Customer Care
11.1 Definition
Customer care is probably the most important factor contributing to the success of music festivals, concluded by the author after comparing opinions of tourism professionals and interviewing festival organisers regarding their definition of success. Often were the statements of the latter linked with seeing the audience enjoying the event, having no injuries or incidents and getting visitors back for the next festival, all of which are results of effective customer care. Roger Tomlinso, consultant in management, marketing and training, states "Good customer care involves the simple concept of thinking about things from the customer’s point of view…What are they seeing? What are they hearing? What are they reading and, perhaps, most importantly, what are they feeling? (What are they missing? ed. by the author)…The most appropriate response is usually to treat the customer as you would like to be treated yourself… The best type of customer care means exceeding the customer’s expectations." (Tomlinson, R. (1994), 39-47) From the author’s point of view, putting oneself in the visitor’s shoes does not necessarily provide reliable information. Asking festival-goers instead about their opinion and expectations through surveys or group discussions would provide the festival organiser with valuable primary data, which should be considered in the planning of the next festival aiming to exceed visitor’s expectations.
if you like my post then pls click on advertisment and add as you in my follower list.
Its beneficial for you and me both.
Gerri Morris, marketing consultant and trainer in the arts sector, defines customer care as being "the manifestation of a marketing focused organisation,… rooted in the corporate purpose of the .. organisation." (Morris, G. (1994), 60) Thus, customer care must also be somehow included in the long-term objectives of the organisation who are set to defend its purpose. Generally speaking customer care of festival visitors, guests, and workers, does not only include aspects of crowd safety, provision of quality services and products in order to delight the audience, but it also encompasses the attitudes of festival workers towards customers and the way they interact with them in certain "Moments of Truth", a term defined closer in the next section.
11.2 Moments Of Truth
Originally, the term "Moments of Truth" was coined by Jan Carlzon, president of Scandinavian Airlines System. For him, ‘moments of truths’ are the interactions between a customer and employees of the company at a specific moment in time, in which the company shows whether they are ‘good or bad’. Karl Albrecht and Ron Zemke forged this concept extending it to "any episode in which the customer comes into contact with any aspect of the organisation and gets an impression of the quality of its service." (Woods, R.H. et al. (1996), 99) Moments of truth for a festival organisation could be for example: telephone or e-mail enquiries about the festival, Internet presentation, promotional brochures, arrival at the parking area of the festival venue, entering the actual venue site where the performance takes place, asking a steward or volunteer for directions or complaining, etc.
Festival workers, whether paid or volunteers, contribute substantially to the image of a festival organization and to the customers’ impression of how they are being taken care of. Training festival workers for being customer friendly is not sufficient and is often perceived offensive by workers. Thus, the starting point of effective customer care should be internal service quality or creating a friendly working environment for the employees and excitement. Factors contributing to internal service quality are: motivation of the people involved in running the event, their equipment, physical setting and facilities, services offered, accommodation and meals, the number of event workers and their hours of work, training and briefing regarding safety and communication procedures, involvement in the planning process of the festival, empowerment, payment, and other benefits for volunteers. Similar to the moments of truth that form a "continuous chain of events and build a perception of value for customers", there are "Internal Moments of Truth" in the activities of running a festival that "build a perception of value for mangers, supervisors, and employees". (Woods, R.H. et al. (1996), 111) Therefore, meeting the needs of festival workers is important for customer satisfaction and must be considered as a priority number one. Performers are also festival workers to a certain degree and special guests at the same time as well as subcontractors, who also need special attention since their satisfaction of needs also influences the quality of the audience’s festival experience.
11.3 Customers' Motives And Expectations
Identifying the various target groups (e.g. festival visitors, festival workers, sponsors, contractors and other individuals involved in the event), their needs, and expectations are important for providing appropriate customer care. The experience customers have gained from attending other festivals, attitudes, motives, lifestyle, etc. influence their expectations.
The basic needs of consumers can be divided into physical, social, esteem, and personal needs, all of which result in specific wants and motives for going to a festival. Physical needs for accommodation, food, beverage, and motives such as to relax, to search for security, to find sexual gratification, etc. should be considered first. Social and interpersonal needs are spending time with the family and friends, romance, searching for links to cultural and ethnic roots, etc. Esteem needs could be pursuing recognition for accomplishments and gaining prestige from attending an event. Personal needs and motives could include quest for knowledge, seeking new experiences, innovative ideas, fulfilment of ambitions, etc. (Cf. McDonnell, I. et al. (1999), 115)
At the time of writing this paper a research of the motives of festival goers, specifically visitors to Glastonbury and Reading Festivals, was being conducted. The results are not published yet. Questions included in the survey reveal some of the possible motives of festival goers, i.e. to have a change from the daily routine, curiosity, to see the headline bands on the main stage, to see other bands/artists on other stages, to experience other entertainment/performances, the festival’s uniqueness, to do something together with the family, to have a good time, to be with my friends, to explore a different way of life, to see and do a variety of things, to enjoy a festival crowd, to consume excesses of alcohol, to enjoy the music, to observe others attending the festival, to be with people who enjoy the same things, it is stimulating and exciting. (Cf. Aggas, A. http://members.tripod.co.uk/Festivals/Questionnaire.htm accessed 24/03/ 2000)
11.4 Service Quality
Exceeding customers’ expectations is also part of a wide range of service quality philosophies. Tony Ireland states that "quality processes are promoted as being able to address issues of supplying the customer with the correct product or service first time every time and therefore could provide a suitable remedy for providing management strategies for quality services in special events… It is the factor of conforming to the requirements of the customer that is vital in the process of making quality management work in a service environment." (Ireland, T. (2000), 1-3) He further thinks that statistical quality control and statistical process control are both part of the quality control process, including a "wide range of techniques from very simple to very complex, for the diagnosis, identification, elimination and control of process related problems. Inspection alone is not Quality Control although it is part of that quality control process… Quality Control has been integrated into Quality Assurance, which in turn lead to Quality Management Systems. In turn Quality Management Systems became the foundation of Total Quality Management." (Ireland, T. (2000), 5) Moreover, he stresses the importance of people involved in organising the event. "The Human Factor provides the theme that runs throughout the philosophy of quality. From the interface with the external customer, customer’s perceptions, looking at the internal customer/ supplier links in the service chain, training staff to carry out procedures, incorporating quality as a belief of the management, quality circles, communications and service quality, it is the human element that can make the difference" (Cf. Ireland, T. (2000), 26) Tony Ireland supports the view that total quality begins and ends with education but in addition believes that quality starts, finishes and evolves due to the human factor. (Ireland, T. (2000), 26) From the author’s point of view, quality organisation is a balanced combination of everybody’s strengths, weaknesses and current opportunities, which makes them interact in the most efficient way that satisfies every party involved.
11.5 Crowd Safety
Crowd safety generally involves health safety, fire safety, first aid, and crowd management, which all are part of the risk management as well. As mentioned at the beginning of this chapter, many of the festival organizers, interviewed by the author, associated successful music festivals partially with having no injuries or other incidents affecting the safety of the audience. Furthermore, festival visitors and workers expect the organizer to have taken care of any safety issues. Some of the aspects of crowd safety are included in the chapters about risk management and event logistics.
11.5.1 Health And Safety Management
According to The Event Safety Guide the key elements of successful health and safety management include: (Cf. Health and Safety Executive (1999), 4)
• Creating a health and safety policy;
• Planning to ensure the policy is put into practice;
• Organising an effective management structure and arrangements for delivery of the policy;
• Monitoring health and safety performance;
• Auditing and reviewing performance.
The safety policy is a document that shows the festival organiser’s commitment to health and safety. It should contain details concerning how the policy will be put into practice and who is responsible for provision of information, training and monitoring. In the United Kingdom it is a legal requirement for employers employing five or more people to produce a written health and safety policy. (Cf. Health and Safety Executive (1999), 4)
The safety planning and actions that need to be undertaken differ for the different stages of the festival production cycle, i.e. for the ‘build-up’, ‘load in’, ‘show’, ‘load out’, and ‘breakdown’ stages. For the ‘build-up’ planning will involve the venue design, selection of competent safety workers, safe construction of the stages, marquees, and fencing; providing health and safety policies from contractors and subcontractors, and drawing up a set of site safety rules. The ‘load in’ comprises of planning for the safe delivery and installation of performers’ equipment, lighting, public address systems (PA), and equipment to be used in the bar areas. The ‘show’ involves planning effective crowd management strategies, transport management strategies, welfare arrangements, procedures for dealing with fire, first aid plan, and other emergencies. An event safety management team that should include representatives from the local authority and emergency services could co-ordinate the planning of the show itself. For the ‘load out’ safe removal of the equipment and temporary structures also need to be planned. The ‘breakdown’ requires planning for waste collection and disposal. Effective management for safety means ensuring that: everybody involved in the festival’s production is competent ("has the necessary training, experience, expertise and other qualities to carry out the work safely"), contractors and subcontractors know how health and safety will be controlled and monitored on site, everybody involved in the event understands the importance of health and safety matters and co-operates with each other in order to be able to control identified safety risks by effective communication. (Cf. Health and Safety Executive (1999), 5-9)
11.5.2 Crowd Management
Crowd management is an important factor contributing to the safety and enjoyment of people especially at festivals that attract large numbers and overcrowded areas are more the rule than the exception. The audience profile-especially the behavior, psychological state of the audience, motives and circumstances that cause certain types of actions as well as crowd dynamics, must all be considered in crowd management. Some of the factors affecting the crowd dynamics are: (Cf. Health and Safety Executive (1999), 46-47)
• The character of the performers, e.g. diving into the audience and encouraging body surfing, throwing items into the audience and performing in the audience area, inviting members of the audience on stage, etc;
• The audience profile, e.g. male/female split, age, heavy consumption of alcohol or other drugs, physical behavior like body surfing, slam dancing, crowd sway or surges, moshing, stage diving, etc.
Crowd management also depends largely on audience size, design of entrances and exits, means of communication with the audience, number of event workers, the arrangements for the front of stage area and the viewing areas, perimeter fencing, and design of "pass out" systems. The audience size is also known as the "occupant capacity" and is generally determined by the licensing authority that takes advice from the fire authority. (Cf. Health and Safety Commission (1993), 20) "The occupant capacity is the maximum number of people which can be safely accommodated at the venue". (Health and Safety Commission (1993), 82) Roughly calculated, it is the total area available to the public (in square meters) divided by 0.5. Through limiting the number of people attending the festival, the occupant capacity reduces crowd densities to a safe level on one hand, and helps to identify other facilities like adequate means of escape, first aid, stewards, and sanitary conveniences. The best way of controlling the audience size is setting up the admission to be by ticket only.
The entry and exit points can be used as means for supervising, marshalling, directing the audience to the event, escape routes, and access for the emergency services during the festival. The number of entrances must be adequate for the occupant capacity and should be clearly indicated and operate efficiently. Usually large numbers of people seek to gain admission at the same time, which threatens their safety. Reducing the crowd pressure at the entrances can be achieved by: (Cf. Health and Safety Commission (1993), 20-21)
• opening the entry points well before the start of the event, providing early supporting acts or other activities that all need to be publicized;
• placing concessions, ticket sales and pick-up points, and other mobile facilities well clear of entry points and paths;
• arranging queuing areas away from entrances in a system of free flow (e.g. considering a multiple number of entry lanes with individual checkpoints for valid tickets, and for prohibited items) with adequate and sufficient number of barriers, fences, gates, and turnstiles; and
• providing a sufficient number of competent stewards with a short-range public address system or megaphones at the entrances.
Arrangements for the front of stage area and the viewing areas, perimeter fencing, crowd sway or surges, and "pass out" systems are additional aspects of crowd management to be considered. The front of the stage area needs to be stewarded because the audience tends to rush towards the stage when the gates are first opened. For this reason the entrances should not directly lead to this area. A stable perimeter fencing, which is able to withstand a crowd loading of at least 2kN/m (tested at usually between 1.1 meters and 1.5 meters) and is at least 3 meters high, prevents trespassing and supports the safe management of the audience. The crowd density in viewing areas during the actual performance of bands can be reduced by placing video or projection screens further away from the stage, which can also be used for announcing safety arrangements, facilities on site and emergencies during the breaks in between bands. Crowd sways and surges, which appear to be a great threat to the audience’s safety, can be monitored by closed circuit television so stewards and security guards can take immediate action in the case of incidents or dangerous situations. The efficiency of "Pass out" systems, aimed at people who want to leave the venue temporarily, depends largely on the security system being used. (Cf. Health and Safety Commission (1993), 23-25)
Stewarding and communication with the audience, which are described in the next section, are important tools of crowd management contributing to the safety of the audience and customer care.
11.5.3 Stewarding And Communication With The Audience
Stewards are mainly responsible for an effective crowd control in the "pit" area, entrances or exits, ticket areas, barriers, mixer desk and delay towers, vehicle parking and marshalling traffic, reducing the risk or fire, helping the police and other emergency services when needed. The approximate number of stewards can be identified by previous experience in addition to conducting a detailed risk assessment on both key points of the venue and publicly unsafe circumstances, which could arise with the need for stewarding. The organization of the stewards must have an established chain of command with a chief steward who liaises with the event manager and safety coordinator. A number of supervisors who are usually in charge of six to ten stewards will report to senior supervisors who, in turn report directly to the chief steward. Each steward should receive a written statement of their duties and a plan showing both the layout of the site as well as the arrangements, special duties and coded messages in the case of an emergency. Stewards should be given training depending on the function they perform and a record of this should be kept. (Cf. Health and Safety Commission (1993), 27-29) The roles of stewards and security workers are closely inter-linked and effective communication between those groups will contribute to a more effective crowd management. (Cf. Health and Safety Executive (1999), 51)
From the author’s point of view, communicating with the audience is of major importance for both preventing overcrowding with injuries as well as giving the audience both the feeling that they are being taken care of and that they are safe. The better festival-goers and others taking part in the event are informed, the less frustrated and impatient they will be. At some festivals, information together with some rules and restrictions including the reasons for restrictions are communicated in advance on promotional material (leaflets, posters, brochures, etc.) that also reduces irritation, dissatisfaction and frustration.
Public address announcements made by the management, stewards, performers, compere or DJ, video screens, signs, hailers, and information points are effective ways of communication with the spectators. Accurate, clear and timely information is essential in the case of a major incident, since a main reason for occurring panic is delayed communication when people feel that they do not have the time to escape. The key points of emergency announcements are included in the chapter ‘Risk Management’ of this paper. There also needs to be a clear and efficient communication between the management team, stewards, the local authority, police, fire crew, medical team and other organisations involved in the event. This can partly be achieved through written agreements about the responsibilities and communication procedures of each organisation before, during and after the festival. (Cf. Health and Safety Commission (1993), 37-38)
Creating an enjoyable and safe environment for the audience and others involved in the festival is not sufficient if it is not communicated to the targeted groups through promotional and informational material as well as through stewards and other festival workers. Even uniform clothing of security guards and stewards communicates a sense of safety to the audience on one hand, and on the other it contributes to a common sense of purpose and commitment among festival workers.
11.6 Summary
Customer care is probably the most important factor contributing to the success of music festivals. Generally speaking, customer care of festival visitors, guests, and workers, does not only include aspects of crowd safety, provision of quality services and products in order to delight the audience, but it also encompasses the attitudes of festival workers towards visitors and guests and the way they interact with them in certain situations.
Identifying the various target groups their needs and expectations are important for providing appropriate customer care. The experience customers have gained from attending other festivals, attitudes, motives, lifestyle, etc. influence their expectations.
Communicating with the audience is of major importance for both preventing overcrowding with injuries as well as giving the audience both the feeling that they are being taken care of and that they are safe.
Next
11.1 Definition
Customer care is probably the most important factor contributing to the success of music festivals, concluded by the author after comparing opinions of tourism professionals and interviewing festival organisers regarding their definition of success. Often were the statements of the latter linked with seeing the audience enjoying the event, having no injuries or incidents and getting visitors back for the next festival, all of which are results of effective customer care. Roger Tomlinso, consultant in management, marketing and training, states "Good customer care involves the simple concept of thinking about things from the customer’s point of view…What are they seeing? What are they hearing? What are they reading and, perhaps, most importantly, what are they feeling? (What are they missing? ed. by the author)…The most appropriate response is usually to treat the customer as you would like to be treated yourself… The best type of customer care means exceeding the customer’s expectations." (Tomlinson, R. (1994), 39-47) From the author’s point of view, putting oneself in the visitor’s shoes does not necessarily provide reliable information. Asking festival-goers instead about their opinion and expectations through surveys or group discussions would provide the festival organiser with valuable primary data, which should be considered in the planning of the next festival aiming to exceed visitor’s expectations.
if you like my post then pls click on advertisment and add as you in my follower list.
Its beneficial for you and me both.
Gerri Morris, marketing consultant and trainer in the arts sector, defines customer care as being "the manifestation of a marketing focused organisation,… rooted in the corporate purpose of the .. organisation." (Morris, G. (1994), 60) Thus, customer care must also be somehow included in the long-term objectives of the organisation who are set to defend its purpose. Generally speaking customer care of festival visitors, guests, and workers, does not only include aspects of crowd safety, provision of quality services and products in order to delight the audience, but it also encompasses the attitudes of festival workers towards customers and the way they interact with them in certain "Moments of Truth", a term defined closer in the next section.
11.2 Moments Of Truth
Originally, the term "Moments of Truth" was coined by Jan Carlzon, president of Scandinavian Airlines System. For him, ‘moments of truths’ are the interactions between a customer and employees of the company at a specific moment in time, in which the company shows whether they are ‘good or bad’. Karl Albrecht and Ron Zemke forged this concept extending it to "any episode in which the customer comes into contact with any aspect of the organisation and gets an impression of the quality of its service." (Woods, R.H. et al. (1996), 99) Moments of truth for a festival organisation could be for example: telephone or e-mail enquiries about the festival, Internet presentation, promotional brochures, arrival at the parking area of the festival venue, entering the actual venue site where the performance takes place, asking a steward or volunteer for directions or complaining, etc.
Festival workers, whether paid or volunteers, contribute substantially to the image of a festival organization and to the customers’ impression of how they are being taken care of. Training festival workers for being customer friendly is not sufficient and is often perceived offensive by workers. Thus, the starting point of effective customer care should be internal service quality or creating a friendly working environment for the employees and excitement. Factors contributing to internal service quality are: motivation of the people involved in running the event, their equipment, physical setting and facilities, services offered, accommodation and meals, the number of event workers and their hours of work, training and briefing regarding safety and communication procedures, involvement in the planning process of the festival, empowerment, payment, and other benefits for volunteers. Similar to the moments of truth that form a "continuous chain of events and build a perception of value for customers", there are "Internal Moments of Truth" in the activities of running a festival that "build a perception of value for mangers, supervisors, and employees". (Woods, R.H. et al. (1996), 111) Therefore, meeting the needs of festival workers is important for customer satisfaction and must be considered as a priority number one. Performers are also festival workers to a certain degree and special guests at the same time as well as subcontractors, who also need special attention since their satisfaction of needs also influences the quality of the audience’s festival experience.
11.3 Customers' Motives And Expectations
Identifying the various target groups (e.g. festival visitors, festival workers, sponsors, contractors and other individuals involved in the event), their needs, and expectations are important for providing appropriate customer care. The experience customers have gained from attending other festivals, attitudes, motives, lifestyle, etc. influence their expectations.
The basic needs of consumers can be divided into physical, social, esteem, and personal needs, all of which result in specific wants and motives for going to a festival. Physical needs for accommodation, food, beverage, and motives such as to relax, to search for security, to find sexual gratification, etc. should be considered first. Social and interpersonal needs are spending time with the family and friends, romance, searching for links to cultural and ethnic roots, etc. Esteem needs could be pursuing recognition for accomplishments and gaining prestige from attending an event. Personal needs and motives could include quest for knowledge, seeking new experiences, innovative ideas, fulfilment of ambitions, etc. (Cf. McDonnell, I. et al. (1999), 115)
At the time of writing this paper a research of the motives of festival goers, specifically visitors to Glastonbury and Reading Festivals, was being conducted. The results are not published yet. Questions included in the survey reveal some of the possible motives of festival goers, i.e. to have a change from the daily routine, curiosity, to see the headline bands on the main stage, to see other bands/artists on other stages, to experience other entertainment/performances, the festival’s uniqueness, to do something together with the family, to have a good time, to be with my friends, to explore a different way of life, to see and do a variety of things, to enjoy a festival crowd, to consume excesses of alcohol, to enjoy the music, to observe others attending the festival, to be with people who enjoy the same things, it is stimulating and exciting. (Cf. Aggas, A. http://members.tripod.co.uk/Festivals/Questionnaire.htm accessed 24/03/ 2000)
11.4 Service Quality
Exceeding customers’ expectations is also part of a wide range of service quality philosophies. Tony Ireland states that "quality processes are promoted as being able to address issues of supplying the customer with the correct product or service first time every time and therefore could provide a suitable remedy for providing management strategies for quality services in special events… It is the factor of conforming to the requirements of the customer that is vital in the process of making quality management work in a service environment." (Ireland, T. (2000), 1-3) He further thinks that statistical quality control and statistical process control are both part of the quality control process, including a "wide range of techniques from very simple to very complex, for the diagnosis, identification, elimination and control of process related problems. Inspection alone is not Quality Control although it is part of that quality control process… Quality Control has been integrated into Quality Assurance, which in turn lead to Quality Management Systems. In turn Quality Management Systems became the foundation of Total Quality Management." (Ireland, T. (2000), 5) Moreover, he stresses the importance of people involved in organising the event. "The Human Factor provides the theme that runs throughout the philosophy of quality. From the interface with the external customer, customer’s perceptions, looking at the internal customer/ supplier links in the service chain, training staff to carry out procedures, incorporating quality as a belief of the management, quality circles, communications and service quality, it is the human element that can make the difference" (Cf. Ireland, T. (2000), 26) Tony Ireland supports the view that total quality begins and ends with education but in addition believes that quality starts, finishes and evolves due to the human factor. (Ireland, T. (2000), 26) From the author’s point of view, quality organisation is a balanced combination of everybody’s strengths, weaknesses and current opportunities, which makes them interact in the most efficient way that satisfies every party involved.
11.5 Crowd Safety
Crowd safety generally involves health safety, fire safety, first aid, and crowd management, which all are part of the risk management as well. As mentioned at the beginning of this chapter, many of the festival organizers, interviewed by the author, associated successful music festivals partially with having no injuries or other incidents affecting the safety of the audience. Furthermore, festival visitors and workers expect the organizer to have taken care of any safety issues. Some of the aspects of crowd safety are included in the chapters about risk management and event logistics.
11.5.1 Health And Safety Management
According to The Event Safety Guide the key elements of successful health and safety management include: (Cf. Health and Safety Executive (1999), 4)
• Creating a health and safety policy;
• Planning to ensure the policy is put into practice;
• Organising an effective management structure and arrangements for delivery of the policy;
• Monitoring health and safety performance;
• Auditing and reviewing performance.
The safety policy is a document that shows the festival organiser’s commitment to health and safety. It should contain details concerning how the policy will be put into practice and who is responsible for provision of information, training and monitoring. In the United Kingdom it is a legal requirement for employers employing five or more people to produce a written health and safety policy. (Cf. Health and Safety Executive (1999), 4)
The safety planning and actions that need to be undertaken differ for the different stages of the festival production cycle, i.e. for the ‘build-up’, ‘load in’, ‘show’, ‘load out’, and ‘breakdown’ stages. For the ‘build-up’ planning will involve the venue design, selection of competent safety workers, safe construction of the stages, marquees, and fencing; providing health and safety policies from contractors and subcontractors, and drawing up a set of site safety rules. The ‘load in’ comprises of planning for the safe delivery and installation of performers’ equipment, lighting, public address systems (PA), and equipment to be used in the bar areas. The ‘show’ involves planning effective crowd management strategies, transport management strategies, welfare arrangements, procedures for dealing with fire, first aid plan, and other emergencies. An event safety management team that should include representatives from the local authority and emergency services could co-ordinate the planning of the show itself. For the ‘load out’ safe removal of the equipment and temporary structures also need to be planned. The ‘breakdown’ requires planning for waste collection and disposal. Effective management for safety means ensuring that: everybody involved in the festival’s production is competent ("has the necessary training, experience, expertise and other qualities to carry out the work safely"), contractors and subcontractors know how health and safety will be controlled and monitored on site, everybody involved in the event understands the importance of health and safety matters and co-operates with each other in order to be able to control identified safety risks by effective communication. (Cf. Health and Safety Executive (1999), 5-9)
11.5.2 Crowd Management
Crowd management is an important factor contributing to the safety and enjoyment of people especially at festivals that attract large numbers and overcrowded areas are more the rule than the exception. The audience profile-especially the behavior, psychological state of the audience, motives and circumstances that cause certain types of actions as well as crowd dynamics, must all be considered in crowd management. Some of the factors affecting the crowd dynamics are: (Cf. Health and Safety Executive (1999), 46-47)
• The character of the performers, e.g. diving into the audience and encouraging body surfing, throwing items into the audience and performing in the audience area, inviting members of the audience on stage, etc;
• The audience profile, e.g. male/female split, age, heavy consumption of alcohol or other drugs, physical behavior like body surfing, slam dancing, crowd sway or surges, moshing, stage diving, etc.
Crowd management also depends largely on audience size, design of entrances and exits, means of communication with the audience, number of event workers, the arrangements for the front of stage area and the viewing areas, perimeter fencing, and design of "pass out" systems. The audience size is also known as the "occupant capacity" and is generally determined by the licensing authority that takes advice from the fire authority. (Cf. Health and Safety Commission (1993), 20) "The occupant capacity is the maximum number of people which can be safely accommodated at the venue". (Health and Safety Commission (1993), 82) Roughly calculated, it is the total area available to the public (in square meters) divided by 0.5. Through limiting the number of people attending the festival, the occupant capacity reduces crowd densities to a safe level on one hand, and helps to identify other facilities like adequate means of escape, first aid, stewards, and sanitary conveniences. The best way of controlling the audience size is setting up the admission to be by ticket only.
The entry and exit points can be used as means for supervising, marshalling, directing the audience to the event, escape routes, and access for the emergency services during the festival. The number of entrances must be adequate for the occupant capacity and should be clearly indicated and operate efficiently. Usually large numbers of people seek to gain admission at the same time, which threatens their safety. Reducing the crowd pressure at the entrances can be achieved by: (Cf. Health and Safety Commission (1993), 20-21)
• opening the entry points well before the start of the event, providing early supporting acts or other activities that all need to be publicized;
• placing concessions, ticket sales and pick-up points, and other mobile facilities well clear of entry points and paths;
• arranging queuing areas away from entrances in a system of free flow (e.g. considering a multiple number of entry lanes with individual checkpoints for valid tickets, and for prohibited items) with adequate and sufficient number of barriers, fences, gates, and turnstiles; and
• providing a sufficient number of competent stewards with a short-range public address system or megaphones at the entrances.
Arrangements for the front of stage area and the viewing areas, perimeter fencing, crowd sway or surges, and "pass out" systems are additional aspects of crowd management to be considered. The front of the stage area needs to be stewarded because the audience tends to rush towards the stage when the gates are first opened. For this reason the entrances should not directly lead to this area. A stable perimeter fencing, which is able to withstand a crowd loading of at least 2kN/m (tested at usually between 1.1 meters and 1.5 meters) and is at least 3 meters high, prevents trespassing and supports the safe management of the audience. The crowd density in viewing areas during the actual performance of bands can be reduced by placing video or projection screens further away from the stage, which can also be used for announcing safety arrangements, facilities on site and emergencies during the breaks in between bands. Crowd sways and surges, which appear to be a great threat to the audience’s safety, can be monitored by closed circuit television so stewards and security guards can take immediate action in the case of incidents or dangerous situations. The efficiency of "Pass out" systems, aimed at people who want to leave the venue temporarily, depends largely on the security system being used. (Cf. Health and Safety Commission (1993), 23-25)
Stewarding and communication with the audience, which are described in the next section, are important tools of crowd management contributing to the safety of the audience and customer care.
11.5.3 Stewarding And Communication With The Audience
Stewards are mainly responsible for an effective crowd control in the "pit" area, entrances or exits, ticket areas, barriers, mixer desk and delay towers, vehicle parking and marshalling traffic, reducing the risk or fire, helping the police and other emergency services when needed. The approximate number of stewards can be identified by previous experience in addition to conducting a detailed risk assessment on both key points of the venue and publicly unsafe circumstances, which could arise with the need for stewarding. The organization of the stewards must have an established chain of command with a chief steward who liaises with the event manager and safety coordinator. A number of supervisors who are usually in charge of six to ten stewards will report to senior supervisors who, in turn report directly to the chief steward. Each steward should receive a written statement of their duties and a plan showing both the layout of the site as well as the arrangements, special duties and coded messages in the case of an emergency. Stewards should be given training depending on the function they perform and a record of this should be kept. (Cf. Health and Safety Commission (1993), 27-29) The roles of stewards and security workers are closely inter-linked and effective communication between those groups will contribute to a more effective crowd management. (Cf. Health and Safety Executive (1999), 51)
From the author’s point of view, communicating with the audience is of major importance for both preventing overcrowding with injuries as well as giving the audience both the feeling that they are being taken care of and that they are safe. The better festival-goers and others taking part in the event are informed, the less frustrated and impatient they will be. At some festivals, information together with some rules and restrictions including the reasons for restrictions are communicated in advance on promotional material (leaflets, posters, brochures, etc.) that also reduces irritation, dissatisfaction and frustration.
Public address announcements made by the management, stewards, performers, compere or DJ, video screens, signs, hailers, and information points are effective ways of communication with the spectators. Accurate, clear and timely information is essential in the case of a major incident, since a main reason for occurring panic is delayed communication when people feel that they do not have the time to escape. The key points of emergency announcements are included in the chapter ‘Risk Management’ of this paper. There also needs to be a clear and efficient communication between the management team, stewards, the local authority, police, fire crew, medical team and other organisations involved in the event. This can partly be achieved through written agreements about the responsibilities and communication procedures of each organisation before, during and after the festival. (Cf. Health and Safety Commission (1993), 37-38)
Creating an enjoyable and safe environment for the audience and others involved in the festival is not sufficient if it is not communicated to the targeted groups through promotional and informational material as well as through stewards and other festival workers. Even uniform clothing of security guards and stewards communicates a sense of safety to the audience on one hand, and on the other it contributes to a common sense of purpose and commitment among festival workers.
11.6 Summary
Customer care is probably the most important factor contributing to the success of music festivals. Generally speaking, customer care of festival visitors, guests, and workers, does not only include aspects of crowd safety, provision of quality services and products in order to delight the audience, but it also encompasses the attitudes of festival workers towards visitors and guests and the way they interact with them in certain situations.
Identifying the various target groups their needs and expectations are important for providing appropriate customer care. The experience customers have gained from attending other festivals, attitudes, motives, lifestyle, etc. influence their expectations.
Communicating with the audience is of major importance for both preventing overcrowding with injuries as well as giving the audience both the feeling that they are being taken care of and that they are safe.
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