hooks and tabs. Some are both
functiona l and highly decorative.

Flooring
Today's tent flooring comes in a multitudeof options. For most special event applications, if there
is any doubt whatsoever about weather co nditionsof if the event is being held on anything but the
very fim1est and flattest of surfaces, proper flooring should be a consideration. The use of flooring
has the
adva n tage of pre venting water from accumulating on top of the walking surface by providing a path
for drainage underneath it. As well, it pro vides a level, obstacle-free, and thus safer, surface. The two
general categories of flooring are lay down and rollout. Lay down floors can be either stick-built or
paneled. 'Stick-built' refers to the now almost obsolete method of building a wooden floor using
custom lumber construction to a specified height and over any obstacles. It has been replaced by
plywood panel systems combined with adjustable aluminum legs that enable large areas to becovered
even when the gro und is uneven, thanks to the vertical adjustability of the legs. Some companies
even have flooring systems that connect directly onto integrated base plates (e.g. Roder HTS),
ensuring extra stability. A number of manufacturers also provide flat, interlocking plastic pane ls that
are best used directly over paved or cement surfaces. These panels can be installed at roug hly half the
cost of plywood panels and much faster. Built into them are drainage channels and their modularity
permits installation around trees, obstacles, or existing structures. They come in several colors.
Most are extremely durable and strong enough for vehicular traffic.

Similar to rigid plastic paneling is the first of the 'rollout' options, hinged plastic panels. T hey literally
come in rolls and roll out direc tly onto the ground, eliminating the intermediate step of physically
having to interlock individual panels. The last type of flooring, and one that needs a dry flat surface
to begin with, is carpeting. This is normally placed on top of pre-built flooring such as wooden or
plastic paneling, or directly on top of pavement or concrete as long as wet weather is not anticipated,
to give a more elegant and finished appearance.

Heating, Ventilation, and Air Conditioning

Numerous options exist for heating and cooling rents,

depending on the time of year and the weather conditions.
For heating, there are mainly two options, the first being
an electric resis tive heater, which comes either as a small
radiant heater that can be mounted on the ce iling or on a
pole, and covers about a 150 fi2 ( 14 m2) area, or as a
larger unit that heats a wider area, but requires 240 or
480 V three-phase electrical power to operate. Many
local fire departments now prohibit the small,
mushroom-shaped localized propane heaters and any
other types that have the fuel source located within the
tent, for safety reasons.

For larger tented events, the second option, an all-season unit that combines heating and air
conditioning, must be used. Typically, the unit can distribute cool- or warm-treated air via a white
Dacron duct hung in the ceiling of the tent, or in the side walls. The machine can bepositioneddirectly
in the tent wall, or just outside. The direct method of airflow in either the heating or the cooling mode
works most efficient ly because it reconditions the air within the tent. The filtered air is then returned
to the tent, which lowers the humidity. A typical all-season unit delivers 20 tons of air conditioning
(8000 ft3 or about 220 m3 per minute of air). It also can incorporate a 45 kW heater. These units
need 480 Vand three-phasepower to operate. In addition, there are air conditioning only units
which range from 20 tons up to 60 tons of cooling per machine. They are ideal when heat is not
necessary. The cost is less to rent than the all-seaso n machines and can be used where space is not a
factor. These units also operate on 4SOV and three-phase power. When power is required, a
portable generator must be brought into the tent site (Doran, 1994). It s hould be noted that the air
conditioning load (in tons) or heating load (usually in British Thermal Units or BTUs per cubic
foot) prediction is not a simple calculation but is based on several factors, including tent size
(volume), number of persons in the tent, and the temperature difference between thedesired internal
tent temperature and the outside ambient temperature. The results will determine the number of units
req uired to meet the desired inside te mperature for the entire tent. Most rental companies will have
software or charts that accurately predict the load based on these known parameters.

Tents provide a blank canvas. Indeed, what better canvas for

branding a corporate image than a huge blank white surface in
often highly visible locations? Many compan ies have realized
the possible marketing opportunities this presents and are
"'""""""""" m attaching signage to the sides, ends, and tops of tent
structures. The given figure illus trates an event in which the
sponsor has taken advantage of the visible location to add
corporate signage to the tents. It can also be used purely as
decorative accessory if
desired, as can be seen in this figure where the large, colored end piece is more decoration than
advertising.

According to Knight (2005), graphics are also being printed rig ht onto tent fabrics, thanks to wide
format digita l printers. 'Graphics do not stopon theoutside of the tenteither. Interiors utilize
extensive graphic merchandising displays, colo rful murals, and pop-up displays to reinforce brand
awareness. For special events on a smalle r budget, mass-producedgraphic backdrops can be
affixed onto tent sidewalls.'

SETUP CONSIDERATIONS

Planning for an efficient, s afe, and accessible tent

setup begins long before the event. The main
considerations include the site itself and
conducting a site survey, the weather and time of
day of the event, accessibility and safety concerns
and theassociated permits, and finally, the plan for
installation, other smaller tents around it used for
the entrance, VIPs, food and beverage, food preparation, and perfom1er green room.

Site and Site Survey

Assuming that there is an optimum amo unt of time before the tented event, the tent rental company
should be brought into the initial planning stage about 6 months pr ior to the event or sooner. In
conjunction with the producer and/or event manager, they will conduct a site survey to detem1ine:
If the site is la rge enoug h to hold the tents and all the activities planned, including stages, tables,
chairs, bars, dance floor, cate ring prep aration tent(s), and washrooms.

The location of fire hydrants, fire and emergency vehicle access routes, access routes for supplier
vehicles, existing washroom facilities, and existing power and its specifications. Fire trucks req uire
a minimum of a IO ft (3 m) wide access road throughout the site. At this time, tentative plans may
also be made to augment any emergency services required such as planning for St. John's
Ambulance attendants to be onsite, and where they will be located.

The tentative location and orientation of all tents, any security fencing or barriers needed, entrances
and exits to the site, temporary power setup, bus or vehicle drop-off points, and parking.

If the ground surface is one into which tent anchors can be safely placed. Many co mpanies will test
the soil to determine the type of staking req uired. If the surface is asphalt, gravel, concrete, or
wood, special anchoring may be needed in the fom1 of weighted blocks of some sort. Occasionally,
the owners of asphalt surfaces may allow temporary holes as long as they are properly patched
after the event.

Iftent anchoring will disrupt unseen underground

infrastructure such as telephone, gas, water, sewer, and hydro,
or if overhead infrastructure will be too close to tents. Any
tenting or anchoring must generally be at least 18 in. (45 cm)
away from marked utility lines, and at least JO ft (3 m)away
from overhead power lines. Utility companies should be
contacted at least 2 weeks before the event to mark
underground lines. Property owners should also be asked to
mark private underground lines such as sprinklers.

If the surface is level and will not present a problem for catering
and seating. An uneven surface may require proper levelingand
floo ring.

If ground obstructions
AIIMlf,l'lgh (e.g.etl(Jshrubbery, fountains, pavement, trees, buildings, etc.) will get in the
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way of planned tent locations.
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Based on the results of the site survey, a tentative sc hematic site plan will be drawn up by the tent
rental company or the producer.

Wea ther and Time of Day

The actual date of the event could have an effect on setup. Some climates are prone to rain, some
locales are very dry and hot, some are windy, and some combine all of the above, not to mention
varyinglengths of day light at different timesof the year. Asa result, the producer should know
clearly what the likelihood is forany of these conditions to exist during theevent and also how
much daylight will be availab le without supplementing lighting.

Here are the main areas of concern:

Ra in: In any potentially wet climate, there must be an allowance made for proper drainage, either
by the use of a certain type of tent (some provide better runoff than others), installing sidewalls
and gutters, or providingportable flooring.

Wind: Pole and frame tents can generally withstand windsof up to 30-35 mph (50-55 km/hr or
kph), whereas clearspan tents are generally safe in winds up to 70 mph (115 kph). If high winds
are a possibility during the event, the choice of tent may have to be changed. Note that in many
municipal jurisdictions, the special event department, if there is one, will, by law, require a
qualified structural enginee r to inspect and certify that the tent setup is structurally sound. This
may be req uired in order to obtain final approval for theevent and may not happen until after all
tents are set up, so the correct choice of tent is critical ahead of time.

Heat or cold: This is always a 'what if scenario, like rain. If any doubt exists at all, one should be
prepared for the worst in terrns of temperature extremes. If the event will go on after sunset, there is
a good chance the temperature may also go down and the tent will need heat. If it is during a hot
summer day, it will undoubtedly need air conditioning. As described earlier, all-seaso n heating and
cooling units may be the answer to wide temperature fluctuations.

Darkness: Since planning often begins six or more months before an event, the amount of ambient
light available for the event may be much more or less than it is during initial planning. As well,
sun direction may impact the amount of light and heat in a different way than it does at the time of
the initial site survey. Therefore, light for the event should be anticipated ahead of time and the
necessary interior tent and exterior site lighting planned.

Installation
Once pem1its have been approved and site plans drawn up, the critical step of tent delivery and
installation takes place. Installation mus t be done correctly from an engineering point of view or the
tent may be unsafe. Essentially, a correct and safe installation involves proper layout and squaring,
staking or anchoring, and erection and tightening of guy wires. For anything except the very
smallest and simplest of tents, installation is normally the responsibility of the tent rental co
mpany. Forgeneral knowledge only, what follows are some of the methods used for installation.
For purposes of this explanation, we will assume that a traditional rectangular pole tent is being
used.

Lllyo11t ,md Sq11ari11g

A properly squared tent is aesthetically pleasing and is more structurally sound. We will look at
three methods of laying out and squaring a tent:

Traditional method:

The purpose of the layout is to make the perimeter of the

tent taut and the comers squared. There will always be
excess fabric in the interior portion of the tent due to the
amo unt of material needed to make up the pitchof the tent.
Groundcover should be used to protect the fabric during
installation.

The basic steps are as follows:

• Place one end of the tent where desired anddrive
asmall stake through each of the comer poll side
that end. grommets on
• Proceed down the le ngth of the tent, pulling every other rope out from the center and away
from the end. It is important to work opposite someone and to pull each opposing rope
simultaneously,so the tent is not pulled out of square while it is being stretched.

Pre-staking method:
Once this is accomplished, the tent is ready to be staked. Starting with each comer, measure out in
both directions a distance equal to the heights of the side pole or slightly less. Refer to the tent
manu facturer's instructions to detem1ine the exact distances. When all comers have been staked,
run a string line from comer stake to comer stake, then placea stake opposite each side pole
grommet along the straight line.

In certain instances where there are objects present that would preclude the possibility of fully
stretching and squaring the tent, or if the tent is too large to be stretched, it may be necessary to pre
stake the area. This method measures the diagonals to square the perimeter of the tent. The tent is
first laid out and the four comers located. The staking charts provided by the tent manufacturer
should be used to get the proper dimensions for the tent being installed. T he Pythagorean Theorem
is used to calculate the diagonal, where 'A' is the length of the stake line, 'B' is the width of the stake
line, and 'C is the diagonal. A2 + 82 = C2, where C = the square root of C2. Once the first diagonal
has been measured, the second one should also be measured and then the two compared. If they are not
equal, then the comers of the tent should be moved until the two diagonals are of equal length.
3-4-S method:

This method is used when a tent is too long to make measuring of the entire tent practical, or there
is some obstacle to prevent measuring the diagonal. It uses the same triangulation method but on a
smaller scale. The procedure is as follows. Using a 40 ft x 80 ft (12 m x 24 m) tent as an example,
the first two comers are laid out along the 40 ft width. This becomes the 'four' side. Next, measure
down the length to 30 ft which becomes the 'three' side. The distance from this point back to the first
comer should be 50 ft (15 m) ('five' side). It may be necessary to move one or two of the points
in
order to achieve an accurate 3-4-5 triangle. Once theentire tent is marked out, it is advisable to
check at least o ne other comer to be certain that the tent is square.

According to IFAI (2002), 'proper staking is a

prerequisite for a safe tent event. Stake failure
occurs primarily in two ways. The first is in tension,
in which the resisting frictional forces between the
soil and the stake are insufficient to keep the stake
from yielding to pullout forces alo ng its axis. The
second results when the sidewaysforce imposed by
the stake against the surroundingsoiI is greater
than the soil can push back, so the soil yields by
bulging above the surface. Consequently, the
stake pus hes
the uncon-fined soil out of its path.' Thanks to an IFAl initiative, recent research has confim1ed
what most tent re ntal companies already knew. The larger the stake diameter is, the greater is the
holding power, and the deeper a stake can be driven into the soil, the stronger will be the
anchoring power.

Erectio11 ,md Guy Wire Tig/rte 11illg

Once stakes are in place (with guy wires relatively loose), the tent must be physically erected.
Traditionally - and still today - smaller tents are erected by using sheer 'muscle power.' A crew lifts
poles and frames into position manually and then tightens guy wires. However, for large tents, many
companies are now using winches to replace muscle power to lift tent panels into place. After the
tent has been e rected, traditional rope guy wires must be manually pulled and tightened. Once
again, however, the tent indus try has advanced and is now using ratchet-style tent straps in place of
ropes. This makes it much easier and faster to tighten guy wires.

TENT TECHNOLOGYTODAY AND IN THE FUTURE

Thank s to advances in materials techno log y and a demand for architecturally uniq ue and
environmentally friendly structures, tent technology is in a rapidly evolving transitional period. The
boundaries between tensile fabric structures and tents are becoming blurred as designers seek to
combine practicality with esthetics. In the same manner, tents are becoming more like semi
permanent buildings. Here are some specific examples of today's tent technology and where it
might lead in the very near future.

Size and Shape

 II seems that everywhere one looks, clear span tents are
becoming a dominant feature of events, and they are
getting much large r. Widths ('spans') of up to 90
m(almost 300 ft) are nowavailable with heightsofover 12
m (almost 40 ft) at the apex, and unlimited lengths.
Indeed, even the
simple pole tent has expanded considerably. For
example, the enormous New Galaxy tent from De Boer
Vinings is 26 m (almost 85 ft) high and its base is 60 m (
Clear Span Tents - Semi.Permanent
195 ft) wide by I07 m (almost 350 ft) long, dimensions
Sc,un:t:ar IC!rul ,,.,ro,.. that make it as big as a football field. This is enough
space to accommodate 4000-10,000 guests.

Not only are the structures expanding in the two horizontal dimensions, they are also expand ing
upwards. Tents are now available in multiple levels. Two storey tents are used frequently at large
sporting events and trade shows. Features and options include stairways, various configurations of
covered and uncovered terraces and balconies, picket fencing, railings, doors, and others. Expect big
tents to be here to stay.

Tents are becoming shapelier as well as larger. We have already seen the results of hybrid
technology in the simple pole tent in which the ground-to-roof supporting pole has been replaced
almost universally by a pole supported by the roof frame or tension cables, thereby creating a much
more attractive roof line and a completely clear, useable tent area. Now, beginning to appear are
larger curved tents that will undoubtedly evolve into a variety of shapes that serve clients' desired
functions.

Modularity and Portability

Interestingly, the ancient nomads of central Asia often carried their yurts (unique round Asian tents
dating back centuries) with them on oxen-driven wagons, negating the need to dismantlethem in
their entirety prior to moving. Although that wasn't exactly modularity, the principle is similar. A
segment of today's tented structures has 'evolved' to the point that they are designed to be
transported and erected in 'modules' rather than comp letely dismantling and erecting them from
the ground up. This
modular "construction kit' structure can be built, moved, and reassembled in any number of different
configurationsand locations. Mezzanines, staircases, lifts, bridges, integrated utilities, balconies, and
walkways are built into the Space System, together with a number of patented technological
innovations, not least of all that the system locks together without the use of nuts and bolts. Their
proprietary system uses rigid walls, an integrated load bearing floor, and a variety of roof options. In
effect, the building carries its own foundation, so there is no need to attach it to the ground.
Another example of an easily demountab le tent comes from FTL Design Engineering Studio, who
created the 2002 Harley Davidson Machine Tent as part of a world tour. This vast circular tent is
dominated by a large central mast, which bears most of the weight. The circ ular configuration is
broken down into six segments, which allows for quick fabrication and installation. Each of the tent's
six segments is supported by a secondary mast, and for ease of erection, internal motors hoist the
masts, and the six pieces of exterior fabric are easy to handle.

Example of a Curved Tent

Cross-Cultural Influences

We sometimes tend to think that we adapt and use inventions in the most practical and esthetically
pleasing way. In the case of tents, other cultures have proven us wrong. The extremely practical
central Asian yurt and the flowing, 'organic-like' Bedouin tent are but two examples of alternate
tent concepts that have been successful in o ther cultures overan extended period of time. Some
companies are capitalizing on these designs in everyday life and in special events.

Several companies have already realized the all-season advantages of yurts and have been
manufacturing them for consumer, commercial, and governmental use for several years, although
large versions on the scale of some larger tents are yet to appear. Most uses to date are for camping
and as alternative cold weather climate habitation. The disadvantage of yurt design is primarily the
relative lack of portability; however, this may be outweighed by their practicality in terms of
being very wind and weather resistant. It is only a matter of time beforeportability is simplified an
d we see yurts as viable alternatives for special events, if not in total design, at least in shape.
 F3 Freefom1 Bedouin Tents, a division of Unit
Solutions International in South Africa, has
developed a freefom1 tent based on the
Bedouin style that permits tents to be
completely flexible in their setup. Larger rents
with canopies of up to 10,000 m2 (over
I0 0,000 fi2) can be erected with sides up or
down or a combination thereof. Poles can be
moved aro und to accommodate varying
numbers of guests and to create different
shapes. Canopies can be wrapped around trees,
B edo uin Teat,
Si)un:t: fJl,fflW« CO.AU rocks, and walls and erected with or without poles.
These tents have already been successfully used for
special events in South Africa.

Additionally, tensile architecturefrom other cultures is having an influence on tent design with
highly artis tic resu lts. For example, Russian arc hitect Anwar Khairoylline has exhibited co lorfully
painted tensile fabrics as building covers and as individual tents. His unique high-peaked and
strikingly colored designs are reminiscent of classic Russian church roof architecture. They are
distinctly eastern, Cossack-like in concept, yet warm and welcoming at the same time. As well,
Khairoylline has designed specifica lly shaped tents for mass manufacture but with proprietary
cultural designs appliqued to the walls and roofs of individual tents, there byenabling very different
and eye-catching structures. These types of design concepts may soon become apparent to Western
tent manufacturers and desired by the special event industry.

Materials Technology

As in almostevery industry, advances in materials technology are making a profound impact on

tents. Composites and materials that combine high strength with light weight have been popular in
the automobile and aviation industries for over 20 years. They are now about to enter the tent
world in the form of frames that are much stronger and lighter than traditional aluminum. These
same composites will also see use as tent walls for semi pem1anent buildings such as prisons, hotels,
and other structures that require high security.

In another up and coming technology, solar power, Iowa Thin Film Technologies Inc.,
hasdeveloped a new series of tents that incorporate tissue-paper thin film photo-voltaic (PV) panels
in cooperation with FTL Design Engineering Studio. When integrated into tent fabric, it makes a
lightweight, durable source of field power. The power that's generated is stored in batteries and can be
used for a variety of purposes such as lighting, ventilation, field co mmunications, global positioning
systems (GPS), satellite phones, and laptop co mputers. The product can be used as a mesh
covering over
e xisting tents or alone. Power output for the tents ranges from 200 W to 2 kW. Several tents can be
joined togetherto increase power now. What this means for special event tenting is that quite
possibly in the very near future, tents may serve as their own power source, especially if this
technology is integrated into large clearspan tents.

Examples of Cultural Influe nces on Tent Design:

Arabic Tents in Dubai

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 I
Natural disasters and environmental sustainability have
also had an effect on tent design. From the need for
instant, strong, and inexpensive shelter coupled with the
need for recyclable products, has come the concept of
tent covers and stmctural supports made out of material
other than fabric or metal. Of interest are developments
utilizing cardboard and cement. One Japanese architect,
Sh igeru Ban, has been developing 'paper tube' structures
for several years, using rolled cardboard tubes as
supporting structural members for walls and roofs. A
So lar Powered Tents recent des ign resembling a tent, with cardboard-tube
supported walls and a transparent membrane as a roof, is
being used as a boathouse in an interpretation center in France.

ln a related invention, Australian architects Stutchbury and Pape, working in association with the
Ian Buchan Fell Housing Research Unit at the University of Sydney, have developed a 100
percent recyclable house that is fully transportable and can be assembled by two people in 6h
(Sydney Olympic Park). The roof covering is a lightweight material that is as transportable as the
structure. Similar to a tent fly, the roof fabric assists in holding down the building, providing a
diffuse light in the day and a glowing box at night. This stmcture is a viable option for temporary
housing and might even loosely fit the definition of a tent.

A final novel development is a structme whose intended purpose is to improve upon two current
methods of providing emergency shelter: tents, which provide only poor protection, and
prefabricated, portable buildings that are expensive and difficult to transport.

RISK AND SAFETY

There are extensive safety regulations in effect in most municipal jurisdictions that must be met
before an occupancy permit will be issued to hold a tented event. Occupancy permits s hould be
so ught no later than about I month before the event. These regulations pertain exclusive ly to the
tents themselvesand the interior of the tents.

An excellent checklist for producers and event managers who are seeking permits for tent
installations. Some of the key questio ns included are the following, the answers to which
producers would do well to have available for any tent permit requests.

Will there be flammable or combustible materials within 10 ft (3 m) of the structure?

Will fire extinguishers be in clear vie w and accessible?
Will the exits, exit aisles, and exit discharge be clear and unobstmc ted?
Will there be a fire alarm system, public address system, or alternate method of occupant
notification provided for occupant loads exceeding 300? Is all tent fabric fire retardant
and does it meet the requirements of NFPA 701, Standard Methods of Fire Tests for
Flame Resistant Text iles and Films (a US standard)?

75
 Are all tents/membrane structures provided with a minimum of20 ft(6 m) perimeter space
for emergency egress by the occupants and with a minimum 20 ft roadway for access by
emergency personnel?
Are the tops of tent stakes blunt or covered so as to prevent injury?
Are there two separate exits from any point in the structure where the occupant load is
less than 500 persons; three exits foroccupant loads between 500 and 999 persons; or four
exits for occupant loads exceeding 1000 persons?
Are changes of elevations at exits, exit access, or exit discharge in compliance with code?
Is panic hardware or an approved equivalent provided on all exit doors that are lockable?
Will exits remain accessib le and unobstructed while the tent is occupied?
Are exits designed and arranged to be clea rly recognizable and distinctly marked as a
means of egress?
Are directional exit signs provided if exits are not readily visible from all points in the
structure?
Is emergency lighting provided in the tent to illuminate the exit access ways?
Is the occupant load posted?
Do electrical in s ta llations comply with NFPA 70, National Electrical Code}
Are crowd managers being provided, with a means of emergency forces notification, at a
ratio of I to 250 people when occupant loads exceed 1000 individuals?
Are cooking and/or open flames being proposed in the structure? If yes, explain.
Are pyrotechnics being used in the structure? If yes, explain.
Are decorative or acoustical materials such as hay, straw, and wood chips being used in
the structure? If so, explain.
Are there motorized vehicles being brought into the structure? If yes, explain.
Is seating for assembly use accommodating more than 200 persons fastened together in
groups of not less than three and not more than seven?
Are distances between tables and chairs in accordance with local standards?

Seating

Seating is an important part of any event as it involves the audience arrangements and adds to
their experience of the event. While taking decisions related to the seating arrangements, there are
some important consideration to be made such as choice of appropriate width of the chair, types
of chairs, space between chairs, and tables. Different types of chairs can be used for different
occasions of the events.

Types of chairs and Tables

Common types of chairs that are used in various kinds of events include banquet chairs, specialit
y seating, high backs or stools, bleachers, and lounge sitting.
 Banquet Chairs:These chairs come in twocategories and they include
event chairs and catering chairs. Event chairs have interlocking allow ing
them to be stacked and have solid back support. Such chairs have narrow
base of up to 20 inches and no arm rest. Normal event chairs are ordinary
and uncomfortable to sit for a long time and are usually made in appearance
to complement the aesthetics of the event. Catering chairs have more
utilitarian values and made available in large numbers and can be easily
rented from a third part source

Speciality seating: Speciality seating is mostly not available with the

venue and thus, have to be hired from outside. These are typically needed
for corporate events that need long hours of seating.

Stools and High backs: Stools can create a casual environment and can
complement the cocktail tables. High level corporate executes can have a
feeling of down to earth appearance with stools in a corporate event.
Stools can be used for panel discussions. Howe ver, lack of back support
can make the attendees uncomfortable and thus, some back support may
be added with high backs.

Bleachers: Bleachers used for outdoor events

are typically lightweight, aluminum portable
units that are foldable. They are unlike the chair
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and riser combination that is used indoors.
Although not completely consistent with all
manufacturers, portable bleachers generally have
a rise of8 in. (20 cm), a horizontaldepth of24
in. (60cm,)and seats have a rise above the tread
of I7in. (43cm). Seat sizes are 1.5 to 2.0 in. X 9.5
to
I0.0 in. (3. 75 to 5 cm x 24 to 25 cm), all usually constructed of anodized aluminum with end
caps. Guardrails are usually anodized pipe, 1.5 to 1.675 in. (3.75 to 4.2 cm) diameter and 42
in. (106 cm) high. These are normally fitted to the backs, sides, stairs, and fronts of bleacher
sections. Sections also come in more or less standard sizes of 3, 5, 10, and 15 row x 15 ft (4.5
m) sections , e le vated or non-elevated, with various guardrail options. Bringing bleachers from
outside can be expensive as well as time consuming to install.
 Lounge Seating: Lounge seating can create
a comfort for the audience as well as give
style through the use of acrylic and plastics.
T here are several compan ies that provide a
long range of lounge furnitures.

Tables are needed in events for specific purposes

and thus, the purpose of table has to be considered
while taking a decision on what type of table to get
for an event. Round tables are used mostly for
round table conferences, meeting, and training
events. Round tables normally come in 48-inch, 60
inch and 72 inches diameters. A 60-inch table can
accommodate
8 people sitting around it. Tables when decorated
with tablecloths and centrepieces can give an elegant
look to the event. However, in some events where
audie nce have to look at the stage and take notes in their notepads, this arrangement can be
uncomfortable as they would have to lookaway from the speaker to be able to write the
notes.

Half round tables provide seating on one side

and come in a shape of D. This can eliminate the
drawback of round tables as the audience can be
made to sit on the side facing the speaker.
However, these tables waste a Jo t ofspace that
can be made available between the speaker and
audience. Crescent rounds can thus be used which
can waste less footage. Other types of table
arrangementsthat can be used in an event include
classroom tables, cocktail tables, conference tables and spec iality tables.

Seating comes in several configurations such as basic theatre, clamshell, classroom and
banquet sitt ing. In a theatre arrangement, chairs are kepi close and Joc ked usually in straight
lines in an aisle. A 6 to 8-foot space would be needed typically to seat 14 people in such an
arrangement. A crescent or clamshell d ivides seating into smaller units of round tables and
chairs. In a classroom typeseating configuration, chairs are provided with the writing
facility. Alternatively, tables can be arranged facing the audience for them to use for writing
while attending the event.
 ln a banquet or reception type of seating arrangement, tables can be placed in two ways
including grid and diamond pattern. Grids have clear aisles between table rows but diamond
placement uses the space more e fficie ntly.

Determining seating capacity of the venue is one of the most important measure needed at the
time of the planning of event as it would decide the number of audience that can be
accommodated. Two third of the event room is utilized for cameras, seating and front house
control. Thus, this two third room space is used for calculating the square footage of the event
venue. For instance, if the two third of the room is 100X50 feet then the square footage of the
venue is 5000. This square footage would be divided into seating based on certain standard
guidelines. Rectangular tables have to be divided by 8, round tables by 10, cl assroo m tables
but 8, and theatre seating by 6.

2.4 Knowing Rigging

Rigging is the safe, overhead hanging of equipment or
materials comple ted by qualified an d trained
professionals (riggers) following approved rigging
plans.

Rigging involves raising equipment and people to a

height above the ground. ln so doing, the rigger or
qualified technician must attach supportable and
occasionally hoisting equ ipment to hanging points
in
"'"'"""''"'- the ceiling of a venue. These are specially
strengthened structural locations in the building that
permit the hanging of heavy objects up to certain load limits. Usually, the ceiling of a venue is
equipped at these locations with bracketry or bolts for this purpose. Riggers need to know the
proper methods of securing items like cable (wire rope) to this bracketry and then to other
objects (e.g. trussing for lighting) without the possibility of slippage or cable or bolt breakage.
'Overloading a line poses a serio us threat to the safety of personnel, not to mention the heavy
losses likely to result through damage to material. To a vo id o verloading, the rigge r must know
the strength of the rigging system and components used in it Th is in volves three factors:
breaking strength, safe working load (SWL), and safety facto r. Breaking strength refers to the
tension at whic h a line (e.g. cable) will part when a load is applied. B rea ki ng strength has been
determined through tests made by cable manufacturers, and tables have been se t up to provide
this information. The SWL of a line is the load that can be applied without ca using any kind
of damage to the line. A wide margin of difference between breaking strength and SWL is
necessary to allow for such factors as additional strain imposedon the line by jerky movements
in hoisting or bending over sheaves in a pulley block'. The safety factor of a line is the ratio
between the breaking strength and the SWL. Safety factors will vary, depending on such
things as the condition of the line and the circumstances under which it is to be used. The
safety facto r is usually four to ten.
.1 What can be Rigged?

In special events, there are frequent occasions when decor pieces, lighting equipmen,t audio
speakers, visual presentation equipment, and even people must be suspended or flown over a
stage and/or an audience. To safely rig and fly equipment, a thorough knowledge of rigging
hardware and methodology is necessary. If items are improperly rigged and flown, people can
be killed!

Anything can be rigged at an event:

Audio visual production: from screens, projectors, lightsand speakers, all the way up toa full concert set-up
Banners and signage: sponsor, promotional, wayfinding and branding
Decor: drapery, chandeliers and light balloons
Electricaland production cables
Aerial entertainers
Boats - True! even boats and other heavy equipment can be suspended from the ceiling!

When does an Event need Rigging?

II completely depends on the scale and size of the event. A small event might only require
ground-supported lig hts and a screen and projector. However, large scale events with a big
stage flanked by big screens will need a spot for stage lights and projectors - typically with
truss lines above and in front of the stage to hang equ ipment' s.

II is important to understand that ground-supported lighting towers take up valuable floor

space. If maximizing the full capacity of the event space is a priority then placing the
equipment' s into the air is a must.

Rigging Equipment's

Rigging equipment's can be used so that rigging can be properly done ensuring the safety of
the audience and event personnel. Common rigging instruments used in event productions
include chain motors, hoists, motorized lifts, and trusses.
 C hain motors or hoists are the precision instruments
that are used for lifting instruments and can take up to
three turns. The movements are possible with the use of
a primary gear that is connected through a chain bag with
the hoist. Loads can be attached to the hoists using these
chains. Every chain hoist has a specific capacity that has
to be considered. Hoists also have brakes to ensure that
the equipment does not fall. There is a specific climb rate
whic h has to be adhered to while moving the hoist.
However, faster movements can affect this climb rates.
Several hoists may be used in conjunction that can be activated at a single point of time for
raising rigs using remote controls.

Motorized lifts can be used to carry any number of

items, but they do not provide a good speed of
movement. Single person, scissor, and boom lifts are
most commonly used. These have common functions
but still have versatile ranges and thus, may be more

l
appropriate for specific functions. A gas-poweredlift
needs large open venues for movement. They may not
be allowed in all event units as they require gas. Single
person lifts cannot beused for raising bulky equipment.
Scissor lifts are most popular for all sized of events.
improperly operated lifts can be dangerous as they can cause falling of tools and thus, have to
be used very carefi.tlly es pec ially when the schedules are tight. Venue representative could
tell the compliance information based on which the choice of a lift can be made by an event
production manager while taking a decision for rigging equipment.

T russing is used in the event industry for

supporting items like lighteninginstruments and
projection scree ns while rigging. They are
normally made of aluminium which is why they
are light in weight. Most trussing is powdered
coated and is used for overhead rigging. Boxed
Ji trussing can also be possib le for oversized
objects. For longer trussing, more rigging points
;
have to be used as there are limitations in the
length for which the tmsses can go straigh t. However, there can also be customer comers in
the design and thus, a spiral rigging may also be used. The choice of the trussing can be made
considering the scenic design needs of the event venue.

Trussing must be able to withstand loads imposed on it in shear (i.e. force directed along the
cross section, such as high loads on top ofa vertical truss sect ion ) and in deflection (i.e.
force
 directed down and perpendicular to its horizontal axis, such as too many luminaires clamped
in one position). The amount it can withstand depends of course on its size and rated load.
Each type and size of truss is rated by the manufacturer for specific maximum loads under
these conditions. It is therefore critical that riggers know the exact loads that will be imposed
on the truss in these conditions and what the total weight of the loaded truss will be so that the
correct choice of supporting wire rope cable, slings, and chain motors may be made. Not only
that, but the tmss supplier for an event, usually the lighting company, is obligated to
understand the load rating of their truss and to choose the proper truss accordingly, knowing
in detail what the loading will be before the tmss is ever rigged into position.

Particularly important are unique loading scenarios encountered outdoors. These include:

ers due to theextra load of attached walls, and ii can lift all or partof thecomplete structure.
rooftops due to accumulation of snow or water, it can cause short circuiting in control systems, and it can cause the support of

t unsafe to the touch. II may also cause the safe temperature of any polyester sling covers to exceed their allowable limit (e.g. su

II is therefore imperative that such things as roofs be constmcted properly and with due
consideration of the expected weather conditions.

Rigging Points

Rigging points are the locations in the ceilin g where rigging has to be installed. The material
of the rigging has to be considered when deciding points of rigging.

Dead Hang.mg F1x1..-d Points

Figu re 2.16 Types of Rigging Points

There can be four types of rigging points that include dead hanging, spanner beams, bridles,
and fixed points.
• Dead hang is a simple rigging point in which a rope attaches a speaker or other single
items for hanging through the ceiling.
• When trussing spans a dis ta nce then the additional weight can be added in an area in
which case, spanner beams are used for hanging equipment' s between rigging points.
The maximum weight that can be handled by the trusses between rigging points would
have to consider while using this. This type ofrigging is most common in large events.
• Bridles are similar tospanner beams and can cover twoor more rigging points, but they
cannot combine the load capacities of different rigging points as is with the case of
spanner beams.
• Fixed points are used when they are provided by the event venue itself which is
provided with stmctural stee ls below ceilings, but they do not give the freedom of
diagonal hangings.
 Case Study 1

Acrobats take the plunge in Cirque du Soleil's water-drenched trapeze act, 2019

With a tagline stating, "A Waking Dream of Mexico", audiences get to experience
various aspects of the country through the artistic and creative lens of Cirque du Soleil
and feel inspired to discover Mexico.

It comes as no surprise to fans of Cirque that one or more of the routines in Luzia will
involve a trapeze. The trapeze is presented in all its different forms from bars, hoops,
ribbons and ropes and has been a staple of these Canadian spectacles.

In a breath-taking moment in the show, an acrobat inclines from the ceiling on a trapeze
ins ide a c urtainof cascading water.

Acrobat Kelly McDonald says performers and viewers are fascinated by the rigging
and trapeze possibilities in the event.

"For the artist, being on a trapeze is like dancing in the air," she says. " You have the rope
and the bar and there are so many possible combinations. It is such a versatile apparatus.
It allows you to swing, twirl, do flips. It really is as if you are flying. That's the feeling I
always get up there."

Michael Gi11, the head of lighting and spec ial effects for Luzia states that the shared
reaction audiences have the first time " is what makes us here at Luzia love our job. It
gives us goosebumps to see and feel how we can move an audie nce to wonderment."

Question:

I. Discuss how rigging performances can bring a difference in events?

2. What risk factors are involved in these performances?

 Objectives of Event Lighting
Understanding the objectives for lighting an area is the first step to a successful lighting
decision. Lighting designers and specifiers must meet the needs of pedestrians, drivers,guests and
improve the aesthetic value of the event. The broad objectives that form the basis for lighting
decis ionsare:

Objectives Visibility and Comfort

of Event
Lightin g Security

Aesthetic and Economic Development

Energy and Environmental concerns

Visibility and Visual Comfort

Light level, uniformity, distribution, contrast, visual size, and glare all affect visibility. It is
important to take care of light level, uniformity, and distribution as the visual effects of moving
from a bright area to a dark area can temporarily reduce visual function. Therefore, lighting
should provide luminance and uniformity levels that are appropria te for the event and provide
enough visual adap tation when moving between brighter and darker areas.

Security

Security lighting facilitates the detection and identification of people and objects in an event.
People tend to feel safer when they can see far ahead and identi fy escape paths, if necessary.
The visibility provided by lighting makes people more likely to enter an area and stay awhile,
encouraging others to do the same, which can be a deterrent to crime (Leslie and Rodgers
1996).

Lighting in the parking lot is an important objective of security lighting. The most common
technique is to brightly illuminate the whole area to be secured, providing at least twice the
illuminanceof adjo ining areas. This allows people in the area to be easily seen. Another strategy
may be to keep the secure area dark, such as a guarded sto rage unit, but brightly illumina te the
entrances, aiming luminaires outward. This technique creates glare and gives the sense that
trespassers are being watched (Leslie and Rodgers 1996). These measures, however, need to be
evaluated on a case-by-case basis and weighted aga inst potential light trespass or light pollutio n.
Additionally, evidence that lighting increases security is conflicting, but lighting does seem to
unambiguously increase one's sense of security (Leslie and Rodgers 1996).

Aesthetic and Economic Development

A well-designed lighting installation can attract guests to the event. The lighting in the outdoor
spaces should be attractive, and the appearance of people and architectural features is important.
Higher illuminanc es s hou ld be saved to highlight paths, signs and landscape features. Designers
should consider the colour of the light source and its ability to render colours, including skin
tones; the appearance of luminaires and matching luminaires to the site; and issues of glare
(Leslie and Rodgers 1996).

Energy and Environmental concerns

Energy usage
The energy used by a lighting system depe nds on the lamp type, the ballas t, the lum inaire type,
the number of luminaires required, and the control strategy.

Because average illuminance and illuminance uniformity are important performance crite ria for
many outdoor lighting applications, energy usage is affected by the luminaire 's efficiency and
light distribution (NLPIP 2004).

Because not all outdoor lighting needs to be on all night. Reducing the number of hours of
outdoor lighting can reduce energy usage. Methods include timers, motion sensors, photosensors,
curfew dimming, and step switching. Energy can also be used efficiently by considering the
unified luminance of a given light source.

Light usage
Light pollution is a consequence o fl ight at night, and can be evaluated in terms of sky glow,
light trespass, and glare. With appropria te lighting design, luminaire selection, and controls, light
pollution can be minimized.

Elements of Event Lighting

Lighting can give depth and ambiance to an event space as well as tie together other conditions
of an event, such as slideshow presentations, seating, and sound.

There are four elements of great lighting that help in achieving the objectives of event lighting.
It further explains the importance of carefully integrating it into an event, performance or function.

IUumination
Lighting illumina tes the spea ker, facilitator, performers, or panel of experts. Lighting facilitates
the big picture and keep an audie nce engaged.

Focus
Certain types of lighting can follow a person or an object, which inspires an audience to center
their attention without even trying. Lighting can also beprojected onto a wall or be a backdrop for
sponsor and/or company logos.
Mood
Once you know the type of scene you would like for your event, a lighting professional can help
create and enhance the appropriate atmosphere. The natural light in the room can affect the
possibilities, and when working with technology, the outcome can be breath
taking.

Overall Composition
You can create a balance in surroundings by using different colo ur lighting to guide emotions or
a ttention.

Video and Projection

Video is very common in co rporate events like seminars or trainings. A project screen is used
through which a video is displayed for the events. Video may also be used for documenting the
activities on th e stage such that it can be projected for the audie nce sitting across. An event
planneror specialist has to work with producers to identify best solutions through event
meetings. For this, a n event manager needs to understand all the basics of video and projection.

Some basic concepts can be disc ussed here about video and projection such as digital and
analogue video, aspect ratio, frame rates, video compression, resolution, and standards. Some
advance concepts may also be needed for a better understanding of how these can be managed
such as HOR, content creation, and projection blending.

Digital vs Analogue Videos: Video signals are like travelling electromagnetic waves that make
the analogue videos. These can cause interferences but in caseof dig ita l s ig nals, this
interference is low because they are transferred in binary format. Even with a weak signal in dig
ita l code , the code can still be identified. Moreover, dig ita l formats can store much more
information than in an analogue sig n al because it is the language of the technology.

Frame Rates: The numberof images contained in a video clip in a second defines the frame
rate. Higher rate can make a person feel it is a video made of multiple images. For instance, 30
images moving in a 30 seconds time would appear like a video. If the number of images is less,
they can appear blurry and not smooth.

Aspect Ratio and resolution: Aspect ratio is the width versus heig ht of the screen. Standard 4:3
aspect ratio was used in traditional televisions, but recent HD TVs use 16:9 as pect ratio. If the
phrases get interchanged in an HD video, then it can cause a problem in display. Dig ital images
are composed of small pixels and sub pixels of red, green and blue that together make a colourful
image.

A 720 X 480 pixels HD would be needed for creation of a standard image. Right image not
necessarily defines high defin itio n . I f lower pi xel di mensions are used, the video pixels would
get stretched and would get blurry. Thus, a higher resolution may be used when working with an
 HD screen. In some situatio ns , multiple images or videos have to be blended in the projection
whic h would again need high resolution that match between the multiple videos chosen.

Digital Video compression: Repeated and unnecessary information in images are removed, the
video can get compressed. This needs intraframe compression which involves finding out of
common pixels and removal of those repeated and its replace ment with collective descriptio n of
the pixe ls. DV format uses this type of compression. However, it requ ired larger storage space.
Interframe is another compressio n method in which the information is comb ined just as in the
intraframe. However, the difference is that in intraframe, each image is compressed while in
intraframe, they are only compared.

Projection: It can be used for displaying large

images and the brig h tness of the project can decide
the size of image that can be displayed. A video
special is t a n d AV provider can help a design team
to make a choice of the rig ht screen and the projector
types. Two primary projection technologies th at e xis t
to day and are used in the event industry include
LCD and Texas OLP instruments. Both aresimilar in
terms of results, but the difference is in the usage. In
large events, the diffe re nces become prominen t but
smaller events can take any of the two.

LCD has 3 liquid c rystal and display panels. A prism splits the colours to produce image pixels
and deliver sharp images. The sharpness would depend on how close the pixels are located.
Detailed compute r graphics can be presented using LCD projectors. They are also more
affordable than OLP projectors but as they have technical limitations in terms of brightnessand
have riggi ng co nstraints because of which they may not be most appropriate for large events.

lf the budget is not enough for OLP, most bright LCD project such as Christie 1500 may be used
which is of 15 k lumins. OLP projectors have OLP chips having tiny mirrors that act as pixels
and they are tilted to determine pixel brightness of the image projected. This provides higher
contrast than LCD. Thus, it is preferred in moving images applications like image magnification.
Some movie theatres also make use of OLP projectors. However, despite the be nefits for OLP,
the cost of acquiring or leasing would be more and thus, smaller events may prefer LCD.

Introduction to Audio Production

The use of multimedia elements has become common in the event industry as they add immense
value to the event production. A sound system has to be integrated in the event which needs an
advance planning failing whic h the problems can arise at later stages of production. Audio
designing is done during pre-production which has to have considerations of right equipment' s
and ideal positions for placements. There is a lot of work that is involved in designing the sound
system.
 The first step to audio pro duction is an understanding the purpose of the audio system. Primary
reason of using an audio system which is set of electronic equipment that can enhance audio
qua lity includ e ensuring that everyone should be able to hear the performance on the stage.
Another reason why an audio system may be needed is to create an atmosphere in the event. For
instance, sounds of jungle animals can be created throug h an audio in an event which has a theme
of wild nature.Sound systems can also be used in absence of a live performance to enhance event
experience for the audience.

g COHTA'.«.
. Parts of Soundsystem: A so und sys tem can
be complex and have advanced components, but
they are all build using a simple formula. First,
an input device is used with which sound enters

1--1-•
and then is amplified. This amplified sound is
sent to the output dev ices like speakers. The
system has to be coordinated in case of multiple
SPEAKER SPEA KlA:
input as well as output devices are used as the
sounds have to be mixed.

Input device can bea mic rophone, a CD player, computer system or a video source. These
sources capture the waves of the sound and then play back into the system. Audio mixers are
usually used for delivering an audio mixture that can come from multiple input devices. Audio
mixers get the sounds from input devices, adjusts the signals and then send to the output devices.
Several small frequencies of the input sources are combined by the mixer to make a custom
sound. Input devices usually sends a high pitch sound which is then adjusted by the mixer.
Several audio inputs can be combined by the mixer and then ii is sent to an amplifier in the audio
system. The receiving signals are normally weak and thus, there is a need to amplify them to
make the sound loud enough to reach a large audience depending on the event covered.

In a simple audio model, speakers are last equipment' s in the audio production chain. Speakers
are used for projection of the sounds and the beams. The placement of the speaker system is very
important as the beams spreading can get bounced from various walls depending on the event
venue infrastructure. Improper placement can ruin the quality of sound even in case best audio
syste m are used. A designer understands the event pallet and needs to understand the unique
aspects about an event production system. This includes an understanding of what speakers to
take, what input devices to ge t, and where to place them in the event productio n place.

Types of Microphones
 To hear the speakers or performers in an event, they
are provided with microphones that can be wired or
wireless. They are the most important input units and
thus should be carefully selected. Wired mies are less
common and are mostly used by speakers in smaller
events as they need long audio cables for reaching out
to the mixer. Moreover, a speaker has to keep playing
, .,.,.,, ,.-.... &•-= with the knob and make adjustments. An alternative is
wireless handheld system that has a transmitter
available with microphone and a receiver on the mixing board for delivering the audio.

However, there can be limitations on the number of wireless mies that can be used in an event.
There is also some more drawback such as the extensive use of batteries for wireless systems
and lackofr eliability of the wireless devices as there can be interferences. Thus, backup
phones have to be made available whenwireless phones are used to replace the faulty
microphones in case any issues are faced. There can also be special ized microphones that
have special applicationss uch as hanging and PZM microphones.

Hanging microphones are used for callers who usually hang it from above. They are mostly
good for performing group activities in which audience may be involved. These are mostly
used in corporate planning events. PZM (Pressure Zone) mic rophone is another popular type
of microphone which causing boundary e ffects by allowing capturing a cleaner audio as they
capture the waves reflected from the walls and make use of the same to enhancethe audio that
is produced. These mies lookdifferent from the normal mic rophone as they have a flat surface
and, thus, are normally kept on tables. These types of mies are usually used in politica l events
when the speaker has to reach out to a large number of audiences in a closed space.

Types of Speakers

Speaker systems can use speaker clusters or line arrays. Speaker clusters were used
traditionally. Line arrays are now more common in large events and is used mostly for live
events. However, in some cases, speaker clusters can still hold good for most events.

Cluster speakers were used traditionally and need less precision for
aligning quality of the speaker. However, with a greater number of
audience coverage, more speakers are needed in an event thatare called
delay speakers. As the sound of the primary speakers can get delayed
because of slow speed of the sound travel, these delayed speakers are
used at I00 feet from the primary speakers so that the audience have a
feeling that the sound is actually coming from the primary speaker and
not from the delayed speaker making it sound like more natural. Thus,
this is more common arrangement in smaller events with less rigging.
 Line array speakers are normally hung vertically
and can be used with high ceilings. It is very popular
speaker with modern events because they can transmit
high frequency sound waves and mixed audios to
provide superior sound quality. Coverage of this unit is
also more such that delayed speakers are less needed.
Thus, the cost of implementations is reduced. However,
they need a plenty of heights of roofs and they also have
to be rigged with precision. This precisioncan involve
finding out the right placement of the speakers, but it can
be done using computer software.

Monitor System

Not all speakers are placed for audience, but some

monitors may also require some speakers. Monitor systems
are used normally during Q&A sessions of the event. A
simple monitor system is managed using an audio board,
but music bands may require add itional mixers for which
the monitor has to be mixed using skills of a monitor
engineering. Normal monitor systems require monitor
speakers but when the performers are provided with
---- : : "' 0"
small earpieces as they give flexibility to the performers to
- --· ::. -
move. Traditional monitor speakers can have challenges
for the speaker whose movement can be interfering and
thus, rear
speakers may be used with these monitors. Speakers have to be integrated in the design of the
event and often hidden behinddownstages or vases as they may not provide an aesthetic value
always.

Types of Special Effects

Streamers

Streamers provide colour splashes that create excite ment in an

event. Streamers can throw colours in singleshots or multiple shots
and as per the need of the event, appropriate streamer may beused.
Normal streamers include 30 cm Single shot and 50 cm hand held
disposablesteamer. The choice can be made based on the length
to which, the streamer can throw the splashes.

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C onfett i

The word Confetti was derived from an Italian

word that was used for confectionaries and was
initially used for describing nuts and grains.
Confetti can be metallic, paper based, made of
bubbles, using flower petals, feathers, rice, and
other stuff. Metallic confetti are most
commonly used in marriage ceremonies and
birthdays. II comes in various shapes including
""'"'-
00
• hearts, belle and stars. Common colours in
"

which they are available include silver , go ld, and translucent. Paper confetti makes use of tissue
paper material and usually have crumpled horseshoe shapes. Rose or other flower petals can also
be used to make confetti. However, these have to be prepared just before an event as petals can
lose colour very soon. Other most common flowers used for making confetti petals include
hydrangea and delphinium.

Fog and Smoke

Fog machines are used for creating an effect

of mist using vaporized fog juice using a
heater. However, as it utilizes a heater, it has
a warm up time. A heater less fog machine is
also used in some events which involves
creation of haze or the mild mist using
atomization of the fog juice. As this method
does not make use of the heater, there is no
warm up lime and the fog can be created
instantly. Alternatively, a dry ice fog machine
can be used for creating low lying fog by puttingcarbon dioxide in the hot fog juice or hot water
using dry ice. For this, the fog is first cooled to form an ice which is produced using a fog
machine. This iced fog is then put in the dry ice fog machine to create the fog aga in.

Smoke is created on the events especially for production of performances. A variety of ways can
be used for the production of coloured smoke such as by throwingthe coloured light on the fog
or smoke or using coloured smoke cartridges. These cartridges can produce coloured smo ke
within 30 seconds. The colours available for smoke production include red, blue, green, o range,
and yellow.

Laser Lights
 Use of lights can create special effects on an event
setting up the right mood for the audience. Some
laser lights include incandescent, halogen lamp,
lightening fixture, gel, dimmer, cue, LED curtain,
controller, intelligent ligh t, clamp, mirror ball,
chase light, centrepiece, helicopter , flood light,
follow spot, strobe light, par can, oscillator, flash
tube, DJ Scan. Laser light is the most commonly
used lightening in s tage- based events and musical
events. Laser lights equipment produce beams of
light that are thrown to form 2D or 3D patterns as well as other special effects like tunnel effect,
rolling, and scanning and sky effects. Most laser lights used can produce only one colour, but
some are available for producing 2 or three colours as they hold multiple laser beams. The three
standard colours that are formed with laser lights include red, yellow, and green.

Technological Terms
While managing event production, certain technological considerations are important to be made
that can be related to audio visual services and the equipment.

Audio Visual Services

When considering Audio Visual services, a production company

has to ensure health and safety of the event team as well as
spectators at the event. This can be done in following ways:

• The work that is sufficiently fonded should only be worked upon

• A policy statement must be prepared for the safety and security at
the event detailing the responsibiliti es , risk assessments and
performing monitoring procedures.
• Event producer must identif y who is going to control the location
and premises. Only competent staff must be used for handling AV service
• The staff or contractors must be provided with the additional training if required.
• Contractors should have all the sufficient information needed for the AV production
Specialist advise must be taken before taking a decision on AV production

Equipment Risks and Safety

 Equipment's can pose risks to event

E workers as well as audience and thus, is it

important the risk and safety
considerations are made and well taken
care of by the event producer. This can be
done using following strategies:

• A full risk assessment must be

followed, and contingency plans must be made to best deal with them. The infonnation
about these risks must also be sufficien tly communicated to the team
• Adequate coordination and communication would lead an event to success
• Adequate preparations must be made in advance before the AV work is even started.
• Company should have set safety standards that must be used by all the people working in
the AV production
• If there are any changes in health and safety measures or standards, then they shou ld be
immediately commun icated to the team.

Health and safety performance of the AV units must be monitored. Employees should be
involved in all the safety matters.
 Case Study 2

SIAM NIRAMIT: .Journey to the Enchanted Kingdom of Siam

Siam is a kingdom in Bangkok, Thailand with history, customs and glorious civiliza tio n
e vo l ving through centuries. Their traditional practices are d ep ic ted in one of the world's
largest stage productions in a 2,000 -seat thea ter- Siam Niramit.

Siam Niramit is co nsid er ed a spectacu lar show of Thai arts and culture with special
e ffects and using state-of-the-art technology. It is an am azing nightlife e ntertainment in
Bangkok City Center.

The ISO-stro ng cast will hold the audience's attentio n thro ugh ou t the 80 -minuteshow.
Over 500 elaborate costumes are used, most of them accurately derived from paintings
from the appropria te eras in Thai history. While using the most modem techno logy,
Siam Niramit retains cultural fidelity at its core. The way in which Thai history, arts,
culture
and traditions are presented will se t a new standard for cultural presentations world-wide.

Stage dimensions
The Siam Niramit proscenium at 12 meters, is the world's highest. And the panoramic
stage, at 65 meters wide by 40 meters deep, is among the world's largest.

Scenery
Siam Niramit incorporates over 100 set-pieces, many of which are over 12 meters high!
This makes it possible to stage elaborate scenes, creating a genuine sense of realism.

Siam Niramit uses s tate-of-the-art lighting, sound and projection equipment to immerse
the audience in the events unfolding around them. lmpressive special effects, throughout
the show will amaze the audience: 12 angles float gracefully through the air in the heaven
scene, Krathongs are floated on the on-stage lake, Ultra- realistic rain, thund er and
lighting, rice fields which change color with the seasons.

Questions:

I. Discuss and highlight the special features of the stage.

2. How do special effects and A-V technology have an impact on the event?
lifil S u mmary
ln this chapter, we have learned

• Before the event, an event producer needs to take care of locatio n, P arki ng, F&B, Service
and Amenities , Layo ut , Ambience or Decor, Acoustics/Light.
• A preliminary site in s p ect io n s hould be made by the producer and designer to ascertain
decor considerations
• Parking lots should be provided at the venue and if they are not available, nearby parking
lots can be reserved
• The flow of the layout should be chosen appropria te co nsidering their impact on traffic
flow, ambie nce, acoustics , lig ht, and decor
• Things to keep in check while the event is ongoing: Stay in touch with the team, keep
food warm and fresh, Guest comfort, Entertainment
• Stag ing that is normally provided by the venue is called house decking but in case of its
absence, other types of staging can be used such as wood staging, metal scaffold staging,
and acrylic staging, each comes with specific advantages an d disa dvantages.
• Co mmon stage con figuratio ns incl ud e prosce niu m staging, apron staging, thrust staging,
runway staging, arena staging, and vignette staging. The choice depends on the purpose
of the event.
• Seating arrangements need consideratio n of the types of chairs, types of tables and seating
configuration. Seating includes banquet chairs, specialty seating, stools, lo unges, and
bleachers. Tables can be full round, partial round or crescent. Seating configuratio ns
include theatre, clamshell, classroom and banquet sin ing
• Rigging is used for hanging equipment with aim to ensure safety such that they do not
fall for which support is provided
• Lightening has two key elements of conside ration and they are intensity and texture.
Together they give the impact to an event aspect ratio, resolut io n, and video compression.
Projection can be done using LCD or OLP projectors. DLPs are more efficie nt but very
expensive.
• Audio production needs considerations of the key parts of the sound syste m that include
inputs, mixers, and outputs.
• Mies are the input devices and they can be wireless or with wired. Wireless mies give
freedom of movement to speaker but can cause interferences
• Clus ter speakers and line array speakers are the two types of speakers. Cluster speaker is
more common but need delayed array for larger events. Line array speakers are more
precise and can be controlled using computer software.
• Events are made to look special with effects for which a number of provisions are
available such as fog and smoke creators, laser lights, streamers and confetti' s.
 f=>..t Study Questions
Consider the following questions as you read through the unit.

Q I Fill in the blanks

I. Hosting a successful event requires and planning and implementation.

a. Strategic, tactfu l b. less, more

c. intensive, upfront d. up, down

2. isasmall stage section located in front of the proscenium arch.

a. Proscenium b. Arena

C. Thmst d. Apron

3. stage is a kind of stage where audiences gather on three sides of the playing stage
to watch theatrical productions.
a. Proscenium b. Arena

C. Thmst d. Apron

4. involves raising equipment and people to a height above the ground.

a. Rigging b. Audio Video

c. Projection d. Streamers

5. arlke travelling electromagnetic waves that make theanalogue videos.

a. Audio Signals b. Travel Signals

c. Speakers d. Video Signals

(Answer: 1 - a, 2 - d, 3 - c, 4 - a, 5 - d)

Q II True or False
I. Producers should be fully aware of all restrictions on decor and of all potential risks by
thoroughly reviewing the event decor plan with the designer.
2. Many times, the venue itself provides a stage which is called wood staging.
3. Arena Staging is a small stage section located in front of the proscenium arch.
4. Bleachers used for outdoor events are typically lightweight, aluminum portable units that
are foldable.
5. Rigging involves raising equipment and people to a heigh t above the ground.

(Answer: 1 - True, 2 - False, 3 - False, 4 - T rue, 5 - True)

Q Ill Short answer type

I. Write a brief on decor considerations needed before the event starts.

2. How is apron staging different from proscenium staging?
3. Explain parts of a stage.
4. List and explain the types of chairs and tables needed in an event.
5. What do you mean by ' Rigging'?
6. List the items that can be rigged in an event
7. Write a brief on 'Trussing' .
8. Outline the objectives of event lighting.
9. Write a brief on 'Video and Projection' in events.
10. What are the types of speakers used in an event?

Q IV Long answer type

I. Explain what are the setupconsiderations for decor before and after the event?
2. Elaborateon why seating is an important part of an event. List the types of chairs and
tables used in an event.
3. Write a brief on:
a. House Decking
b. Wood staging
c. Metal Scaffold stages
d. Acrylic and Speciality Stage
4. While choosing a type of stage, what are the various elementsyou should look for in your
decision?
5. Discuss different types of staging configurations and which would be most appropriate for
a musical event?
6. Elaborateon the concept of Rigging. Cite an example.
7. When does an event need Rigging? What are the things that can be rigged?
8. List and explain the different rigging equipment's used in an event.
9. Write a brief on:
a. Digital vs Analogue videos
b. Aspect ratio and resolution
c. Digital video compression
10. Explain the different types of special effects used at an event.
 EVENT RESOURCE MANAGEMENT I

REFERENCES
• Matthews, D. (2013). Special event production.
• McDona,ld K. (2017). The 7 Stages of Highly Effective Event Management &
Production
:
• Best Practices, Policies a11d Procedures/or Co,porate Event Managers. lulu.com.
• Sonder, M. (2004). The complete guide to eve11t entertainme11t a11d production. New
York. Wiley.
• Schreer, 0., Niamut, ,0 Ruiz- 1. , Shirley, B., Thalli11ger, G. a11d
Macq,,J. . Hidal,go
Thomas, G. (2014). Media producti,o11 delive,y, and i11teraction for platform
indepe11dent systems . West Sussex, United Kingdom: Joh11 Wiley & Sons.
• Sauter, W (2000). The theatrical event. Iowa City: University of Iowa Press.

100
EVENT RESOURCE MANAGEMENT

UNIT - Ill

Logistics in
Events Production
 EVENT RESOURCE MANAGEMENT I
0 Unit Description

The logis tics for each event varies with the events nature. Each event has its own sub set of
logistical requirements, tasks and operatio nal processes - including in and out of furniture, set
props and styling items, seating arrangements, linen, decor, centre pieces and the list can go
on. The bigger the event, the more logistics. The more public the event, again, the more
logistics to be considered. It is therefore important to work out logistics through the realities
of the physical site, budget constraints and the concerns of all suppliers, to deliver a smooth
event which can over exceed client's expectation.s

This chapter embarks on a journey of logistica l processes involved in event resource

management. It divides event log ist ics intocustomer-oriented system, supplier-orie nted system
and communic atio nssystem. Eachof these systems arecovered in detail which would
giveyou great insights on how logistics is managed in an event.

Learning outcomes
At the end of this chapter the student should be able to. ...

• Gain insights into tacklinglogisticsin largeevents through customer-orie nted,

supplier- oriented andcommunica tio n systems
• Understandthe logic for accommodating home office visits
• Learn the different types of banquetroom set-ups
• Identify the important pointers that will help in making the right decisions for
catering.
• Learn about the various seatingoptionsand how to create a seating plan for your
event
• Identify the potentia l hazards and distractions in an event
• Look into the checklist for accommodatingguests with disabilitiesin events

102
 EVENT RESOURCE MANAGEMENT I
Logistics for Large Events

Bringing a carefully planned event together,

large or small, public or private, involves a
number of challenges , and a great deal of
patie nce. However, when things change at the
last minute, one can find oneself in foll-blown
crisis management mode.

There's nothing quite like the size and scope of an event of that nature to get one's logistical
solution. It includes the final event, held in a sepa rate venue when very large number of
spectators and guest are present to vie w the event.

Logistics planning is important and so is an alternative plan and being willing to shift gears
very quickly if necessary and to learn to be able to move your plans in a different direction
when your circumstances call for it. The magnanimity of large events includes size, locatio n ,
pu rpose, audience, and duration. There is no one size that fits all logistics solution that can be
used for largeevents and thus, the plan for managing logistics must be made very thoroughly.
This involves effective team work and use of their skills for delivering the event. Big events
would involve a large number of people who would be working for the event.

Tackling Basic Logistics for Large Events

A big event would not just need more

people to execute activities but would
also have more pressure to create a
wow effect at a large level with
... Customer Oriented
System

interaction of fun and learning Supplier Oriented

activities. System

Commun1cat1ons
Logistics is about moving goods, System
equ ipment and people. Logistics in
large events makes a huge system in
itself which also has some sub-systems
or components that include: Figure 3.1 Subsystems of logistics

A. Customer oriented syste m

B. Supplier oriented system
C. Co mmunications system.

103
1 Customer Oriented System

Customer oriented system deals with issues of accessibility, queuing, parking, information,
crowd management, comfort and safety of customers during event. Handling the above issues
would enable effective customer logistics management which is a prerequisite of large event
to be successful. Let us look into these issues as under: -

Customer I. Accessibility
Oriented
System
2. Queuing

3. Parking

4. Information

5. Crowd Management

6. Comfort

7. Safety of Customers

1. Accessibility

When addressing logistics need of a large event, some practical

conside rations have to be made related to the transportation ,
parking facilities , and accessibility of the event for the
handicapped.

Let us conside r some important steps to be adhered to by event

organisers: -
• For audio-visual accessibility it should be kept in mind that
excessive sound is extremely painfi.tl and debi litating for people using assistive hearing
aids. There should be facility for hearing aid if induction loop is not provided.
• For ramp accessibility if a stage is being used for presentations and ii does not have
ramped access then a temporary ramp shouId be installed.
• For buffet accessibility if a self-service buffet is offered, a server assist should be
provided for bringing food directly to their table for wheelchair users or mobility
impaired people.
 • Seats to be reserved for hearing impaired to be near the interpreters, captionis ts, note
takers, vision impaired, sign interpreters, wheelchairs and motorised scoote r users,
people accompanied by guide.
• Dimming lights causes problems for those with sight impairments and for the hearing
impaired it may make lip reading impossible. A reasonable adjustment that could be
made to reduce lighting without dimming lights may be as simple as closing curtains
and keeping on a number of room lights.

2. Queuing

Queuing is the first as well as the last part of the event. An event manager has to
calculate the queuing capacity for the event attendees and make decisions on the
layout to adjust this capacity to the need of the event.

When are queues formed in large events?

• Queues are formed by spectators for purchasing tickets, parking vehicles , taking food,
using toilets, seating, and to exit from the event site.
• Queuing also involves programs on TV screens, music that is played and performers
or entertainers who would take part in the event production.
• In sports events, team formation and management in the stadium.
• Events also have separate queues for the entry of VIP or premium guests.
• There is also a communication queue that includes phone calls and internet pages.

Strategies for managing queues in event

For managing queues of people, several strategies can be used in suc h a way that the
experience of people in the queue can be improved.

• Elimination of the empty time spent by people in the queue.

• First come first served is the most common strategy used by companies for managing
queues.
• Queuing systems are often designed based on queuing psychology. Several companies
have made changes in their standard queuing systems based on the queuing
psychology to make improvements in lines.
• The o bjectives of the queuing sys tem include maximization of profits, reduction of
costs, improving comfort of people, elimination of congestio n , and reduction of
waiting.
• Reductio n in the waiting lime is most important for customers. Researches have
proved that customers perceive waiting as 25% longer than actual. Any waiting time
exceeding 6 minut es is co nsi d ered as the brea ki ng point for the customer and at his point,
most customers would decide to quit the queue. Considering this psychology of
customers, it is essential for an event organization to work on reduction of the
queuing lime to less than 6 minutes especially at the ticketing counter. When patrons
are put into a long line, their normal reactions could be balking when the person
decides leaving the queue, reneging when the customer loses patience, or jockeying
when the person would shift the line in case multiple lines are available.

Figure 3.2 Portable Post and Retractable Belt Line Management

• ,i siOIUIOIUXlla

• Many events can have single line queuing which increases the speed of patron's flow
by 30% as compared to multiple line queues. This also reduces the walk away of
patrons by up to 96%. This strategy is based on the first come first served philosophy.
In this single line q ue ue, visual and audio messages can be displayed to keep the
patrons mentally engaged so that they have least idle lime and thus, would be less
frustrated.
• Linear queuing system is the most common way to manage queuing of people or other
things like faciliti es. A linear queuing syste m is most commonly used for audio or
video displays at an event.

• Events can also make use of some of the standard queuing systems to help them
achieve goals of a good queuing system as well as reduce the waiting and idle time of
the customer. A portable and retractable belt line system is one such system in which
is most popular with trade shows.
 • There can also be other alternat ives to the belt system
such as traditional roping which allows entry fonn
either side, signage's attached to posts marking
entrances and exits for directing patrons, turnstiles for
controlling entry by restricting one entry at a lime, and
crowd control barricades that are often used in sports
events, outdoor
concerts, parades and rallies at the entrance.
• A belt system can come with several options that can
be chosen for an event based on different factors like
quality, size, safety, and variations. Belt systems
have posts that are made of single tube of steel,
chrome, or brass supported by a base. The aim
shouId remain to choose a post with a strong base,
but which is not too bulky. A balance has to be
achieved
between the strength of the post, its weight, appearance, and durability such that the
queues can move fast and at the same time, ii also blends well with theevent
ambience. Belts are often chosen to fit in the environment. A longer belt would mean
there would be less number of posts needed. Belts are often used for a dual purpose
that includes organizing and branding when advertisements are painted on the belts.
The belt system has a retractable mechanism that can last for more than 250,000
cycles. Belt systems come with variations like barrier options for indoor line
management, wall mounting and outdoor post UPVC that can handle weather
pressures.

Example I

Dis ney's Unique Queues

Probably the most disliked thing about Disneyland is the queuing for rides. Disneyland is
famous for it! While queuing at Disneyland is not the reason anyone visit's Disneyland,
however, they have mastered the art and do it better than anyone else.

Themed & decorated

Some attractions line up areas are so well decorated that they become part of the
attractions and are genuinely exciting to stand it. All designed to make your wait Jes
tedious

'Wiggly' lines
By curving the line-up area around multiple corners makes it psychologically shorter. You
can't see the end of the line meaning you don't know how far you really have to travel and
by the time you figure it out you're there! Sound's mean, but it works!

Fast moving
Lines move quickly due to their well organised dispatch method in the loading area of
each attraction . This means you don't stand in the one spot without moving forward
usually for any more than 20 seconds. Unlike a large grocery store line.
3. Parking

The parking capacity can create significant

I differences in the traffic depending on the available

space for travel and parking in the vicinity and the
capacity of the event venue for accommodating the
patrons. Lack of parking capacity can become major
constraints in case multiple events are being conducted
in a small space or temporary venues are made without
defined capacitie s. However, if there are specia l circu
mstances found during the time of theevent then the
pressure on
the parking lot can be reduced. Limited road capacity and limitedparking are the two primary
logistical concerns of large events.

\Vhy effective parking arrangement is required in large events?

• The travel demand at the venue has to be predicted for the event to determine the
capac ity need for the roadway system and the parking facility.
• Travel management policies are usually put in place by event organizations which
provide insig hts into travel behavior and choices of people coming to the venue of the
event such that appropriate parking capacity and arrangements can be decided.
• For large events, there may also be some law enforcement agencies involved in
development and execution of a traffic management plan, control of the traffic,
maintenance of secur ity, impose traffic and parking restrictio ns , escort the dignitaries
and enforce traffic agency requirements at the time of the event.
• A comparison is usually made between background traffic and the traffic generated by
the event according to which constraints may be put on the regular traffic or roadways
for the duration of theevent. In case, such restrictions cannot be put then it wouldaffect
the traffic and parking management plan of the event venue.
• Normally, venues like stadiums and arenas that are fixed, parking areas are already
constructed with high capacities and the freeways are made availab le from the streets
for easy commuting for event participants or patrons. However, venues that have
temporary structures constructed only for the event would lack such features and thus,
a detailed parking plan with site access details have to be made. This is made
considering estimated guest count, number of V[Ps, advance ticket holders, patrons
with reserved parking, and patrons needing assistance.
• While planning a capacity requirement for the parking space, an event planner
must have considerationsof the background parking availability, background traffic,
and the expected parking numbers required by the event visitors.
• However, despite the strong measures and considerations of circumstances, there can
still occur some unforeseen events that can affect the traffic and cause congestion
during the event. For instance, in case of a heavy rain, unpaved parking areas can get
flooded and the road giving access to the venue can get severely affected reducing the
road and site capacity.
 4. Information

An integrated logistics system may be created involving multiple business processes

including monitoring, notification, simulation , co ntrolling a nd measurement of activities.
Logistics event Management (LEM) is a concept that can be used as a solution for event
management for managing real lime logistics.

Logistical problems can be faced because of un foreseen circumstances and the logistics
planners have to be alert about such situations and should be able toassess situation to
cope up with it. These problems can happen in any of the logistics processes including
transportation, shipment, and storage. To have an effective supply chain in events, the
flow of goods from suppliers to event producers should be continuous.

Let us understand the importance of monitoring, notification, simulation, controlling and

measurement of activities in large events as follows: -

Supply Chain Event Management

Planned
Ex-Post
Continuous
Activity UnplannedEvent Activities
Activity

t' ! : -
PI.M\ned

. . . . .. .
ob j e ( u
o
a nd
f dt srup, ion Stlection of aetionby ewftlOwntr

Target.ind
current state
&act to
Trackins/ lmpactoo sequential processes
steac.tv•state Patterns
lrKina Trends
AlternaWes
Potential
s

Figure 3.6 Logistical real-time data

ru: lhi:IIQ 1111<idrb •9fl ·" .lu.hu-om

• Logistics syste ms can be monitored by an event organization which involves tracking

systems. This monitoring can help identify deficits in the syste ms. The infonn ation
that is obtained from tracking can be shared across the supply chain.
• Some event companies make use of the software systems that can be used for sharing
infonnation in the real time. This infonnation can be used to take importantdecisions.
Real lime logis tic al dat a re volves around three components of logistics that include
monitoring, logis ti cs , and warning systems.
 • An integrated logistics sys tem may be created involving multiple business processes
including monitor ing, notification, simulatio n, co n trolling and measurement of
activities. Logistics e vent Management (LEM) is a concept that can be used as a
solution for event management for managing real lime logistics.
• During monitoring, notification, and stimulating phases, the data is exchanged on
logistics a nd the focus remains on logistical issues.
• The notification phase of logistical supply chain consists of collection, documentation,
and analysis of da ta.
• Notification which is the second phase of logistics involves documentatio n of the risk
data, its sta111. s, and possible risks with names of those who should be notified
in the case of their occurrence.

5. Crowd management

An event organizer needs to manage the

crowd that is generated because of the
event. ln large events, an event organizer
normally hires a crowd manager per
250 people attending the event.

The responsibilitiesof the crowd manager

include:
• Keeping the aisles clear with no
seating or standing allowed in exists or egress paths.
• Do not let venue crowd exceed the maximum legal limit for occupancy.
• Keeping exits clear and without obstructions such that evacuation can be handled
anytime.
• Make an announcement for informing audie nce of exit points before starting of the
event.

\Vhat is effective crowd management?

• For proper crowd management, it is essential that the needs of the crowd are already
considered while planning seating. ln venues with fixed seating arrangements, the
seating must only be allowed at the seating places and they should need the
maximum legal capacity.
• Sitting or standing in the aisles must be prohibited. Differentsituations in the event
may demand different crowd control strategies to be used. For instance, when
maximum limit for occupancy is reached, the crowd manager must restrict any new
entries in the event venue.
• Ticketscan be distributed at the door itself in numbers equal to the empty seats.
 • Common strategies that are used for crowd management at the event include placement
of barriers for control]ing queues, hiringa third-party security to manage crowd, and
creating an emergency plan for evacuation.
• If the crowd is not managed properly and sufficiently, disasters like stampede, fire
havoe, and accidents can happen.
• There can be various causes behind these crowd disasters such as stmctural collapses
of barricades or other temporary structmes, absence of emergency points for exit,
breaking of fire in makeshift, non-availability of fire extinguisher, electricity failure,
lack of control over crowd, lack of partitions, collision in flows, anger in crowd,
underemployed security, lack of adequate briefing, planning, road opening, metal
detectors, CCTV surveillance, lack of coordination, and anti-sabotagechecking.
• While planning for crowd management, some important aspects about the event have
to be seen and these include understanding of audience and stakeholders, crowd
management strategies, risks, information management, safety, emergency plans,
transportation and traffic management.

6. Understanding Event visitors

Event visitors can be multifarious depending upon several factors

which an event manager is required to specifically pay attention
to. Let us understand them in details: -
• The type of visitors in an event would depend on the type of
event, season of the time, type of venue, and location.
• Based on this and pastexperience information, anevent manager
can predict the type of crowd that should be expected at the event
as well as the number of similar people who would attend the
So1111:t Con6ndcrro•
event.
• The type of crowd can be identified with specific details of age,
religion, gender, locale, special needs, and more. An event may also have unwanted
visitors like thieves and terrorists that should be kept away from the event venue.
• A crowd management strategy may be formulated by the event manager once the
audience is understood. The key elements of this strategy include capacity planning,
crowd behaviour, crowd control, and stakeholder approach.
• Capacity planningmajorly involves planningof staging and seating. Staging points can
be decided based on factors like event popularity, periodicity, weather conditions, and
local population. At each staging point that an audience passes through, sufficient
facilities including water, food, rest, and hygiene must be included.
• Despite measures, disasters can still happen due to unpredictable happenings. The
causes behind such disasters could be human errors, structural failures, audience
reactions, high attendance, improper arrangements, and human errors. In case of a
disaster happening at an event, certain factors are important to understand the situation
and these include force, information , space, and time.
• Within the crowd, the behaviour of an individual can also affect the behaviour of
the whole crowd at the event. Thus, if a few people in the crowd take an unlawful
action,
 WARNING it can trigger a similar response even in others within the
crowd. For instance, excessive waiting can cause some vis itor s
to climb the fence or break the Iine to go in front which would
affect the other people and can cause them to follow the
actions. In such a case, an immediate action must be taken to
stop them from breaking the rules without taking attention of
NO CLIMBING
KEEP OUT the whole crowd.
• The information on which the crowd would respond
to during the even can either be tme or false. The space where
the disaster has occurred can be the seating area, corrido rs,
doors ,
lifts, ramps or chairs. Time when the disaster happens in a crowd could beeither
during egress or during egress from the event venue. Cmshing, trampling, and
suffocation in the event can even cause dea ths during the crowd disaster.
• Considering the high level of risks involved with the crowd disaster situations, it is
wise to control the crowd such that such a situation is not faced.
• A typical strategy that can be used for controlling the crowd involves controlling
inflow, regulating crowd, and controlling the outflow. To be able to control the inflow
of the crowd, a crowd manager needs to know the patterns of arrival, types of visitors,
arrival limes, advance registrations, and transportation timetables. The crowd manager
needs to understand both supply and demand situations.
• For understanding the supply of the event, the capacity of the venue and holding areas
has to be understood.
• Crowding mostly happens when the demand for seating is more than the supply of the
same.
• With speed, often, the crowding problem can be taken care in advance.
• Some steps can be taken to reduce risks such as peak time details, VIP queues,
promoting a type of transport, making adjustments

7. Comfort and safety

Waiti ng in a large event that is crowded is next to impossible so the best way to deal with
such a situation is by making the waiting less tenuous for the people. Thus, while managing
the crowd, it is essential to make the facilities comfortable for the crowd in the waiting situat
ion.

Following methods can be used for managing the crowd to make them most comfortable
possible during waiting:
• Determine the waiting time required for the customers or audience
• Install the directions in suc h a way that they also entertain the people waiting in queues
• Keep serving the audience in the waiting lines
• Monitor the waiting crowd so that if there are any problems faced by them, the crowd
management staff can immediately work to resolve it.
 • Control Points

I
Release Control •

Release control

Figur e 3.7 Mechanism for managing crowd

\Vhat is the role of Event Manager in ensuring comfort and safety in large events?

• For managing the safety of the crowd, ii is essential that roles of all the people in
managing the crowd are clearly understood.
• Moreover, assistance can also be taken from others to help in managing safe ty such as
venue owners, transporta tio n operato rs, management from a nearby public places,
service prov iders at the event, and local residents or representatives. When the crowd
manager liaisons with these parties, achieving safety for the crowd becomes easier.
• The event management team must remain prepared for handling any emergencies that
affect the safety of the individuals attending the event.
• Emergency procedures are usually developed consider ing the risks that may occur so
that the staffcan immediately act according to them in the cases of
emergenciesarising in the event. Some procedures can also be taken from the
available standards in the industry. For instance, in case of the terrorist attack, a
standard procedure recommended is to run, hide, and call the police.
• The emergency plan developed has to be shared with other supporting
securityservice providers including police, fire and rescue services, emergency
services, ambulance services, and venue managers. While developing an
emergency plan, some basic requirements have to be consid er ed including:

► People should be taken away from danger

► Assistance to be provided to the emergency services
► Ca usalities ha ve to be handled
► Deal with the people displaced but not injured
► Liaison with the emergency services to handle major issues
► Protect the event properties
 EVENT RESOURCE MANAGEMENT I
Common emergency procedures used in the event location include:

► Alarms andpublic announcements

► O n site emergency response systems such as fire extinguis hers
► S ummoningof emergency services
► Evacuation of weak anddisabled
► Incide nt control
► First aid a nd medica l assistance
► Traffic management during emergencies
► Crowd management
A Crowd Event Timeline

1_Event in g
Before Event During Event

Crowd
Manageme nt Crowd Con trol
or R ol Control)
I
n
Always Happe I
..
: M ay Happen

Figure 3.1 Crowd management \'ersus crowd cnntroVriot control

Souict: R:,ie .lld

The design and strategies of crowd management vary from event to event. Crowd
management is all aboutsupportingthe crowd and helping themstay as comfortable as
possible. ln extreme situations(Figure 3.1), the police steps in for crowd control which
isalso termed as riot control. Even during crowd control, whenthe police is dealing
withsome mobs in one area of the event, crowd managers have to manage the rest of the
crowd. Crowd management is persistent throughout the event.
 EVENT RESOURCE MANAGEMENT I
Case Study 1

Crowd safety: The Hajj

Muslims consider pilgrimage to the holy city of Mecca, Saudi Arabia - known as the Hajj
- as the most significant demonstration of their faith and unity. ln December 2008, as the
world's largest annual pilgrimage, the Hajj attracted two and a half million people.

The pilgrimage traditionally ends with the ' Stoning of the Devil' ceremony at Mina. As
all pilgrim' s endeavour to attend this part of the festival, all pass through a small area,
which has caused major crowd safety implicatio ns. Most people try to cast their stones
after the lunchtime prayers, which has resulted in fatal stampedes in the past. The most
recent, in 2006, Jed to the deaths of 362 people. After this tragedy, the Saudi Arabia n
go vernment took steps to manage crowds at this crucial point in order to reduce the risk
of future fatalities. Their plan included the construction of a further two levels, resulting
in a total of three balconies from which pilgrims could throw their stones, enabling freer
and faster passage. Tens of thousands of personnel were hired to promote safety and
provide stewarding and safety-related services to attendees. Hundreds of closed-circu it
televis io n cameras were installed along the route to monitor crowd movement, allowing
the timely correction of bottlenecks of pilgr ims as soon as they arose, and to enable
stewards to clear groups of people as they gathered.

In addition to improving safety at the ' Stoning of the Devil' ceremony, the organizers
have focused on the health of attendees. Over forty ambulances are now on hand to attend
to victims of heatstroke, those experiencing breathing problems due to overcrowding and
poor ventilation, and those who have been hit by rebounding stones. Cooling equipment
has been installed inside the galleries on eac h balcony to maintain air circulation and
reduce the temperature.

These modem measures, designed to reduce the risk of death and injury, were
implemented in order to bring one of the world's oldest festivals into line with both
health, safety and welfare legislation and the progressive practices of the modem,
international events industry. Impressively, the organizers have achieved this without
losing the essence of a creative and exciting event.

Questions:

I. D o yo u think the measures taken by the

government were sufficient in handling crowd
during Hajj?
2. ln your opinion, what steps can be taken
further in handling crowd at such a mass
scale?

106
 2 Supplier Oriented System

Supplier oriented system requires supply of products and facilities to the event site. Event
managers and planners are required to coordinate with suppliers to manage and track in real
time the delivery of products and services in the supply chain.

Supplier oriented system deals with the following: -

Supplier I. Utilities
Oriented
System
2. Infrastructure

3. Food and Beverages

4. Technical Services

1. Utilities

Beingcomforta ble creates a permanent impression

-0-...:. -
in the minds of event attendees. For this, adequate
sanitary facilities must be provided, no matter
where the event is held. For outdoor events - and
even large indoor ones - portable toilets may be
rented on a short-term basis where sewer
connected sanita tion and water are not readily
available. It is often the responsib ility of the
event producer to estimate toilet needs and to
make
arrangements for their delivery, placement, and servicing.

ln this section the keys to the successful incorporation of portable toilets into an event are
discussed

• Correc t estimation of the number of units needed:

► When estimating the number of units required at an event, consideration be g

iven to the duration of the event, the perceived consumption of food and
beverages
(particularly alcohol) by the audience, timing of breaks in enterta inment
performances, provision for ch ildren or elderly who may take longer to use a
facility, and weather conditionsand temperature.
 ► In addition, the ratio of women to men is essential to correctly estimate
numbers. In addition to the number of toilet un its, hand wash stations should be
provided in the ratio of approximately 20 percent of the total number of toilets
(i.e. for I00
toile ts, 20 hand wash stations are needed).
► Fe male toilets increase at the rate of one per I00 fe males with alcohol, or one per
200 without alcohol. Male toilets increase at the rate of three per 500 males with
alcohol, or three per I000 without alcohol.
► Event workers and employees must have their own dedicated facilities that should
be located near work areas, specifically backstage, near the mixer tower, next to
catering areas and car parks, and near first aid and children's areas.
► Toilets with hot and cold hand-washing facilities should be provided for food
handlers.

• Correct location of the units:

► Where possible, toilets should be located at different points around the event
site to minimize crowding and queuing problems.
► Attention should be given to accessibility for servicing and emptying. This may
include temporary roadways and dedicated access routes, subject to the site layout
• Regular servicing schedule of toilets should be provided. A pre-agreed schedule
for sanitizing should be agreed upon with the facility manager.

2. Infrastructure

For outdoorevents, there is one final technical area that occasionally falls under thesupervision
of the event resource manager and that is temporary structures (other than tents and stages that
have already been discussed). For this section, we will reserve discussion to:

1. Scaffolding
11. Bleachers
111. Fencing or barricades
1v. Portable toilets used at events

By definition, the term demountable structures are often used in conjunction with temporary
structures, particularly sectionalized ones that can be assembled and disassembled easily and
quickly for portability (e.g. stages, tents, fencing, scaffolding, box truss arrangements, and
bleachers).
 Sc af folding
► Although the tenn is used in other
co ntexts, scaffolding in our industry is a
temporary framework used tosupport people
and equipment such as audio speakers,
luminaires, special effects, perfonners, and
technical crew as part of the operation of a
special event.

► Constr uct: Scaffo lding is usually a modularsystem of metal pipesand wooden boards,
although ii can be made out of other materials. Pipes are either stee l or aluminum. If
steel they are either black or galvanized. The pipes come in a variety of lengths and a
standard diameter of 1.90 in. or 4S.3 mm. Couplers are the fittings that hold the pipes
together. Boards provide a working surface for users of the scaffold. They are made of
seasoned wood and come in various thicknesses and widths. As well as boards for the
working platform, there are sole boards that are placed beneath the scaffolding if the
surface is soft or otherwise suspect.

Components of
Scaffoldin Toprail
,If closing drop bar
False upnaht ' M1d rai l

Scaffold Plank,
Transom •
Lona1tud1nal Bracing•
Coupler

Transver Bracing 0

► The key component of a scaffold are standards, ledgers, and transoms.

The standards, alsocalled uprights, are the vertical pipes that transfer the weight of
theentire
mass of the structure to the ground where they rest on a square base plate to spread the
load. The base plate has a shank in its center to hold the pipe and is sometimes
pinned to the sole board. Ledgers are horizontal tubes which connect between the
standards. Transoms rest upon the ledgers at righ t ang les. Main transoms are placed
next to the
 s tandards. They hold the standards in place and provide support for boards;
intermediate transoms are those placed between the main transoms to provide extra
support for boards.

► O t h er com mon components include guard rails for safety, ladders for access, and
cross braces to increase rigidity. Cross bracesare often placed diago nally from ledger
to ledger, next to the standards to which they are fitted. If the braces are fitted to the
ledgers, they are called ledger braces. To limit way , a facade brace is fitted to the hcc
of the scaffold at an angle of 35-55 degreesrunning right from the base to the top of the
scaffold and fixed at every level' Figure above shows a fully const ructed scaffold
used to support performers, lighting, and special effects. Note the pipeconstmction,
boards, bracing, and guard rails. Scaffolds may also be covered with custom roofs,
polyvinyl chloride (PVC) panels, or windscreen panels for the sides. A general
safety rule of thumb for freestanding scaffold construction is a maximum 3: I height to
base width ratio .

Bleache rs
► Bl eac hers are used for outdoor
events are typically lightweight,
aluminium portable units that are
foldable.
They are unlike the chair and riser combi
nation that is used indoors.
► Although not completely
consistent with all manufacturers,
portable
bleachers generally have a rise of 8 in. (20 cm), a horizontal depth of 24 in. (60cm),
and seats have a rise above the tread of I7in. (43cm). Seat sizes are 1.5 to 2.0 in. X 9.5
to 10.0 in. (3.75 to 5 cm x 24 to 25 cm), all usually constructed of anodized aluminum
with en d caps. Guardrails are usually anodized pipe, 1.5 to 1.675 in. (3.75 to 4.2 cm)
diameter and 42 in. (106 cm) high.These are normally fitted to the backs, sides, stairs,
and fronts of bleacher sections. Sections also come in more or less standard sizes of 3,
5, 10, and 15 row x 15 ft (4.5 m) sections, elevated or non-elevated, with various
guardrail optio ns.
 Fe ncing and Barri ers

► For special events,

fencing and barriers are
generally utilized for
crowd control. Crowd
control fencing, and
barriers come in many
designs that fit into three
main categories.
► The first category is a low height, low strength, attractive sectiona l design typically
used within an event space to delineate exhibits, ticketed sub-events, VIP areas, and
such.
► The second category of crowd control fence is a higher more durable design, used
primarily as event perimeter fencing. This type is constrncted of welded steel mesh and
steel tubing of varying designs.
► Originally designed in Europe, the third category is often called a barrier and is used
for heavy-duty crowd control typically at outdoor rock concerts in front of a stage
► For fencing and barriers, there are no current known specific safety ordesign
standards, although most fencing is manufactured using approved steel or aluminium
► products.
For larger crowds, wave breakers are combined with splittingup the crowd by creating
'cages' for smaller numbers of people. However, it is important to calculate the
angles of the barrier correctly so that no audience member gets trapped in a dead-end
against the barrier.

Portable toilets used in events

► Ensuring the right number of portable toilets for
invitees and guests is arguably the most important part
when planningan event - if the units fall sho rt then
you' ll soon know about ii as disgrnnlled guests take to
social media to vent their anger at having to queue for
too long to use the facilities!

How ma ny toilets do you need for an event?

The question of how many portable toilets, what kind,

and where to put them is always a conce rn, particu larly for large outdoor events. The keys to
the successful incorporation of portable toilets into an event are as follows:

Correc t estimation of the number of units needed: When estimating the number of
units required at an event, consideration be given to the duration of the event, the
perceived consumption of food and beverages (particularly alcohol) by the audience,
timing of breaks in entertainment performances, provision for children or elderly who
 make take longerto use a facility, and weather conditions and temperature. ln additio n,
the ratio of women to men is essential to correctly estimating numbers. ln addition to
the number of toilet units, hand wash stations should be provided in the ratio of
approximately 20% of the total number of toilets (i.e. for I00 toi lets, 20 hand wash
stations are needed).

As a general rule if an event lasts no longer than 4 hours, and no food or alcohol is
served you should provide I porta b le toilet unit for every I00 female guests expected
and another for every 500 men, plus and an additional port able urinal unit for every
150 men.

Here is a general chart to determine the number of portable toilet units needed for an event.

Portable Toilets Chart

Lengt h of Event (Hours)
No.
People 1 2 3 4 5 6 7 8 9 10
so 1 1 1 1 2 2 2 2 2 2
100 2 2 2 2 3 3 3 3 3 4
250 2 2 3 3 3 4 4 6 6 8
500 3 4 5 5 5 6 6 7 7 8
1000 5 7 8 8 9 9 10 10 12 12
2000 8 13 15 17 18 19 19 19 20 20
3000 12 19 23 25 28 28 28 30 30 30
4000 16 24 30 34 36 38 38 38 38 38
5000 19 32 38 42 44 46 46 48 48 48
6000 23 38 46 so 54 57 57 60 60 60
7000 28 42 54 60 63 66 66 66 66 66
8000 32 48 60 66 72 72 75 78 78 78
10000 38 60 75 84 88 92 96 96 96 100

Belowis a listof questions and other factors to be taken into account before you decide on your
final numbers.

Will alcohol be served? - If alcohol is being served at your event, you should
increase the portable toilet units by 15-20% .

Are there any additional permanently built restrooms available on site? - Any
available on-site or permanently built restrooms on the event property should be
considered based upon the number of people these facilities are designed to
accommodate.
 How large is the event space? - If event space is a problem for a large quantity of
portables, then perhaps an alternative to reducing the number of portables is an
increase in the service/cleaningof the portables during the day of the event. If the
units are serviced twice during each day of the event, you can cut the number
required in half. If the portable restrooms are serviced three limes in a day, you can cut
ii to a third. At a minimum, units should be cleaned and checked for supply
replenishment (e.g. toilet paper) at two-hour intervals, and a plumber should at least
be on call for short events and on site for longer events.

Where will the unit be located? - Where possible, toilets should be locatedat
different points around the event site to minimize crowding and queuing problems.
Attention should be given toaccessibility for servicingand emptying. This may
include temporary roadways and dedicated access routes, subject to the site layout.

3. Food & Beverage

Food and beverages are important for the visitor experience and they are the major
source of income for events. The supply facilities range from elegant food service
establishments with entertainmentand gourmet cuisine to simply barsand beverage carts.
In addition, food and beverages include restaurant, snackcarts, and cafeterias.

4. Technical services

Technical Services will include looking into electrical power, rigging and tmssing
requirements for an event. These are critical things and technic ians need to work
meticulouslybehind the scenes to make everything function smoothly. Let us
understand these resources in detail: -

a. Electrica l power

Virtually everything at a special

event nowadays
requires electrictiy, from audio
and lighting systems to
catering hot plates. Ensuring
that adequate power isavailable
for theevent is usually one of
the duties of the
producer. Although calculating theexact power required for all suppLie rs is not part of these
duties, the producer shouldunderstand generally how to calculate the electricalpower required
and what the consequences may be if it is not available. In this section, we will therefore
examine how to calculateelectrical service requirements, how electrical distnbution works, when
portable power must be used, and finally safety cons iderationsfor working with electrical power.

Determining Electrical Ser vice Requirements

Determining correct electrical seivice requires matching the power draws of the special event
equipment (e.g. lighting, audio, A-V)with the poweravailable in a given venueor at an event
site. Power is distributed to large venues such as hotels, arenas, and conventio n centers in what is
commonly referred toas single-phaseor three-phasealternating current (AC).This power is
usually available from venues in several optional 'packages.' Each of these packages is defined
by the voltage or electromotive force (E), the amperage orelectrical current (I), and the power
(P). Note that'P'can refer toeither the power available from the venue orthe
powerconsumedby equipment The key isto match the two and allow for a safety factor. The
relationshipamongst these variables is given by a derivative of Ohm's law for AC, namely: if a
calculation for the amperage is sought, oralternatively,

P = I x Ex PF

if a calculationfor power draw in watts is sought, where PF is the power factor. This is a number
less than one thatdefine,sin an AC circuit, the real powercompared to the apparent power.
Simply put, ii reflects the fact that due to the way that AC works, the power that a device sees is
less than the power that comes into the circuit, and ii is device dependent. Typically, for
devices such as lights, this factor is in the order of 0.80 and this is a commonly used number.
For purposes of simplicity only, this may beconsideredour safety factor.The above formula
works for single-phase power, and here we need to explainthedifferencesbetween single- and
three-phase power. We will be referring to the various electrical terms by their units of
measurement: voltage in volts (V) , amperage in amps (A), and power in watts (W) orkilowatts
(kW) .

Electrical Distribution

Now that the amount of electrical power available isknown, all that is needed is to connect to
the power outlet in the venue using a matching connector and then distribute the necessary
power to all equipment We begin with connection and then move to actual distribution.

Accessing Venue Power

Depending on the amountof power required ascalculated above, thedecision will have to be
made by the equipment supplier(e.g. lighting, audio, A-V) whether single phase will suffice or
whether the load is going to be sogreat and/or the devicessomany that three phases will be
needed.

Once it is determined that the power requirements are very large, suppliers will requesthook-up
to three-phasepower at the venue. Thiscan come in oneof two ways:
 • Pin and sleeve: Pin and sleeve circuJar male
connectors mate directly with female receptacles that
are often present in major hotels and convention
centers for high-power applications. Depending on
the venue, current ratings vary up to about 400 A and
voltage ratings vary up to about 600 V AC. Contact
arrangements are from three to five pins. T he contacts
in the plug are pins and those in the receptacle are
simple cylinders (sleeves). These connectors are
often referred to as 'Blue HubbelP after a manufac
turer, although they come in different colors and
configurations. The object of this connection is to take the house power and output it to
compatible five-wire Cato lock connectors. It is typically the lighting company that will
bring the male pin and sleeve connector to the venue and tie it into the female receptacle.
In essence, the pin and sleeveconnector is really no more than an adaptor.

• \Vall box: This situation

a lso occurs in many venues.
The three-phase power comes
into the venue and is distributed
to wall boxes that have five
terminal lugs inside instead of a
female pin and sleeve
connection. For this type of tie-
in, a qualified electric ian is
required (usually from the
venue), who connects the plugs with the bare wire ends of female Cam lock connectors for
the lighting or audio techs to use. Sometimes, the Cam lock connection has already been
made in the venue. With a wall box situation , it is important to ensure that the correct
voltage and amperage are present, and that all safety precautions are followed due to the
high risk of serio us injury or death. Nobody but a qualified electrician should be allowed
to make these connections.
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T YP I CAL T HR EE - P HASE POWER CONNECTI ON AND D ISTRIBUT ION E QUIPMENT

DistributingThree-Phase Power

Once the tie-i n has been made to the house three-phasepower, connections must be made to
distribution panels or boxes, sometimes also referred to as distro boxes, or in many cases,
directly into a lightingdimmer pack.

The primary connector for accomplishing this is the Cam lockconnector. Cam lock connectors
are attached to theends of the pin and sleevewiring or the direct wall box wiring. Cam
lockconnectors come in three sizes (IOIS, 1016, and 1017). The 1016 size is the most common
with a maximum
 rating of 400 A. Most Cam locks are weatherproof, with their colored rubber boots protecting
innocent fingers when open and fonning a watertight conneciton when connected. ' The colors
correspond to the different functions of the line, and are not arbitrary, as follows: green (ground),
white (neutral), black(phase one), blue (phasetwo), red(phase three).

With the housepower nowgoing intoa distribution panel(ordimmer pack as illustrated), this
power must now be broken down into smaller 50 A circuits ofsingle-phase power for use with
the various lighting, audio, or A-V components(and sometimes musical equipment).That is the
purposeof the distribution panel (or dimmer pack when specifically, for lighting), which will
usually contain a number of different connecitonoptions as well as individual circuit breakers for
each circuit

Portable Power

Whenever an event is held away from one of

the standard event venues such as hotels,
arenas, or convention centers, and particularly
outdoors, there is a high probability that
electrical service will not be readily available.
In these cases, portable generating units must
be brought in. These unitsare typically trailer
towed and take the place of the house power
that would be found indoors, and most come
with at least some power
distribution breakout. They come from various manufacturers and in various sizes that provide
power up to 400 V AC and amperages from 250 to 2400. Most run on diesel fuel and nowadays,
thanks to technological advances driven by the movie industry, are extremelyquiet, allowing
them to be placed fairly close to event guests - but hidden - without fear of too much noise
interference. Two points bear mentioning in the use of portable generators. The first is that fuel
levelsmust be monitored constantly to ensure that fuel does not run out. Some rental companies
actually have global positioning systems (GPS) that enable them to monitor their rental units to
check the fuel status. The second point is that for large events, a backup unit can act as
insurance in case the first onegoesdown, and also to spread the electrical load more evenly.

b. Riggingand Trus. ing

For understanding the concept of ' Rigging and Trussing', pleasecheck-out Unit U,
section 2.4 of this book.

Communications System
 ► Co mmunication system for logistics
consists of equipment, media, and procedures
that
are deployed to take care of coordination for
equipment' s, procedures and capacity
management.
► The p roducer is norma lly the only person
in direct contact with an individu al supplier and
all communica ti o n and contracting goes
through
the produce r.

► Th e orga nizers of the event have to identify the roles and responsibilities of each
and communicate the same to respective individuals.

► T h e event management plan is communicated to all those who are responsible

for the execution of the plan. These can include participants, performers,
volunteers, and
community representatives. Communica tio n can happen using various tools like event
briefs, entry fonns, advertisements, newsletters, websites, signage's, newspaper
artic les , a nd le tt ers to nearby res id e nts.

► Th e team needs to make use of the rig ht co mmunication equipment to coordinate

during the event.

► T ec hnical Director must have a continuous voice - based co mmunication with

operators, lightening direc to rs, a u dio engineers, and Audio-Visual directors. Technical
Director must ensure thatall the technical personnel are conve rsant with all elements of
the show
and are well aware of the contents of the running order.

► F or o rga n iz in g the event, coordinators are required who can take care of the
communicatio n needs of a rti sts, performs and event handle drop outs in the event. An
event coordinator fizzes the event data as well as defined its tenns and conditions.

► A coordinator would need to take care of the requirements of the sound, stage,
sets, lights and seating throughout the event.

► F or e ffective management of an event, tt 1s important that a strong two-way

communication is established between the marshals and stewards of the event.

► S t a ff may also beprovided with ea rpieces while they use their mobile devicesas
events area usually very noisy p laces.
► I n large events, a number of different co mmunicatio n c hannels can be used
from publicity material, ticketing, local media such as radio, route making,
signage's,
screens, infonnatio n disp lays , di rect co ntact and emerge ncy announcements.
 EVENT RESOURCE MANAGEMENT I
Accommodating Home Office Visits

An event is an organized assembling of public for a specific purpose such as a celebration,

reunion, marketing or education.

How can an event planner ensure well managed accommodation in events?

► In events an event planner needs to take care of the guests and performers in different
ways through different provisions like capacity management, office visits,
banquets,
and catering.
► The event site must be able to accommodate guests and performers and ensuring they
feel at ease.
► Guests (unless it is a gala or a high-ticket event) have low expectations, clean
washrooms, adequate parking, proper food, ample sitting arrangements would do the
job.
► The event site must have a separate entrance for guests and performers to avoid any
trouble for the performers.
► If you are calling Media personals, ensure they get their due respect, space to work
from, power connection and internet.
► Accommodating children and people with special needs need to be lookedafter too, as
it can get very difficult to arrange for things if it is not well planned in advance.
► Accommodating people with special needs requires common sense and sensitivity to
their challenges, special needs come in many forms, the best way to know what to
expect is to ask about ii upfront, have an option for people to request for special needs
while the guests book their tickets.
► For big corporate, media or inter government events, an interpreter is required because
not everyone can speak one common language, it can vary from event to event and
audience to audience largely.
► The site and floor plan need to be designed in a way that event accessib ility for specia l
needs guests is taken care of properly.
► Ensure adequate on spot staff for guest arrival, if the entry pass is to be checked, keep
in mind most guests arrive in between 15 - 30 minutes period, have enough number of
staffs for check-in.
► Keep in mind, that guests and performers might be frustrated at times due to the size of
the event, keep your calm and work at the guests requests with a smile on your face.

\Vh y is capacity management required in large events?

► If capacity is not managed properly, unlimitedattendance can occur which can cause
congestions and accidents in nearby areas.
► Also, servicequalities would reduce with increased waiting lime.
► The provisions of water, hospita lity, toilets, and more may not be ava ilable in sufficient
quantities.

II 9
 EVENT RESOURCE MANAGEMENT I
► An event organizer may make use of certain capacity management to avoid such
risks such as ticking for popular activities, creation of gates around popular areas and
use of
appropriate spacing between activities and attractions at the event.
► Crowd manager may be involved to clear any bottlenecks or congestions caused during
the event.
► No go areas can be blocked, onsite security facility can be provided, lighteningcan
be used for hazard prevention, marking of proper exit areas, and crowd stressors
like overcrowding can be avoided as some of the measures of crowd management.
► The supply chain system of the event must be created in such a way that its efficiency
is maximized, costs re minimized, quality is ensured, security is maintained, and the
community is benefited.

Banquet Room Set Up

Social events can be of different types such as weddings, family events, cocktail parties ,
intimate events, and meal tasting events. Social events in a culture have some objectives to
fulfil such as celebration, sharing of rituals, and affirmation of social identities. Such events
usually reflect upon the culture of a nation, but they can also be executed at a large scale where
people from different cultures come together helping countries and people develop
international relations. So, planning a big banquet hall event can be overwhelming. Between
choosing the right catering service and picking appropriate music, the stress that comes with
planning a wedding or large party can be enormous. The good news is, the right preparation
will minimize that stress and make for a wonderful experience for everyone attending

A good planningof an event in a sizeable banquet hall should involve the following: -

• Save the dates circulars: Dates should be sent out about six months before an event like a
wedding. Save the dates are the first step in setting the feel and ambience for the upcoming
event
• Planning for extra people: While it mig ht be in poor taste to attend a party, you were not
invited to, it happens all the time. Expect some guests will bring another person. You don't
have to double the amount of food or chairs, but make sure the proper resources are at hand if
a few extra people show up.
• Weather check: There' s nothing more heart-breakingthan a bride soaking wet from the rain,
so have a contingency plan for when the clouds start rolling in. Arrange indoor seating in the
banquet hall and ensure sound equipment and other technology are protected from pop-up
showers. Guests should have a fabulous time at the event no matter what the weather's like.
• Vendor Quality Check: It can be tempting to use the cheapest vendoror supplier, but there's
probably a reason why their services are offered at a drastica lly low price. Cheaper flowers
are more likely to wilt quickly, and inexpensive food often doesn't taste very good. When
choosing vendors, compare their prices with quality and ask around for recommendations and
reviews.

120
 EVENT RESOURCE MANAGEMENT I
Types of Banquet Room Setups

121
 THEATER Theatre Style The theater style layout is used when the
guests are purely an audience and little or no interaction is
required. It is exce llent for events with a large number of
guests, but not a good selection if food is being served or if the
XXX XXXXXX XXX audience will have to do extensive note taking.
XXX XXX
When setting up for a theatre style there are a number of
variatio ns tha t can be applied to suit the needs of your event
He re are some options:
• Circular rows
• Semi-circ ular rows
• Straig ht rows
• Angled rows towards the events focal point

Some other special features you can implement that can make a difference to your guests
include the following:
• You can offset the rows from one another so that the guests will have a clear view
of the focal point.
• Leave some room between each chair if banquet chairs are being used as these are
typically narrower than the average person's body.
• Allow for a minimum of 24 inches between the rows to make it easier for the guests
to get in and get out of their rows.

You will only be able to implement these features if your venue has adequate space.

U-S hape Seating Layout - A series of conference tables are set

up to create the shape of the letter "U". Thechairs are then placed
on the outside of the "U". This is an excellent style when there

_, are
few guests and they have a focal point such as a screen or TV.
0 This is commonly used for directors' meetings, discussion groups,
0
Cl or other types of committee meetings.
0

"
0 This type of layout is excellent for groups of25 or less and where
note-taking and interaction may be required.

Classroom Style Seati11g - As you can see in the picture, there are rows of conference tables
and the chairs that face one direction towards the front of the room.
••••• ••••••
••••••••••
t!ltl!lllltt•
• •••• • •
•••••
•••••
This seating style got its name because of its popularity in
classrooms and test-taking situations. As a result, it is
excellent for events
notes, receive in which
handouts, or use adevises
personsuch
willasneed to take
a laptop.

• ••·i••·t•·••·•·••·· • • • • •
•••••
• • •• •
·• • i t• ..This is also a good layout if it's a longevent, such as a
•• •• conference, because it allows the individual to have room

·
for refreshments. However, this is not the best layout if

....... . ·
•,••••
• • • • • • • •,
••••••••••....
,••.
!!11!!!!1111•• interaction between guests is required.

•••• Co11fere11ce Style (t1lso referred to as "Boardroom

---t """'t(n--..
Style'? - Given the name, this seating style is used a lot for
board meetings and other committee meetings because it
encourages interaction between the guests.
One table or a set of tables is combined to create one
large table in the midd le of the room with chairsaround the
sides and the ends. This is not a great set-up if
there is a presentation because it can be difficult for the
guests to

have a good view.

iiiiliii

*
Weddi11g Style Often used for weddings or gala dinners, this is
an excellent option when food is being served. The caterers use
round tables throughout the room with chairs around each table.

**
Keep in mind that some ofthe guests will haveto tum their chairs
in order to see the presentation or head table.

*
 Fes tival Seating - This type of event seating allows
attendees to select their own space in an open area. In
these types of events, like open air theaters or music
festivals, there are often no chairs provided or notenough
chairs for the number of guests planning to attend.

Reserved Seating - Here, you can either use a place card

to assign guests'-their seat or you can provide the
guest with a ticket to designate each chair to each of
the participa nts or guests.

Hiring Caterers versus Self Catering

Having the abili ty to enjoy a quality cocktail hour or
meal at an event can be a lifesaver. When at events,
people use food as bonding moments, as the opening
line to tell so meone else about that event, or even
just as an excuse to indulge a little more than usual.
One of the most crucial elements of any event boils
right down to the food. As a culrure, it's something
that we love to talk about, and of course, love to
indulge in, so if you don' t have the right catering for
your event, it's a major red flag.

He re are some important pointers that will help in making the right decisio ns for catering:

1. Consider your personal needs and event size

Whether you are self-catering or hiring caterers for your event; make sure they would be able
to handle the number of people you plan to invite. II is also cmcial to consider what you' ll
need in catering. Sometimes, you may need appetizers and entrees, or just one or both options.
The catering you choose should be able to handle the size of the party, given all the crucial
details up front.
2. Loca tion

Location is crucial. If you have hired an external caterer, consider the location (and the
distance) they will come from to cater your event. If they don't cater events in your area, then
they may have difficulty with the venue. II is important for the caterer to know your venue or
at least have experience with similar venues. Several caterers build out entire kitchens for the
events when on site. If they aren't willing to go that extra mile make sure everything meets
your expectation s.

3. Flexi bilit y

Event planners have the stressful job of preparing for anything that could happen, so it makes
it easier if events are as flexible as possible. This isespecially true when it comes to food.
Some of the visitors might have specific diet requirements in which case, considerations have
to be made while planning the dinner arrangements. A poor-quality serving can create a
negative impact on guests and thus, choice ofright catering with right food quality is
necessary. Whether self-catering or hiring, it is important to be prepared for any last-
minutechanges that might be needed during the serving course.

4. Double-check through sources

The best way to ensure that you have chosen the right catering is to doub le check through your
sources. If you have hired a caterer and heard of that caterer through a see mingly trustworthy
source, make sure to ask around if your friends or colleagues have worked with them. This
also applies if you were recommended through a friend. Be sure to check online sources as
well.

5. Cost

This may seem like an obvious one, but cost is important, especially since catering costs can
be exorbitant. Be sure to weigh your options. There will always be some give and take, but
you don't want to go too low or too high. Weigh in all your expectations, the size of the event,
and type of food you'd like, and then think about what you expect in return.

7. Preparation

If hiring an outside caterer, be sure to ask how the food will be prepared, as well as delivered
if it is being taken care of offsite. This element should also be considered in your event
budget, as well as in your master event limelines. II is a more affordable option to have your
food cooked offsite , but it only works for certain meals. There are limitations to doing this,
but there are also cost- friendly benefits. You can still have a great chef that prepares meals o
ffsite and that work perfectly for you, but make sure you have a firm grasp of how everything
will be done before saying yes.
8. Staff Available
You'II needto havea number of staff available for your event catering. Here's a rough
estimate of whatyou might need:

o Bu ffet - Assume two servers for every thirty guests. For larger groups, you
shouldalso figure two or threeadditional runners to clear dishes and restock
chafing stations.
o Sit Down Dinners - For sit down meals, you shouldassume one server per every two
tables, with additional servers to handle drinks service.
o Bar Staff - Figure on at leastone bartender, and one bar-back, for every fifty guests.
Additional bartenders may be needed if you plan on featuringspecialtydrink
stations.
o Caterers may also have to manage the decor and the AN aspects in the cateringarea to
create the maximum impact on the visitors. A catering manager is normally
representing the catering team which consists of chefs, servers, and other helpers.

9. Provide Tastings

No matter how perfect the description is, no matter how beautiful the pictures are, make
sure your potential caterer provides a tasting, especially if you haven't personally worked with
them before. Finding out that their staff was chock-full of photographers and writers and no
chef the night of the event would be a major disappointment.

10. Detail Oriented

This is a quality that should be expected in any kind of catering. From the aesthetics of the
food to the clauses defined in your event contract, the detai ls are crucia l. Make sure you
have discussed everything in the event contract so there are no surpris es in the end and all
the kinks are worked out prior to your event.

Catering Lingo

Every industry has its jargon. Some catering lingo may be important to understandfor the
event producer so that better terms and provisions can be negotiated with the caterer. These
include:

I. A la carte. A variety of dishes priced individually;

2. A la mode: A dessert topped with ice cream;
3. Amuse-bouche: A bite-sized hors d' oeuvre; literally a "mouth amuser;"
4. Aperitif: A light alcoholic beverage served before dinner to stimulate the appetite;
5. Back of House: Everything your guests do not and shouldnot see; the
equivalent of "backstage;"
6. BEO (banquet event order): The document that outlines the details and serves as a
master plan to execute and communicate logistics to all departments;
7. Bowl Food: Small bowls of food passed among guests during a casua l reception;
8. Canape : Bite-sized appetizers;
9. . Charger: Also known as the under plate, large decorative plates that dress up
the table and mark each diner's place;
I0. Corkage: A fee charged per bottle for opening and serving wine brought in by the
client;
11. Crudite: Raw vegetable appetizers, sliced or whole, for dipping in a sauce;
12. D1y Hire: A venue rented without any labor, assistance, furniture, or delivery
included;
13. Deposit: The amount required up front before the event;
14. Digestif: An alcoholic beverage served after dinner as an aid to digestion;
15. Dueling Menus: A mixed entree, like surf-and-turf;
16. F&B .· Shorthand for food and beverage.
17. Family Style: Service with platters set in the middle of the table so that diners can
help themselves;
18. Food Stations: Ca feteria-style service with a number of manned tables featuring
portions of the menu;
19. French service: Table-side completion of food preparation, used for dramatic
presentation of a menu item like crepes Suzette;
20. Front of House: Everything you and your guests see, as in the audience of
a theater;
21. In-House: Everything that the caterer or venue provides, from the chairs to
the audio-visual equipment;
22. Intermezzo: A small delicacy such as so rbet served to cleanse the palate just
before the main course;
23. linens or Napery:The tablecloths and napkins;
24. Market Price: Indicates that the price for an item may fluctuate, as opposed to AQ
or "as quoted" prices;
25. Mise en place: Setting up or, literally, putting in place all details of the event;
26. Pate: A food or mixture of foods mashed into a spreadable paste;
27. Petit Fours: Bite-s ized cakes;
28. Plated service: A food course arranged on a plate by the chef before it is served;
29. Out mess: Meals provided to the event team and suppliers to be eaten in the
back of the house;
30. Pre-con Meeting or Ops Meeting: A final get-together of vendors and suppliers
a day or two prior to the event;
31. Placement: The arrangement of cutlery, glassware, and linen on the table;
32. Plaflers: Dishes used to display and serve canapes;
33. Props: Anything that exists purely for aesthetics, like balloons and flowers;
34. Service: Delivery of food and drinks to the guests;
35. Set Up or The In: The process of getting all the equipment into a venue and set
up for the event;
36. Shuck: The delicate art of opening an oyster shell;
37. Silencer: Padding used under the tablecloth to muffle annoying clattering from
dishes, cups, and flatware while they're in use;
38. Site Visit: A walk-through site inspection before booking the venue and just
before the event;
39. Snake Service or Ballet Service: Delivery of courses that is synchronized so that
guests at a number of tables are served at the same time;
40. Sommelier: A specialist in matching wine and food;
41. Tasting: A meeting for the event planner and client to taste menu options before
the meal plan is finalized,
42. Whisper Call: An indication that dinner is beginning, made by the maltre
d' walking among the guests and asking them to move to their seats
 Case Study 2

BMW soars to new heights

A collaboration between BMW Group and Lufthansa Cargo has seen a Boeing 777F
converted into a hi-tech flying showroom. The team behind the unique and ambitious
creative event concept for the BMW Vis ion iNEXT World Flight campaign produced a
soaring showcase complete with AV innovation and a prototype of the BMW Vision
iNEXT car.

Visiting Munich, New York, San Francisco and Beijing in just five days, the showcase -
and staging supporting it - had to impress the guests as well as being airworthy. To
achieve this the set-up inside the plane was constructed safely and quickly, transforming
from presentation mode to flight mode between each destination.

Time was of the essence, with only 1.5 days of construction time available before the
series of events began. Guests arrived JO hours after the plane landed, during which time
all preparations and set-building took place, and the Boeing cargo aircraft set off for the
next destination only four hours after the last presentation. Restrictions due to the tight
time schedule meant the installations could not be dismounted so all technology had to be
built to withstand forces of up to 3G during flights.

In terms ofl ogistics, two identical 25-person crews were required to deliver the events,
coming up with solutions to various obstacles encountered along the way. Frequency
coordination with all location s was also key in the smooth running of the event. The three
areas of the aircraft were separated by kinetic gates, creating an immersive showroom in
the back section. All possible speaker positions were preconfigured. A 3D model was
created for the projection mapping and for supporting multiple lens possibilities. Compact
yet powerful AV technology was installed in the limited space inside the Boeing 777F.
With complex logistics, technology and tight schedule, the team created an excellent
project in all disc iplines.

Ques tions :

I. W hat are the logistical challenges for setting up such an event in an aircraft?
2. As an event manager, do you think you would have done things differently?
 Learning Environment
An event is an organized assembling of public for a specific purpose such as a celebration,
reunion, marketing or educatio n. There can be several typesof learning events and the most
common include career fairs, workshops and seminars, and community education programs.

Seminars & Workshops

Seminars can be learningevents which can raise the profile of an organization and at the
same time connect with the audience to provide learning opportunities. Skills like scientific
thinking, troubleshooting, and critical inquiry can be inculcated in the individuals attending
the learning event Workshop can also be creatively organised and needs to have a specific
goal like increasing skills of employees. The decision on who will attend the event should
be connected to the workshop goals. If the goal is to educate people, a large group can be
invited from the industry. Choice of right location also playsa critical role in these learning e
vents. They have to be accessible with minimal distractions in order to set an atmosphere
for learning. For instance, a few people may requireonly a conference room, but a large
crowd would require a spacious venue with more LED disp lays. In case people are coming
from di fferent cities , the accommodation facilities may be provided in nearby locations.

An agenda is created based on the objectives and who will attend the event. This can include
planning of visuals, activities, and discussions. Main points are listed and then broken
down into points for discussion. For providing visual aids, technical help may be taken.
Activities and their timing have to be planned as per the topic and group size. A follow up
plan is developed to understand if the workshop was effective whic h can be done through a
feedback form or feedback call that would allow attendees to communicate their experie nce. T
he team and the trainers have to be communicated this feedback so that they know how
effective they were in their performances.
Community Educat ion Programs

This needs higher level of commitment from at least some of the people involved in the
program. It can come from parents, prevention organizations for change, or educators. The
presentationsdesigned for such a program is usually designed for co-delivery between multiple
trainers. The first step is to create a solid plan and then partners are got on board. Next step
involves training of presenter's , post which the marketing of the event starts. Thedelivery
then follows with the ac tual community event. In planning , find people who share the same
view on the community development idea. For this, one can talk to friends, community
workers, co worker, parents, parent's teacher association, local voice clubs, local government
officia ls and others. If the schoo l kids have to be involved in the program, then the
principal is usually approached for the partic ipation.People who are invited for taking the
training are usually the people who usually work on such programs already in the community.
A small group brought together can help develop partnership.

The partners are then introduced with the program and are provided through meetings with
leaders. Once the presenters are finalized, theyare trained after gathering them for a community
training and resources are deployed usually for a half day or more than one day. Specific
templates are developed for such training to be used by the community trainers. Once the
trainers are prepared, the training program is marketed locally to increase awareness through
public presentations or one to one marketing through presenters to the organizations and
individuals. Rotary club, PTA groups and local companies can also be used for promotion by
offering them for partic ipation . After all the preparations are done, it is lime to deliver the
actual training which is handled by a trainer. This involves confirmatio n of basic facts,
audie nce, their information requirements and presentations by trainers. The partners should
maintain the contact even after completion of the workshop so that they can be engaged even
in future events.

Career Fairs
There can be several types of career fairs that can be arranged in a university or on a ground
Be ii any type of fair, they all have a common agenda to get the students exposure and
potential job opportunity as well as get the guidance on the career developments. Some career
fairs also allow a pre-registration through which job seekers can submit their resumes for the
employers to screen the application and filter them for the interviews. O rganization of job fair
needs a considerable amount of time and efforts. This involves understanding the needs of
employers and job seekers so that essential elements of job fair can be selected. First step to
organizing such an event is then decided on the time and location for the job fair. Location
shou ld be large enough to accommodate attendees and also provide parking areas. Nearby
companies can be approached for attendance.

A budget hasto bedeveloped for the job fair which can include expenses of fi.tmiture,
cleaning, advertising, stationary supply, refreshments and audio visuals. Once theessentials are
arra nged, volunteers are hired to provide help at the event. This includes extending help to the
potential exhibitors. A letter may be sent to the HR department of the exhibitor to send the
invita tio n and agenda of the event by the producer. For marketing, flyersand press releases in
local media are commonly used. Social media is also a great place to market a career fair.
Signage are to be printed and displayed in right places to guide the attendees. A map of the
event may also be printed and distributed for easy navigation to the attendees.

Seating Options
 An event is an organized asse mbling of
public for a specific purpose such as a
celebration, reunion, marketing or
education. Seating is an important partof
any event as it involves the audience
arrangements and adds to their
experience of the event. While taking
S.:.1111,'.c ,-,k•binqun1 com decisions related to the seating
arrangements, there are some important
consideration to be made such as choice of appropriate width of thechair, types ofchairs, space
between chairs, and tables. Different types of chairs can be used for different occasions of the
events.

Determining seating capacity of the venue is one of the most important measure needed at the
time of the planning of event as ii would decide the number of guests that can be
accommodated. Two third of the event room is utilized for cameras, seating and front house
control. Thus, this two third room space is used for calculating the square footage of the event
venue. For instance, if the two third of the room is I00XS0 feet then the square footage of the
venue is 5000. This square footage would be divided into seating based on certain standard
guidelines. Rectangular tables have to be divided by 8, round tables by I0 , class roo m tables
by 8, and theatre sea ting by 6.

Seating plan for your event

II is imperative for all large events to create a seating plan, if the event requires guests to
reserve a seat at the venue. The seating plan will also facilitate in creating ticket types.

Here are few tips for creating a perfect seating plan:

1. Don't do it by hand

The old-fashioned way: Draw the room floorplan on a poster board and sketch in all the
tables and chairs. Usedifferent colored Post-II notes on your diagram to determine seating
placement

The modem way: Use a computerized seating chart!

\Vhat is a Seating Chart?

A seating chart is a way to vis ualize where people will sit in given room or during an event. A
seating chart can be used for personal events like a wedding, for corporate events and parties ,
and for large scale conferences or presentations.
 1 Stage

E E
f

L. \.

BACKOf HOUSE

F ig ure 3.16Seati ng Chari

Seats may be assigned uniqu e names or numbers and can be organized into larger groups. For
example, a seating chart of a concert hall or theater would have its seats organized by rows,
sections, and levels. Each seat is positio ned in the seating chart to provide a graphical
represe ntation of its location in relation to other seats as well as the entire layout of the venue.

How to Use Seating Charts?

There are a number of uses for seating charts. For a concert venue, a seating chart is use ful to
determine which tic ke ts have already been sold and which are still available for purchase. For
a formal event, such as a wedding, the wedding seating chart assists guests in finding their
table for the evening. Assigned seats in a classroom setting benefit the instructor in taking
attendance and learning the names of students.

How to Make a Seating Chart?

He re are some tips to use in creating a seating chart for an event.

• Make it legible. The seating chart should be clear and easy to read.
• Keep it simple. Organize and create it so the viewer can easily pinpoint their name and
their assigned seat. People shouldn't have to look too hard to find the information.
• Provide order. Place the names in some type of order. You may group names
alphabetically or by table number. Since we read left to rig ht, it may be best to also
organize the seating chart in a similar fashion.
 • Ensure everyone is comfortable. In additio n to ensuring everyone has an assigned seat,
it's important that each guest is seated comfortably with enough room to move about.

2. Keep the right people together

Guests appreciate being near people they know. If you have guests who don't know anyone,
consider natura l conversation starters (think: business, personal interests, and geographic
similaritie s.) W h e n you take these things into account, your seating plan will organically create
relationships for your attendees.

3. Be conscious of individual attendee's needs

A seating plan is even more helpfi.tl when you think beyond the big pic ture and accommodate
specific guests.

For example, for wedding s , keep these tips in mind:

o Keep (the] family closest to the wedding party.
o Seat elderly guests near aisles and exits, so they enter and exit easily.
o Keep elderly guests and those with children away from the band or speakers.

4. Mix up persona lities

There are so many different types of event attendees: the questioner, the loud talker, the know
it-all, the networker - the list is literally endless . As you plan your event, try to identify these
personality traits and mix them up in your event seating. This way, there will be an even
balance of personalities represented at each table.

If you' re worried about personalities clashing, assign your guests to tables but not seats. In
this case, everyone gets to choose who they sit next to. "I want my guests to have a good
time," says event designer David Beahm, "so I don' t use rigid social seating rules unless the
event calls for a strict protocol."

Removing Distractions and Potential Hazards

Numerous threats or hazards face the event producer, all of which pose risks. Protests, traffic,
unruly fans, crowding, alcohol, terroris m and crime necessitate security and control measures.
Bad weather and unpredictable environmental forces, including the state of the economy, can
drastically affect turnout and sales. Attracting the wrong people or incompatible segments
could lead to trouble.

Many events are inherently risky, whic h is part of their appeal, and this imposes a dilemma
on policy-makers and producers. How far can one err on the side of caution before shutting
down the risks or thrills that make an event attractive? Risky activities include sports, running
with
 the bulls and similar rites, eating and drinking, or just plain assembling in a large crowd.
Celebration and revelry are hallmarks of festivals and carnivals, parties and many concerts.
Any use of animals can be risky.

Risks also arise from organizational and managerial actions, such as the employment of
untrained staff or volunteers, the absence of proper management systems and controls or a
general lack of professionalism. Choosing the wrong setting , such as a sensitive environment
or an area known for its natural hazards, can be a serious mistake. The wrong date can lead to
competition and conflict, and the wrong price or programme affects image and sales. Quality
control is particularly difficult at events owing to the use of many volunteers, reliance on
numerous suppliers and the difficulty of retaining staff or volunteers. Systems often have to be
re-invented annually .

Whatever the hazard or threat, the risks accrue to guests and participants, organizers, other
stakeholders and the environment. Risks generate problems in terms of personal health and
injuries, money (financial losses), marketing (tarnished image, loss of demand), the law
(lawsuits for negligence), community relations and political support (owing to negative
impacts).

An event organizer is responsible for taking care of attendees as well as the participants in an
event A way of ensuring safety of the people at the event is removal of hazards and
distractions. This involves assessment of possible harming situations and eliminatio n of the
sources of the same or development of emergency solutions in case they cannot be avoided.
The primary goal is to reduce the risk at the event.

A few steps that can be taken to ensure the safety of event attendees include:

ss to venue for pedestrians and vehicles? Are there any potential hazards like power lines above head? ls hospital or fire sta
azards. Some questions may be asked for assessment on the basis of which each type of hazard is identified and rated on th
 lost in a family event? For guidance on these risks, some laws can also help otheiwise
supplie rs can be approached for proper assessment.
• An emergency plan needs to be developed to take careof risks that could not be
avoided or mitigated. This can involve procedures like raisi ng an alarm, information
to public, onsite response to emergency through use of fire extinguishers or staff
assistance, liaising with emergency services for immediate response, crowd
management, evacuation, traffic management, first aid provision, and handling of
causalities .

Accommodating Guests with Disabilities

The event industry has to be more sens itive to the rights of the disabled. II is notonly the
moral and ethical importance that must be considered- it is a matter of federal law. The Rights
of Persons with Disabilities Act, 2016 along with the Rules (for implementation) have recently
been enacted by the federal government.

The statute states:

"The new law protects disabled persons in India from various forms ofdiscriminati,on ensures
their access to equal employment opporhmiti,es and enhances their societal participation. "

As a result of this legislation , wheelchair ramps, braille menus and signs, sign language
interpreters, and other elements have become commonplace at landmark events. Event
managers are responsible for complying with this law.

Following is a comprehensive checklist for accommodating guests with disa bilities in events:

• Survey your guests in advance of the event to determine what accommodations will be
required.
• Include the following language on all brochures or other offerings: "If you require
special accommodations, please describe below."
• Survey the venue to determine what gaps must be closed prior to your event.
• Establish wheelchair seating positio ns.
• Maintain a clear line of sig h t for guests who will be using sign language interpreters.
• Work with disa bled speakers to provide access to the podiu m.
• Provide audio transcription services of the stage action for the visually disa bled.
• Select venues with, or provide handrails for, guests with physical infirmities.
• Provide tables with appropriate height for wheelchair users
• Train your staff to better meet the needs of people with disa bilities .

After seeking written feedback from your prospective guests regarding their spec ial needs, it
is important to take one additio nal step to meet their expectations fully. You may wish to
invite people with special needs to conduct their own site in spect io n of your proposed venue and
become part of the planning team. When guests begin to feel apprec iated or even loved, this
ultimately defines in an intangible but powerful way their enduring memories or experiences
from your event.

Ufil Summary
In this c hapter, we have learned

• Event logistics involve considerations of customer-oriented system, supplier-oriented

system, and communic ations system
• Customer oriented system involves consideratio ns of access ibility, queuing, parking,
information, crowd management and safety
• Queuing is supported by different arrangements of belt line systems that can be post
and retractable, traditional ropes, turnstiles, and signage's.
• Parking facilities ha ve to be arranged or provided consid er ing the needs of attendees
and available nearby areas for the parking
• Crowd is usually managed by involving a crow manager who is responsible for keeping
the aisles clear, ensure limited occupancy, keep the exits clear, and make exit
announcement.s
• Comfort and safety of attendees can be taken care of at the event by different means
including installation of directional signages, monitoring and assisting waiting crowd,
using alarms, incident control, first aid and medica l services, traffic management and
emergency services
• Supplier oriented system consists of utility, infrastructure, food and beverages, and
techn ica l services
• The logist ica l co nsiderations and communicatio n requirements in events include
considerations of tic keting, queuing , sup p lies , and facilities
• An event organizer may make use of certain capacity management to avo id such risks
such as ticking for popular activities, creation of gates around popular areas and use of
appropriate spacing between activit ies and attractions at the event.
• Besides the arrangement of food, Caterers also manage the logistics including decor
and the AN aspects in the catering area to create the maximum impact on the visitors.
• Common typesof learning events are seminars, workshops, community programs,
and career fairs
• Seating optionsavailable in events are decided by considering needs for chairs, tables,
and seating styles
• People with disa bilities have to be given specia l attention while taking them in,
providing them seating, helping them with parking, and serving them at the catering
place.
 4:)
4 Study Questions
Consider the following questions as you read through the unit.

Q I Fill in the blanks

I. deals with issues of accessibility, queuing, parking, information , crowd

management, comfort and safety of customers during event.
a. Communication Management System
b. Customer Oriented System
c. Supplier Oriented System
d. Marketing Information System

2. system is the most common way to manage queuing of people or other things
like facilities.
a. Linear queuing c. Turnstile system
b. Parking system d. Grouping system

3. In large events, an event organizer normally hires a per 250 people to handle the
crowd.
a. Crowd Manager c. Marketing Manager

b. Relations Manager d. IT Manager

4. is a temporary framework used to support people and equipment such as audio

speakers, luminaires, special effects, performers, and technical crew as part of the
operation of a special event.
a. Bleachers c. Scaffolding

b. Fencing d. Trussing

5. If is not managed properly, unlimited attendance can occur which can cause
congestions and accidents in nearby areas
a. capacity c. banquet

b. supply d. catering
(Answers: 1 - b, 2 - a, 3 - a, 4 - c 5 -
a)

Q II True or False

I. Logistics is about moving goods, equipment and people.

 2. Customer oriented system deals with issues of accessibility, queuing,
parking, information, crowd management, comfort and safety of customers during
event.
3. When addressing logistics need of a large event, some practical considerations have to
be made related to the transportation, parking facilities, and accessibility of the event
for the handicapped.
4. For audio-visual accessibility ii should be kept in mind that inaudible sound is
extremely painfi.tl and debilitatingfor people using assistive hearing aids.
5. Queuing is the first as well as the last part of the event.

(Answer: 1 - True, 2 - True, 3 - True, 4 - Fa lse, S - True)

Q Ill Short answer type

I. Explain the strateg ies for managing queues in events.

2. Why effective parking arrangement is required in large events?
3. Whal is effective crowd management?
4. Whal is the role of Event Manager in ensuring comfort and safety in large events?
5. Write a brief on Scaffolding.
6. Explain the concept:
a. Portable toilets
b. VIP in events
7. List 6 catering lingos and their meaning.
8. Write a brief on 'Communicatoi n System for logistics'.
9. How can an event planner ensure well managed accommodation in eve nts?
10. Explain how would you accommodate guests with disabilities in your event?

Q IV Long answer type

I. List and explain the issues of the customer-oriented sys tem in tackling basic logistics
for large events.
2. List and explain the issuesof the supplier-oriented system in tackling basic logistics
for largeevents.
3. Discusscommunicationsystems in logistics.
4. Elaborateon the concept of Rigging and Trussing in events.
5. Whal are the points to be considered by an event planner when holding events in
banquet rooms?
6. List and explain vario us types of banquet room set-ups.
7. Whal are the important points that will help in making the right decisions for catering
- Hired Catering or Self Catering?
8. Whal is a seatingchart? How would yougo about making a seating chart for a
corporate event involving I00 peop le?
9. How would you determine electric service requirements?
10. Explain the steps that can be taken to ensure safety of event attendees.
 EVENT RESOURCE MANAGEMENT I
l: I References
• Bowdin, G., Allen, J., Harris, R., McDonnell, I. And O'Too le, W (2012). Events
Management. Hoboken: Taylor and Francis.
• Baum, T. (2009). People and work in events and conventions. Wallingfo,rd UK: CABI.
• Van der Wagen, L. and Cole, K. (2005). Managing conferences & plan or review
administration systems. French Forest, N.S.W, Sydney: Pearson Education Australia.

143
 EVENT RESOURCE

MANAGEMENT I

EVENT RESOURCE MANAGEMENT

UNIT-IV

Invitations and
Attendees

144
 O Unit Description
First impressions count - and for events, it all starts withan invitation. You have the important
details all set, but to ins pire people to attend your event you have to send a formal invitatio n
that connects with your audience. No matter how big or s mall your event is, invites and
attendees are an incredibly important part of your event. They are a great way to get the word
out about your event to customers and prospective clients and can help drive ticket sales and
get attendees through the door.

The question is how to create a perfect invitation and attract people to your event? This unit
will give you an answer to this. It impa rts knowledge on what should go into your invitation
and responding to invitations. It would also introduce other related management concepts like
dressing, badge preparation, attendees' etiquettes, and gratitude & appreciation.

Learning outcomes
At the end of this chapter the student should he able to ... .

Decide whether to use e-vites or paper invitations by looking into the advantages and disadvantages of the same
Learn about the protocol for formal invitations
Interpret business dress & formal attire for events
Learn the mechanism for creating Name Tags, Badges, and Security Passes
Understand theatre etiquettes and auditorium seating
Look into rock concerts and music in the park, at home entertainment and speaker preparation
 Invitees
Deciding Whether to Use E-vites or Paper Invitations?

Around two decades ago, invitations were only available

to purchase at a store, with a designer, or through a
printing company. However, in today's internet age, invita
, ,,:-l tio ns of any kind are available at your fingertips.
:t UIII Save
nl 1hr.
Jpi1w1 ,.D_ate An important question to ask: Whether to give digital
/' .., Sqlt 2'1*1017 invitation or physical in vitation or may be both? The

M..t ,. · invitation is the first external notice received by your

guests regarding your event, and it is an expression of
the event. It gives the first impression to guests and bodes
for what they should expect at your event.

Traditionalists and etique tte experts maintain that printed invitations are taken more seriously.
While o nline RSVPs are quickly gaining popularity, it seems like society is continuing the
tradition of mailing a paper invitation for special events.

As a general norm, intimate personal events like weddings, engagement etc. still use physical
invitations as it makes the guests feel special and also gives the event planner an opportunity
to be creative and stretch boundaries. Physical invitation also gives an opportunity to stand out
from the hundreds of emails--and e-vites - that flood inboxes.

Ho wever, landmark events demand physica l and digi tal in vitations both. Digital invitations are
sent for save-the-dates for corporate parties and then followed by a 'physica l' invitation at a
later time. The digital invite is to just make sure that the guests don't make plans.
Physical Advantages of physical invitation:
Invitation More fom1al and creates an impact
They work as reminders often when they are placed on the desk or room of
the potential attendee and thus, may not be forgotten easily
Textures and feel of the paper stock is appealing
Gives a special and personal touch and thus is taken more seriously
Risk of people not getting invites is very low as it involves postage which
can be tracked
Cherished keep-sake after theevent

Disadvantages of physical invitation:

The cost of designing, special paper provision, embossing, specific sizing,
cut out process, printing ad postages can be high and thus, such an invite
would be time consuming and expensive.
Can get misplaced easily and would be difficult to find.

Advantages of digital invitatio n:

Digital They are nomially free to send through the email platfom1s.
Invitation Many registration websites also offer direct sending of invites in a
customized way to a list of invitees.
There are event invitation softwares available for creating professional
designs without the need of hiring a professional designer.
When the number of attendees are not limited, an email invitation can be a
cheap and dynamic option that can allow an event organizer to reach more
audience.
It is an ecofriendly option and saves paper which gives a positive impres. ion
to environment friendly people.
Can accomodate more infomiation than physical invite.
Interestingspecial effects can be created on the invite to attract the
invitee. Email invitation is easily searchable.

Disadvantages of digital invitation:

Some people niay not check their eniails frequency and thus, have to be
reminded over a call
Spam filters can prevent an invite from reaching the right person over eniail
because of blocking which nomially happens with emails containing
graphics
If the event needs a person to carry the invitation along then the invitee
would have to takespecial efforts to get the print outs of an email invite
High profile and fom1al events niay not use such invites as they would
appear cheap
Evites can also get missed if a recipient is gettinga lot of eniails regularly
These invitations are seen as les. formal and thus, niay get lower RSVPs in
response
 Extending and Responding to Invitations

Most invitations include the address and details of the event and other specifics like nature of
invitation, scope of invitation, disclaimer and declarations. In vitations to pu blic officials may
have to follow the local laws that seek inclusion of a declaration from the event company that
the participant invited has been approved by the employer of the inviting person. In the
invitation, the inviting person has to also mention if the cost of travel and accommodation if
needed would be provid ed or the invited person has to manage it on his or her own. A speaker
for an event may be provided with the accommodation and transportation facilities but a
spectator may have to arrange for his or her own transportation.

When invitations are desig ned by an event manager or event producer, certain considerations
have to be kept in mind such as:

• Graphic design elements used for seeking response

• Brand elements to be incorporated
• Artwork to be incorporated
• Content to be included
• Personalizatio n needs of the invitatio n
• Drop and text fields requ ired
• Details of the event that need to include details such as dress code, agenda, speakers'
biographies, location map, parking instructions, event time and if the invitee can bring
in additio nal gu es ts
• Categories of guests and their specific requirements

4.1.2 Protocol for Formal Invitations

Invita tio ns can be extended through a physical copy of letter or through a digital e mail.
Depending on the way it is extended, diffe re nt fonnats and protocols may be used. An
invitation needs to set a tone and create excitement in the invitee at first connect. Informal
invitations may be sent through social media or emails, but most fonnal invitations need a
physical copy to be sent or at least a formal e mail. The choice of invitation in the case should
be fitting the event and reflects its fonnality.

An evite may not be the preferred option for black tie dinners or fundraisers but likewise there
is no need to go all out with paper invitations for a conference or small social event. Formal
invitations that are sent in physic al forms usually have two envelops. The outer envelope has
the delivery address wh ile the inside envelop has the details of the personal or company
inviting. The choice of a digital invitation or a paper invitation can depend on the requirements
of the event and of the potential attendees. Both methods have some advantages and some
disadvantages.
Invita tio n through email has become a very common practice. Email invitation can be used
for making announcementof theevent on professional and personal level. It can control
marketing
costs and prevents wastage that would otherwise be there if the invites are to be printed.
However, effectiveness of email is only when the message is opened. This can only happen
when the sender uses an effective copywriting message with a compelling subject that grabs
their attention and intrigues them to keep reading. Once an email is opened, the internal
message should also be vis ually appealing. This can give a final hook to the recipient. The
copywriting words to be used in an event would depend on the type of event that is being
marketed including formal, informal,and corporate event.

When inviting important guests following protocol needs to be followed:

Invitation Format
• Co mpany logo or symbol (at the top or bottom of the invitation),
• Names of the host,
• In vitation phrase (any of the following, depending on the event and the occasion) ,
o " you are cordially invited to"
o "requests the pleasure of your company at"
o "requests your presence at"
o "invites you to" or
o "requests the honor of your presence."
• Nature of the event- State whether the event is a conference, seminar or some other
occasion.
• Purpose of the event- Such as to introduce someone or a new product, for fundraising
or any other purpose.
• Date and time- The dateand time of theevent completely writte n out. Never
abbreviate days of the week. The most formal style is to write, "Frida y, the twenty-
seventh of July at six-thirty o'clock" The least fonn al is "Friday, July 27, at 6:00
P.M."
• Place- The address of where the event will be held is next. A map is typically inc lud ed
with the invitation if the venue is difficult to find or if your guests haven't been there
before.
• Where to RSVP- The RSVP address or phone number is in the bottom left-hand
comer of the invitation.
• Special instructions- Across from the RSVP address are any special instruction s such
as attire, parking instructions, where the event will be held in case of rain, and so on.

Formttf paper-bt,setl i11vitatio11s are most commonly engraved or printed in black, navy, dark
grey, or brown ink on white or o ff-white high-quality paper. A company can use any color of
paper, as long as it upholds and promotes the company's image.
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4.1. 3 Responding

•
When an invitation is received for anending an event, a
response is needed from the recipient. A nonnal response
'I,
is the RSVP which shou ld come within the 3 days of
RSVP receiving an invitation. An inviting person may add a
specific dead]ine for the RSVP to complete post which
the name of the invitee may get removed from the list if
the RSVP is not received till the lime. This becomes
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invitation must contain details of how to RSVP and who
to contact for giving reply.

ln some invitations, ii is mentioned that the receiver must only send a communication if he or
she is unable to attend the event. No response in the case would be counted as an
acknowledgement but this can be confi.tsing at times. Non-allendance of guests can be
frustrating for event planners if there is no infonnation on non-attendance prior to the event
and thus, replying to the invitation to confinn attendance or non-attendance is a courtesy action
which is required. However, many potential attendees do not care to inform their non
attendance. ln such cases, someeventorganizers charge penalty to the people
whocontinuously keep missing the events without information.

II is not acceptable if the attendee changes his or her mind after doing an RSVP unless in the
cases of emergencies. If that is the case, the invitee must keep the organizer informed about the
change. An invitation should contain a number or an email ID so that guests can respond with
the confinnation message or send the information of non-attendance.

Just as the last-min ute drop outs can cause problems for the event organizer, even the last
minute decision of anending the event can be difficult to handle and thus, such guests may be
denied attendance if the organizer is unable to make the necessary provisions for space and
facility.

Guests can also bring in more guests along and if this is the case, it should be the courtesy of
the guest to inform about the same to the organizer while doing RSVP. For the events in which
allowance for additional guest is not specifically mentioned, the attendee must not bring any
special guest along in the event as it can make ii challenging for the organizer to make
arrangements. A guest must also not bring children along unless the invitation states " Kids
welco1ne".

An advance notice of any upcoming event is required so that people would have sufficient lime
to make a plan for attendance and thus, the probability of more people attending the event
would be increased. Al the same, the infonnation must not go too soon as the guests
would
 tend to forget about the event by the time it is produced. To handle such a situation, the event
organizer must keep reminding the invitees about the event between the invitation and
attendance days to not let the invitee forget the event through follow up messages.

For weddings a save the date invita tio n will be sent a number of months in advance with a full
invitation and details arriving at least 4 to 8 weeks before the day with an RSVP to organize a
head count.

For other events invitatio ns can be sent out common ly around 4 weeks before the event start
although public events and fee-paying events will be marketing and promoting long before
this. Corporate events will be looking to open registrations at least 2-3 months or more in
advance.

Content of an Invitation

A formal event invite ca n se t the tone for the event and set expectatio ns i n the minds of the
guests. Thus, use of right words in an event invitation is necessary. This includes addressing
someone and writing details. Specific formats can be used for specific components of content.
Dates are usually abbreviated. For instance, "Sa turday, November 19th" can be used for date.
Ho wever, shortcuts should not be used with names. Inclusion of the names and details of the
host is an important content in an invite as the invitee must have a clear idea about who is
inv iting. These rules have to be followed strictly in wedding invitations.

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ln other events invitation, following considerations may be made:
• The reception informatio n comes at the end in the invitation if included. An example,
" Reception to follow at 5 pm."
• Guests may also be told how they should respond to confirm if they are attending the
wedding such as RSV P card listing response data with pre-addre ssed and stamped
envelope enclosed for response. If a guest needs to select a meal, the card may also
contain an option to selec t meal preference
• When guests are invited to a dinner at home, the invitation can read something like
" You are cordially invited to . .." and the dinner may not have a specific host but in
case it has then their names must go on top.

Addressing the Invitation

Addressing a person while inviting also follows certain rules like:

• " Mr. and Mrs....." To beused for inviting a manied couple

• If eitherof the couple hasa distinguished title like " Dr.", the same should be mentioned
in address ing such as in "Dr. Rishi and Mrs. Amrita
• If a single person of age more than 18 is inv ite d alo ne then either Mr. or Ms. is used
• For inviting an entire family, the invitation may use the family name as in "The
Singhania Family"

Unravelling the What-to-Wear Dilemma

Special events need special dresses that suit the occasion celebrated. A
person attending an event or participating in it should be dressed not
too much or too less. Some dress codes can be helpful in making a
choice of a dress for the audience according to which the event
producer may define a dress code for an event. The choice of a dress
for an event often depends on the type of event. For instance, in case
of a charity event, one can wear a sparkling dress with diamond
jewellery, body on or short dresses with some ear studs, a mini or
maxi for formal look with car-to-carpe t shoes and hiked-up he mline,
floral gowns with slits for female, and dark coat with a tie and a jacket.
More formal events may use a white tie while a less formal event may
use a black tie. Choice ofa tie is base d on the texture of the tie, it s
matching with shirt, jacke t and shoes.

Interpreting Business Dress & Formal Attire

Some aesthetic rules with dress codes can be used in an event to create a signaturestyle. These
styles can be business casual, business formal, cocktail attire, resort formal and black tie.
In business casuals, the focus is on integrate the casua l elements in the realm of business
formals.
For instance, a blouse can be replaced with a T-shirt added with a blazer and leather boots to
give a business casual look. Business formals include professional attire that we normally wear
in a formal event, the attire could be little more conservative. A busine ss formal worn for a
cocktail party or a black-tie event is dressier than normal formals. For instance, a woman can
wear a statement necklace or a hosiery to add a flair. Tailored, fitted, flattering, and neatly
pressed high-quality fabric dress would be most appropriate for a formal event
A cocktail attire is less formal than the black-tie party attitude as it
can add a littlebit of creativity. Long gowns and midi length
dresses with longer hemlines and less sparkles would make a
perfect attire for such parties for women. Cockta il dressing can be
much more flexible and creative than a formal party dress. Fabric
materials like cashmere and silkcan be used in a cocktail se tting.

ln a festive event, dress codes are usually mentioned tn the

invitations. For instance, on a Christmas occasion, Christmas
sweaters can be used as a theme dress. For formal events, a hybrid
attitude may be used involving a mix of cocktail and business
appearance. Normally, the dress has a base of black fabric but the
dress would be adorned with holiday themed colours. A gold knit top
with metallic threads and shiny silky trousers would make a perfect
dress for such an occasio n. While the festive attire needs to be
creative withan aesthetic tone, it should not appear like wearing a costume.

ln destinationwedding s, resort formal dresses can be worn that are half special and half casual.
This attire can also be called a country club att ire. Such an auire is also used in company
trips and golf outings. Linen cloth with white cloth is usually the most suitable dress for
this occasion. In destination wedding, attendees should wear bright er clot hes with more
aesthetic looks. Coloured sundresses or the dressy topson the wh ite pants worn on wedges or
espadrilles make perfect attire for destination wedding.

Common Errors People make in Business Dressing

• Ill-Fitting Clothes- Clothes too big give you bloatedlookand too tight-
fittingclothes accentuates the body in a non-formal way.
• Wearing Short Skirts/Sleeves - Short skirts and sleeves draw attention to your legs
and hands when you sit down. That diverts the attention of the guests and appears
unprofessional.

• Wearing Short Socks - Short socks, or drooping socks expose skin and that distracts
attention while crossing legs or sittingdown. Always go for socks that cover 3/411, th
e d istance from the ankle to the knee. Avoid wearing white socks as they immediate ly
draw notice towards themselves.

• Low-Cut or Plunging Tops - Just as with short skirts, this distracts the guests and
looksveryoutof place ina professional environment that requiresa conservative dress
code.

• Imp roper Color Choices - Colors, like green, yellow, red, etc., do not go down
well in corporate circles. They not only draw attention towards themselves but
also look unprofessional.

• Clothes with Quotes, Pictures or Designs - This lends a very informal and non
serious look to a business event. There is always a risk of people associat ing the
slogansand mottos on the!-shirts to be your personal points of view.

• Poorly-Maintained S hoes - Shoes are a very importantpart of your business attire.

Shoes, in a way, announce your arrival even before you interact with someone, so
naturally, it draws a lot of attention. It is for this reason that your shoes should be
always clean and polished.

• Not Dressing Formally for Business dinners - Even dinners at the boss' house are
formal business occasions. So, dress accordingly. The general mle about informal
business dressing is that it shouldbe treated as formal clothing.

• Imp roper Grooming - Unclipped nails, odorous breath and unkempt hairare all red
checks. If you are one of those who perspire profusely, use anti-sweat deodorants.
However, make sure you wear a perfume or deodorant of a mild fragrance.
 a
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Bvstness <:Qs\xl\ vs. Professional

Hove on interview or professional event coming up? learn how to decode dress code.

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Tips for Success in Any Business Situation

1 When In doubt.,dressconservatively.
6 Wear a beh and a watch.
2 Asuit(suit& tie formales) willsuffice
7 Besureyou,hai,Isneatly trimmed
inmon situations
or groomed.Avoidthe messy" lool<..
3 Makesureyour outfitis wrinkle-free.
8 Shirtswithlenel1ngor graphics should
notbeWO<n.
4 Stick withsolldcolo,s ctnd tighter-woven
9 Checkyouroutfitfor missing buttons.
fabricsOf simple patterns.
lint,or a crooked tie.
5 Accessories shouldbe kept s.imp le:
bra.sic pumps, modest jewelry,light 1Q Askirtshouldbe no shorter thanthe
make•up & ligh t perfume. li psof yourmiddle fingefS{or just
abovethe kneefor goodmeasure),
 EVENT RESOURCE MANAGEMENT I
Creating Name Tags, Badges, and Security
Passes
An event manager has to ensure that the whole event
goes smooth from the beginning of the event. It also
includes the event marketing and other activities
involving data gathering from event attendees. A
badge or security can be used to not just allow an

ALL entry to limited p eo ple b ut also connect people at an

event and that is why it is essential that these badges or
ACCESS
I PASS passes are made carefully to create best impact.
STAFF I.
Most common type of the badge used is a name badge
llltf.cOfl'I
S.:.1111:t
that people wear for identification and the badges have
intelligence. Badges can also act as a marketing tool as
people are able to not just identify each other but also the brand of the hosting client. When a
good design is used for a badge, people feel more comfortable talking to each other as they
can contain some information that can help people strike a conversation.

A few measures can be taken to create an effective design for a badge or security pass:

• The badgeshould use a lanyard that makes the text eas ily reada ble. The card should
not get swiveled around and should be adjus table.
• On the tags is written the name of the guest with some profession details like a job title
which should be written using a proper font size.
• The font of the text should be such that the longer names are also easily accommoda
ted in the badge.
• Use of multiple colors would allow for a hig h er qual ity creatio n.
• T he badgeshould have bar codes or QR code scanning feature which helps a guest
pass through a protector.
• The material used for the badge must be durable such as heavy vinyl.
• An event producer may purchase the badges in bulk so that lower prices can be
ac hieved.
• Having the right size of badge is important to have good visibili ty. The standard size
of a badge is 4" X 3".
• Hiring a good graphic designer can help a producer get good quality results as well as
save time in c reation.

Shown below is an example of a badge created for the Singapore FinTech Festival 2016:
I. The name is clear and easy to read
2. The tag has 2 points for attachment whic h prevents it from spinning
3. The badge uses a ric h co lo u r
4. It uses a large QR code that is easy to scan

160
 EVENT RESOURCE MANAGEMENT I

,_KE.l..Y..IN..T,E..O.

..,..cu au:so

Figure 4.3 Name tags in e,'enb:

Theatre Etiquette and Auditorium Seating

Define Theatre Etiquette:

Theatre Etiquette is accepted behaviour during

the auditio ns, rehearsal and run of a
production.

List of few Etiquettes to be followed:

• While buyinga ticket, an attendee must check the details as they are non-refundable
in 48 hours to show
• Dress code usually involves business casual attire and cocktail attire in the opening
nights
• Patrons can come in jeans in case of special events
• Females wearing hats should have small hats such that the view of other attendees is
not affected
• In an audito rium, the space is normally chilling and thus, attendees may bring sealers
or jackets along which should again have a formal appearance
• Allendees should be asked to arrive 30 minmes before the performance
• Ushers should be placed to help the attendees to find their seats so that they are not
confused or cause inconvenience to seated attendees
• In the case, a person arrives late, they can be seated during intermission by the house
manager. They may also be seated at the end of the song by the ushers. Right time has
to be waited for seating late comers

161
 • People whocome late may beasked to stand at the back of theevent while perfonnance
is going on and given a seating when a break is there
• Comedy shows can also invite the late comers in the perfonnance on the stage by the
perfonner
• The show may be stopped, and the lights are put on the arrivals before the show
• While people are waiting, the screens may be placed in the waiting area giving
the highlights of the show
• important infonnation on upcoming performance and safety infonnation must be
provided to the attendees on arrival
• Leaving while the performance is going on should not be allowed unless there is an
emergency as ii can be disrespectful and unsafe
• Cell phones and electronicdevices must be turned off during the event as the
signals and nose from these devices can be distracting for performers and attendees
• Attendees must be forbidden to take audio or video recording and in case audience is
taking them then they may be asked to leave the auditorium.

Auditorium Theatre Performance

Theatrica l perfonnances include comedy

performances and drama. A comedian usually
comes with their own materials prepared. All
they need at the venue is a sound check. A
comedy troupe normally need wireless headsets
and microphones. They have to be tested and
equalized which can take IO minutes for a
person. Other keynote speeches and theatrical
performances may have their own laptops
devices that have to be connected & adjusted.
These have to be tested to check if the PowerPoinl presentation is working. A full run through
a presentation for checking can take up to 30 minutes.

ln a theatre, space has a built-in stage with structural arches that separate the performers from
audie nce. Arches normally prevent the audience from seeing the flying rigging systems such
that audience have a better scenic space. There can be several advantages of using traditional
type theatres for events. The stage is already provided and is raised to gives best view to the
audie nce and thus, associated arrangements need not be invested on. A fly-rigging system is
also already available which reduce the need for addition of trusses needed for lighteningand
scenery. On downstage batons, drapes are already attached such that they can beeasily adjusted
as per the need of the event. Further, the Proscenium arch provides a beautiful and tidy frame
to the performance scene. There can also be certain disadvantages of using these theatres for
some types of events. For instance, hotels with traditional theatres build also for the purpose of
ballroom can have a drapery and rigging system that is less flexible than the typical theatre
spaces. Moreover, is a real projection is also needed, an additional stage would have to be
constructed over the existing stage to create a proper projection distance.
ln ancient Roman society, Roman theatre reflected such a purpose in which the seating
arrangement of the theatre reflected upon the Roman society and status of people in Rome.
The theatres in Rome were used to be the embodiment of Roman socie ty. Today social events
can include both large sca le events like carnivals and festivals and small-scale events such as
gradua tions , reunio ns, and cultural festivals.

Before a theatrical event can be organized, ii is essential to inspect the venue to check if it is
able to fulfill the needs of the event. During the venue inspection, the capacity of the venue is
important to determine which needs establis hing of communication between the venue
manager and the event producer.

In an auditorium, seating arrangements can be of two types including multiple aisle or

continental.These arrangements govern the row spacing, row s ize and exit ways.

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per row with aisle at both end. Maximum
seating can be set by the building codes. ln
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• A continental can accommodate more

people if properly planned. An average 7.5
square feet area may be used person in the
auditorium sitting plan.

When evaluating an organization in an auditorium, consideration has to be made on what form

the seating should take based on the usage and function of the assembly in the event. The end
stage should suit the needs of the presentation and proscenium stage is very common in the
caseas itsuits best to movie or slide presentations. In large spaceauditoriums, someseats could
be placed beyond the point for the audience to understand the presentation.

If a connection has to be established between the performer and the audience through close
seating, a wide fan arrangement can be used. This can bring spectator closer to the event
performer. The maximum limit of 130 degree from a central focal point is used which makes
audience come closer and builds a stronger relationship between performer and the audience.
At this inclusion angle, slide and movie is possible but there may be distortion created in
projected images. The actual position of the screen actually determines the level of dis to rtion
that can occur.
The three fourth arena is another type of arrangement used in theatre, but this is not suita ble
for film performance and it is often used in open theatre. This has 180 to 270 degree of
inclusion. TV monitors can be used in such a setting. Arena stage is another type of stmcture
in which the view is 360 degree but at the same time it limits the area of sitting. The seating is
arranged in a 360-degree area and can bring the attendees closer to performer. However, this
also limits the area for the performer.

Auditorium Sitting Dimensions:

Individual chair widths define the comfort level for the attendees. Most common widths used
are 20, 21 and 22. These dimensions are measured from the central support leg. A priority is
given to the width based on the applicationof the chairs. A datum line is referred to as a
chair radius line which is an imaginary central line used for planning the arrangement of the
chairs in the auditorium sining.

Typical chair widths and row spacing

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Row Spacing:

Row spacing of seat ensures that attendees are comfortable in sitting. A typical spacing used
in theatres is 30. This spacing provides margins between back ofa chair in front and the leg of
the sitting person such that the person can sit comfortably with less distractions with having
sufficient space for people to move.

Flow design
Silting comfort is also affected by assembly design. Flat flows can allow a person lo extend
knees even if the spacing is low as a free space is created under the chair. However, this free
space is reduced in an elevated area with a slope. A I2"X32" spacing and high riser would
need an increase in a back to back dimension to allow for more space for legs. Free space
under a chair can also get Jost when seat rows are near the low wall. In such a case, 11" of
clearance is needed between seat edge and the wall face. The back to back dimension should
also be considered as it can reduce the free width. In case of the rear wall existence, the
dimension of the last row has to be increased.

There are some rules that are important to follow in a theatre attendance to avoid
embarrassment because of display of wrong behaviour in an event. This is because both
audie nce and performers can see each other in a theatre arena and the experience can be a life
time memory.

Rock Concerts and Music in the Park

Musical events are usually large scale and have theatrical

performances played typically in gardens or parks. An
event producer organizing for a musica l event or a rock
concert may already have a specific format to deal with at
the beginning of the planning stage. In case the format is
not already available, the first step would be to identify the
goals and establish a format for theevent. A new team may
also be involved in updating the formats to make it more
relevant to the event.

Rock concerts or musical events can be one time shows or

recurring. In either case, it is essential that the event concept guarantee success with profits
ach ie ved. Thus, it is important to make considerations for the purpose of the event and needs
of the stakeholders. Musical events can have different purposes from cultural contexts,
corporate celebrations , promoting a cause, business cases, to product promotion. Choice of the
theme elementswouId depend on these purposes.

Rock star Mayhem Festival is a type of musical event that happens in USduring touring
seasons and thus, has a purpose of promoting tourism. Vans Warped Tour is an event whic h
targets aud ie nce for promotion by lining up bands for music and the performers wear Vans
shoes.

Public events mostly have multiple purposes such as helping a cause and entertaining at the
same time. For instance, Vortex I in 1970s in US had the purpose of promoting anti-war
movement as well as run the protests.
ln a musical event, a marketing screening is conducted to test the feasibility of the event
examining the possib le response from the attendees. The aim is to find if the event would get
the attention of the public. A positive media response can be taken as a mark for potential
while lack of media attention can serve as a warning for inefficiencies of the event in terms of
gathering attention of audience. In such a case, the event can be modified to meet the market
requirements. An environmental scan may also be required which would involve consideration
of nearby events that could be similar and the public or environmental conditions that can
affect the event attendance.

\Vhen planning a rock concert or a musical event, following aspects of the event have to be
organized and planed properly:

• Marketing Planning

It is essentia l for all events including musical event be it of any size. II involves two
stages that include market research to unde rstand audience and marketing to get publicity.
While building a marketing plan, an esse ntial part is to identify the budget. The budget
can be based on the activities of the event. After setting the budget, marketing activities
have to be planned as per the available budget. The lime needed to prepare marketing and
distribute information has to be considered while planning marketing. More time would
ensure better preparation for marketing.

• Strategic Planning

It is needed for business success and thus, is also essential in event planning. II involves
consideration of the location of the event and the tactics that are to be used to achie ve the
best results. A significant time must be given to building strategies but not too much time
must be wasted do ing that. Strategic planning involves a preliminary stage of definitions
and decisions on locatio n and liming as well as concept. After these are identified, an
assessment is done to understand if the event team would be capab le to handle the event
through the use of feasibility analysis. Feasibility an alysis is done using information on
location , budget, assets, and so on. Based on the results of this analysis, a decis io n may be
taken on whether to proceed with the event or not. An event organizer may choose from
several available strategic options for events such as growth, consolidation, retrenchment,
and combination. Growth is reflected through increase in attendance and revenues.
Consolidation involves assuring certain attendance level reflecting the strong demand in
audience. A retrenchment strategy involves making of a socio-cultural change that can
increase the attendance. However, this may not always guarantee a positive response. An
event producer may also use a combination of these strategies that may be selected based
on certain criteria lik e consistency with mission, suitability to the operating environment,
validity, feasibility, and business risks involved.

• Operations Planning:
After strategic planning is done, an operational plan is developed considering all
implementation areas of an event. Common areas include admin, marketing,
transportation, security, risk management, and stag ing . Each of these areas have their
own objectives to fulfil. Forecastsare usually done using data from previous events.
Plans are developed to describe standard procedures that have to be followed.
Forecasting can be done at the planning stage or also at the time of execution. Forecasts
can help the management take important decis ionsa bout the event.

• Capacity Management:

It involves matching the capacity of the venue with the demand of the event. It is decided
by the available resources including time, funds, and the people. If capacity is not used
then it could be a loss such as in the case seats are empty. I f there is a mis match between
the demand and capacity, following measures can be taken -
• Keep resource levels unchanged
• Set up capacity to match demand
• Manipulate demand to fit the capacity
 Case Study 1

Roskilde Rock Music Festival

Event name: Roskilde Festiva

l Event category: cultural
Venue and loca tion: Rosk ilde, Denmark
Date: every June/July for five days
Attendance: 80,000
Sponsors: Tuborg
Website: http://www.roskilde-festival.dk/uk/

The Roskilde Festival was established in 1971 as an

annua l festival of rock music on the outskirts of
Copenhagen, Denmark. Since then, it has grown into
one of the largest annual rock events in Europe. Every
year, the festival attracts up to 80,000 visitors, and it is
responsible for 20- 25 per cent of annual tourism
receipts in the Roskilde region.

In 20 I0, the headline acts were Prince, Gorillaz, Muse and the Prodigy. There are six
performance areas in the festival. The s mallest, tented space has a capacity of2000 and
the largest, the 'Orange Stage', has a capacity of 90,000. There is an eighty-hectare
campsite attached to the festival. A peculiarity of the event is the ' naked run' that takes
place every year, in which festival-goers run naked around the boundaries of the s ite, with
one male and one female winner receiving tickets to the following year's event.

The festival is produced by the Roskilde Charitable Foundation, a not-for-profit company

with just six full-time employees, but which recruits around 20,000 volunteers to
produce the festival each year. Any financial surplus generated by the event is channelled
back into cultural and sporting facilit ies in the region.

The festival generates its own revenues from ticket sales and sponsorship, but it is
involved in a number of partnerships with the public sector in areas such as tourism and
economic development. The local authority is responsible for licensing the event and for
providing policing and transport services . A local university whic h has developed a
specialization in events management now provides training for event staff in crowd
control every year, and the regional tourist board has developed a collaborative ticketing
arrangement where festival attendees can receive discounted rates in local
accommodation and other regional attractions. This now contains ' Rock City', an
entertainment, education and cultural tourism destination.

Sources: Brerenholdt and Haldrup 2006; Hjalag er 2009; Roskilde Festival 201 I

Questions:

How would you go about planning capacity and logistics for this event?
 At- Home Entertaining
A great at home party needs hosts and hostesses
to relax and enjoy. The guests would like to
spend time with the family hosting a party but
when the family itse lf is the organ ize r, it is not
possible for everyone to fully spen d time
together and enjoy as the host would be busy
running the chorus all the time. This is where the
event organizers who specialize in family parties
come
into picture. Party organized by professionals needs to be fun and fully operated so that the
host is not required to interfere much.

While plann ing such a family event, an organizer need to fix on a theme or style for the party.
A party could be hosted in a backyard, on a patio or inside home. If th e party is hosted in the
backyard, the arrangements have to be made for tables, clothing, dis p osa ble utensils, and
decoration materials or objects such as potted plants. Individu al p icn ic baskets may be provided
to eac h guest if a party is executed in a large garden. Blankets are often put in the backyard
and fun games are played such as treasure hunt.

Depending on the occasion and the people attending the party, a theme and style can be
planned for at home entertainment party. At home parties usu ally have children and thus, spec
ial care has to be taken for their entertainment. Even in food, the items have to be chosen
based on the needs of the adults as well as the kids. Items like chocolates and lemon tart would
be preferred item in the catering for snacks because of the presence of children at the party.

Although, a family party would have more of the casual settings, the part inviter may still
want to add some formalities. Drawing of tents with potted shrubs that create the aesthetics
and fragrance can add to the environment. Other items can also add to the settings such as
painted baskets, china plates, crystal wine glasses, silver utensils, vases, napkins, and table
centre pieces. When it comes to the food items, pre-cooked food items like crepes, gourmet
lettuce, shredded carrots, etc. can be stocked to save time required for the preparation.

A family p arty can be both formal and informal. A birthday event can be an informal party
whilea party intended to cele bratean achievementsuch as wedding, engagement, baby shower,
and milestone celebrations would be the formal events. In a casual event, attendees can serve
themselves while in a formal event catering team may be involved through a buffet for
serving.

A formal party may be adorned with customary provisions such as service plates, set of goblet,
Champaign and wine glasses, fort placed from left to right in a formal sequence, and folded
napkins. When placing a glass, four glasses are usually used in a sequence placed from left to
rig ht as water goblet, Champaign glass, wine glass, and dessert wine glass. While placing
forks and spoons, the placement starts from the left side where first course is kept which is
followed by salad fork, and dinner fork. On the right side of the plate, first kept is the
shellfish fork
which is followed by spoon for soup, knife for meat, and then, the inner knife. Above the
forks is kept a butter plate on which butter knife is kepi. On the service plate is kepi with a
napkin on ii and dessert utensils are kepi on it of it. Formal occasions are usually
supplemented by tapered candles and flower arrangements. The catering must allow from four
to five different tasting for each guest.

An informal event usually has a buffet arrangement which is usually placed in dining room
sideboard area, on counter top, living room area, barbequegrill area outsideof house, or family
room bar. The buffet should be arranged in such a way that the guests have sufficient places to
stand and they do not push overothers while serving themselves. Normal sequence that is used
for placement of the buffet items is first platter, soups, salads, salad dressing, breads or rolls,
meat entry such as turkey or tenderloin, condiments, Entry platter, sauce or gravy, pitchers
served in juice glasses, fresh fruit, muffins and pastries. Coffee items and other beverages
must be kept away on another table so that quests do notget confused.

Houses usually do not have a lot of space unlike other events, but the guests can still be large
in numbers in which case, separate buffet stations can be created for brunch, dessert, main
course, drinks, and so on. Wine bottles with cold beer may be kepi in the midd le with ice
filled buckets for serving. Appetizer platters used in a buffet are usually kepi overdecorative
napkins or square fabrics along with additional napkins stacked on the table. The first things
that get finished as soon as the guests arrive are the appetizers. Coffee and other after dinner
cordials are normally kepi on the side board. While arranges for the appetizers, caterer should
provide bit size pieced items for easy consumption . Attention to details is necessary whether it
is a formal dinner invitation or a causa l family party.

For entertainment and pleasant experie nce at a family party , a n umber of provisions are
availab le such as:
• Pick up treasure items can be kepi at the inviting table for the guests to pick up items
they like. The inviting table also contains an arrangement of food items arranged in a
beautiful pattern such as contrasting patterns of salad bowls, mix and matching
between china items, and so on.
• Flowers and candles are kepi at the party table with fussy flai rs to give an entertaining
look. The flowers used could be beautiful flowers like tulips or fragrance flowers like
gardenia. Floating flowers may also be kept on inverter bowls or pedestal plates.
• The servings can begin with a libation like liquor, sodas, beer, punches, and wine.
With drinks should also be kept ice, lemon slices, stir sticks, and napkins. Bar table is
ideally kept at a faraway place in the room so that guests are encouraged to walk
around the place to reach out to the drinks and in the process, they would get
familiar with the surrounding.

Family Focused Events

 Family Focus EvenIS bring families of individuals facing
similar challenges together. It provides families with a
great opportunity to draw strength and knowledge from
each other, relax, socialize and have fun. Family Focus
provides a varie ty of family-frien d ly events every year
that are typica lly free of cost.

Family focused events usually begin with identification

of a community need through an assessment and
identification of available resources for the event. In case
the available resources are insufficient, extra resources
are required to be gathered. Focus groups may be conducted involving parents to understand
the needs, interests, and concerns of families.

Once a need is recognized for the event, a planninggroup is created for organizing the event
This planning group can be created by individuals hired from community entities like
institutions, churches, clubs, and other service organizations as volunteers. These
volunteers may be involved in managing activities like cleaning up the venue, controlling
traffic or ensuring security at the community event. For large evenlS, selecting volunteers with
previous experiences is needed so that they are more com fortable with managing their
responsibilities. Provision of childcare is one major highlight of a family focused meeting
which has to be arranged by the volunteers.

Most family focused evenlS are free and open to attend with no entry fee. Families do not
usually want to attend events that ask for a payment. However, there can be activities and
produclS di s p layed in the event that can be paid such as balloons, crafts, and
painting.While planning a family focused event, an event producer has to make a
prediction on how many people are going to attend the event based on which supplies of food
items are decided. An event producer may allow pre-registration for the event or place
canisters at the event location to allow people register themselves to the event before
attending.

Community family events usually involve special community sec tors that cane provide
donations in the form of money or a gift certificate that can be used as a prize for the attendees.
ln a community event, casual networking usually happens between people attending.
An event producer needs to get the attention of people to get them to attend a family focused
event Popular methods used for drawing attention of the families include flyers, marketing
posters, and banners on downtown streelS, local newspaper announcements, radio
anno uncements, and TV announcements depending on the type of event, ilS scale, and its
budget.

Speaker Preparation
 Secur ing and taking care of speakers is one of the
most important part of event logistics. Some
speakers enjoy creative freedom but most of them
take assistance from the organizers while planning
the content for the event. An event producer at this
point can take a laissez-faire approach for helping
speakers with the presentations. Speakers have to
put in a lot of energy to engage audience and the
same level of energy should be reflected by the
organizers too so that speakers do not lose their
energy or feel left out. Some expectations that a
speaker may have with the event producer or organizers are:

• Event curation must be done keeping the audie nce in mind such that the content asked
for presentation must relate to the audience int erested in them.
• A handbook on communicationmay be provided to the speaker to ensure that salient
points related to the client branding can be taken care of in the presentations. This
handbook can contain the details of venue, client, presentation topics , and audience.
• The organizer must ensure that the speaker has everything required before the event
presentation.
• The speakers must be reached out by the organizers in sufficient lime before the event
for assuring the arrangement of their travel and logistics. ln large, events, they may be
approached for this a few months before the event day.
• A communication may happen between the event organizers and the speaker a few
months before the event on the topics to be covered in the presentation.
• An event producer may g ive some suggestions on content to be included but should
not try to micromanage it for the speaker as it can make the speaker feel belittled
• The speaker must be informed about the audience size that is expected so that he or
she can prepare on how to deal with the attend ing crowd while presenting. An update
on the room capacit ies an d the tickets sold may be done between the time of contract
and the actual event.
• An event organizer must create a transition schedule for the speaker between the
preparation, speaking, and networking sessions
• If the speaker is provided with an accommodaiton to stay, ii should be kepi near the
venue so that speaker does not have to take much of travel lime to reach the venue
• An onsite support must be provided to the speaker while dealing with presentations
such that any technical issueswith projector, clicker, and so on can be managed on the
stage.
• Once the event is finished, a feedback should be given to the speaker on how the
performance went
8 .1 Keynote Speaker Preparation

• Keynote speakers have three things to focus on

and they include audience first mentality, ease of
working with personalities, and a strategic direction.
Having an audience first mentally means that the keynote
speaker should deliver a value through the speech that
not just educates but also ins pires the audie nce. A
keynote speaker has to work closely with the event
planners and producers to ensure that the brand value is
carried forward during presentation. To be able to deliver
the value continuously, the speaker needs to have correct
direction provided by the even t producer. Most keynote
speakers prepare by takinga few steps like:
"-Brea the . Speak well. • Ensure availability of timelines before
Leavethem breathJess! '
committing an event as well as ask questions on audie
nce,
expectations, and motivations so that the speaker can prepare accordingly
• A speaker maps out a speech using a board in which delivery notes are prepared and
taking points are covered which helps the speaker prepare as well as rehearse the
speech. The aim of this is to identify the points where audiencecan be engage and sure
to cover them
• A dry run of speeches can help the speaker through the process of preparation giving
an assurance of followingthe right flow. At this point, a speaker may be provided
with a slide deck with music and headphones to prepare before the actual event
• The speaker needs a light snack before speaking whichcan be provis ionedby the event
producer. This can include bacon, eggs, and has browns or salads.
• 10-30 minutes before the appearance, the speaker must be given a space separate from
the crow to relax and prepare
• After the event is over, the speaker may take a debrief call involving feedback of
the client as well as audience.

Gratitude & Appreciation

The event producer must express gratitude
" W e must find time to an d appreciation to the event perfonners,
stop and thank the people speakers and the entire team of workers.
who make a difference in An event producer shou ld not assume that
lives."
our their participation is by default
- John F. Ke n n ed appreciated. They should be
personally connected and should be
extended the gratitude and appreciation.
Sponsors and
Volunteers should be thanked for their contribution both persona lly and publicly at the time of
 the completion of the event. The producer may convey how thankful their team is for the lime,
contribution and generosity of the sponsors and volunteers. A writte n thank you note may
follow after the event is over immediately or at least within a month.

A letterofappreciation should always be sent to thesponsor for receiving the funds or donation
for the event. This letter must acknowledge the contribution of the sponsor. This helps in
cultivation of a new relationships that would increase the probability of getting more donation
or funds even for the future events. In the case of a donor, a donation receipt may be
attached with the appreciatio n lette r.

The imagebelow shows an example of an appreciation letter sent to the event volunteerby
the event producer.

nd effort you volunteered to make this year' s ProjectCelebration a success. Your involvement made ii possible for us to offer

4.1O Gifting & Lasting Momento

Gifts are a great way to show your guests & speakers that you appreciate them in a genuine
and thoughtful way. Done well, gifts provide an excellent return-on-investment by
strengthening relationships that lead to more and sustained business.

The guiding princ iple to gifts is best summarized by an old adage - " People will forget what
you said, people will forget what you did, but people will never forget how you made them
feel."
Gifts make your guests & speakers feel that you care about them, that you think of them and
that you value your relationship with them. Thal is the legacy of a great gift. This means you
need to put a bit of thought into your gift & momento strategy - which means thinking beyond
the wall calendar and branded pens.

4.10.1 Gift Selection and Shopping Tips

lifil 1) It's not about you

Giving a gift isn ' t about you, it' s about your guest. The gift should be relevant and
·- useful to them as individuals. Choosing the right gift and method of giving is important.
But even more important is making the choice to proactively seek out your guest's preferences
and make a friendly gesture in the form of something nice for them to have that reminds them
you value the business relationship they share with you.

2) Add a personaltouch to your gifts

Every aspect of your gift should demonstrate thoughtfulness, from the packag ing to the
message. Consider unique packaging that will ensure your gift attracts allention before it is
even opened.

Be sure to include a personalized message - handwritten if possible - to demonstrate that your

clie nt is receiving a message and gift that has been carefully tailored to them, rather than
buying one gift in bulk, sc ripting one uniform message and sending the same gift to your
entire clie nt list. A personal touch to a gift is all the more distinct in an increasingly digital
age.

3) One size doesn' t always fit all

Depending on your event, your guests and the gift, ii may be perfectly suitable to give all of
your guests the same gift. But rather than automatically taking that approach, consider an
alternative approach that focuses on your long-term and hig h-potential anc h or guests.

Under this approach, you may be better off putting more thought into a smaller number of
gifts for your high-impact guests and speakers, rather than giving the same gift to all your
guests.

4) Be different!
The gifts can help you create an unforgettable moment. A thoughtful gift is the perfect wt1y to
disti11g u ish your even
Summary

ln this chapter, we have learned

• When invitations are desig ned by an event manager or event producer, certain
co nsi d e ratio ns h ave to be kept in mind such as graphics, branding elements, artwork,
content, personalization, and event details.
• Both paper based and digital invitations have advantages and disadvantage so they
have to be chosen on the basis of formality such that paper invites are more welcome
for more formal event.
• An invitation is normally responded with a conformation, rejection or RSVP and the
inviter must provide the details on how to respond.
• An invitation contains name of hosts, details of invitee, and event details a rranged in a
specific format and sequence.
• Different events need different types of dressing such as formal black tie event would
need formal gown to be worn while cocktail parties can have flair in dressing.
• Name badges or show passes should contain right design, right font size on names of
attendees, and colorful deig n that is aligned with the theme of the event.
• Theatres offer specific types of seating arrangements depending on the cho ice of
arena and the sitting dimensions, row spacing, and flow des ign.
• Common etique ttes followed in an event at an auditorium include silencing of mobile
phones, noallowance of movement during performance, no photography during event,
specific dress code, and so on.
• Rock concerts and musical events are normally planned in a park and they go through
a formal plann ing process of marketing planning, strategic planning, operational
planning, and capacity management.
• At home entertainments are done by professionals for family functions or cele brations.
• Family focused events are mostly free to attend but the products and activities
di s p layed are c hargeable.
• A speaker or performer needs a very strong preparation before event and thus, have
to be provide with sufficient space and facilities.
• A formal gratitude and appreciation should be extended to the speakers, performers,
sponsors, guests and the entire management team.

4:)
4 Study Questions
Cons ider the following questio ns as you read through the unit.

QI Fill in the blanks

I. A ---- isnee d from the recipient when an invitatio n is receive d

for attending an event.
a. re
sp
on
se

gi
ft
 b. token d. discuss io n

2. The choice of a dress for an event often depends on the ofevent.

a. system c. size
b. choice d. type

3. Most common type of the badge used is a badge that people wear for
identification and the badges have intelligence.
a. name c. party name
b. nickname d. school name

4. A great needs hosts and hostessesto relax and enjoy.

a. Corporate event c. at home party
b. seminar d. exhibition

5. The
------ must express gratitude and appreciation to the event
partic ipants.
a. Speaker c. Caterer
b. Event producer d. Marketing Manager
(Answer: 1 - a, 2 - d, 3 - a, 4 - c, S -
b)

QII True or False

I. Spec ial events need specialdresses that suit the occasion celebrated.
2. A badgeor security can only be used to allow an entry to limite d people.
3. The budget can be based on the activities of the event.
4. A formal event invite can set the tone for theevent and set expectations in the minds
of the guests.
5. Rock concerts or musical events can be one time shows only.

(Answer: 1 - True, 2 - False, 3 - True, 4 - True, S - False)

Q III Short answer type

I. List the advantages and disadvantages of physica l invitation.
2. What are different details that an invite must contain?
3. What are different types of formal dressing?
4. What are key considerations for preparing professional badges?
5. What are the key etiquettes that are important to follow in a theatricalevent?
6. When planning a rock concert or a musical event, which aspects of the event have
to be organized and planed properly?
7. List the advantages and disadvantages of digita l invitation.
8. What are the ways in which a producer can convey gratitude & appreciation?
9. What is the meaning of family focussed event?
 IO. What measures can be taken if there is a mismatch between the demand and
capacity?

Q IV Long answer type

I. How will you make an arrangement for an event that involves celebration of the
birthday of a child?
2. How can you help a performer at different stages of the event?
3. Write an appreciation letterfor the sponsor and for a volunteer of a corporate event?
4. What are the expectation s that a speaker may have from the organiser or event
producer?
5. Write a 'formal letter of invite' to a speaker in the trade show.
6. What codes of etiquettes must be followed while attending a theatrical event?
7. What measures can be taken to create an effective design for a badge or security
pass?
8. What are the protocols for formal invitation?
9. The cho ice of a dress for an event often depends on the type of event.
Explain. I0. What points should be consider ed while creatingcontent of an
invitation?

i] References

• Allen, J. (2013). Event planning. Hoboken, N J.: Wiley.

• Pesin, B. (2018). 10 Real Examples of Amazing Event Invitation Language. [online]
Blog.eventfarm.com. Available at: http:llblog.eventfarm.comlblogl /0 -real- examples
of amazing-event- invitation-language {Accessed 28 Mar. 2018}.
• Lllnnqvis,t L. (2018). How to create a great event invitation - 5 easy steps. {online}
Lyyti.com. Available at: https:llw1vw.lyyti .com /en lbloglhow -to- create -the - ideal -eve nt
invitation {Accessed 28 Mar. 2018}.