Background
Background
Roskilde Festival relates to a Danish festival held focusing on the music and culture synonymous with North Europeans (Jensen, Rasmussen, Marlow & Amdrup, 2018). The festival is categorized as a hallmark event as it is fixed, occurring periodically. In Europe, Roskilde Festival is often considered to be among the largest events.
The purpose
The purpose of the event is to ensure that support is directed towards initiatives geared towards offering some benefits not only for children but also for young people (Pivnenko, Edjabou, Boldrin & Astrup, 2017). Moreover, the festival is intended aid activities which are humanitarian in nature as well as those aimed at various forms of cultural work. Roskilde Festival Charity Society is responsible for its organization.
The scope
The festival is held yearly south from Roskilde. In most cases, the events planned are often set to run for eight days. For example, the event started on the 30th of June and ended on 7th July in 2018 (Hoegberg et al., 2017). The style used for the festival is synonymous with what is applicable among Scandinavians.
Roskilde Festival description
Who is staging the event? Who is it being staged for? Who are the main stakeholders?
Roskilde Festival Charity Society stages Roskilde Festival. The event is primarily staged for Scandinavian youths (Kirkegaard, 2016). The main stakeholders include the community living in the surrounds where the event is staged, the volunteers and concert attendees.
What sort of event is it? What happens? What makes it a Hallmark Event?
The event typically features artists making music presentations from various genres. Stages with spaces that cater to different capacities are set up while food and beverages can be obtained from nearby stores (Lang & Belfield, 2018). Roskilde Festival qualifies as a hallmark event as it held in a similar location yearly and a large number of its visitors also defines it.
Where is the event held?
The event is held each year in Denmark. There are various stages which are used to make the presentations (Olwig & Christiansen, 2016). The Orange Stage hosts 60000 individuals while Arena has a capacity for 17000 people. In addition, Apollo, Pavilion and Gloria are platforms used for entertainment purposes. Danes form part of the festival’s community residing locally.
When is the event held?
The debut of the show occurred in August 1971. However, over the subsequent years, the festival is held between June and July (Huijbens, Hjalager, Bjo, Nordin & Flagestad, 2017). The specific dates vary depending on the organizer’s schedule. Roskilde Festival is celebrated every summer.
Why is the event being held?
The event is primarily intended to raise funds which can be directed towards organizations involved in various development endeavors particularly where they are involved in music, humanism or cultural endeavors (Hoegberg et al., 2017). It is also a source of entertainment for those in attendance. Operational business can gain financially from the products sold.
Roskilde Festival history
Mogens Sandfær is responsible for the festival’s creation in 1971 with his counterpart Jesper Switzer Møller. The two students, who were at the time in high school, relied on Carl Fischer’s services who acted as their promoter. However, the Roskilde Foundation acquired the rights to oversee the organization of the festival in 1972 (de Brito & Terzieva, 2016). The outcome was that the event was held yearly for non-profit purposes. Moreover, the individuals who chose to be part of the festival could not only select but also nominate the organizations which were fit to access the funds arising from the event (Watson, 2018). Roskilde Festival was considered to be the first event which was music-oriented that could appeal to hippies.
The Purpose
Objectives and Aims
The objectives and aims of this event
Raising funds for organizations involved in different causes is the core objective of the event. However, the Festival does not affiliate itself with politically related activities (Hoegberg et al., 2017). Moreover, Roskilde Festival is intended to ensure that its attendants are entertained. In line with the provision of entertainment, the show also aims to promote upcoming artists, particularly from various Nordic countries.
An evaluation of whether the objectives and aims are being met
The objectives set for the festivals are met through the endeavors undertaken. For example, it is estimated that over 345 million DKK has been directed towards charity work from the 1970’s (de Brito & Terzieva, 2016). Programmes such as Volunteering 4 life have benefited concerning the cultural endeavors undertaken to target the youths. In addition, the programme serves to ensure that young people attain the skills necessary to stand out in the labor market characterized by steep competition.
The performance line-up often includes about 200 artists, architects, writers, performers as well as graffiti artists. In 2018, the budget developed with relation to music entertainment was valued at 60 million DKK. In addition, stages Countdown, as well as Rising, are used by an estimate of 43 upcoming artists to present their act (de Brito & Terzieva, 2016). Each of the stages can accommodate 5000 individuals.
Success Factors
The factors that make the event successful
The principles that provide a foundation for the event contribute to its success. The event seeks to ensure diversity. For example, the artists who performed in 2018 were sourced from 32 countries. In 2017, the event mostly focused on issues prevalent concerning cultural inequality. The activities undertaken were intended to reinforce the importance of different cultures which are present globally. The festival also ensures to fuel the curiosity of its fans (Hoegberg et al., 2017). Hence, 75% of the solo artists, as well as bands allowed to present to the audience, are first-timers. Moreover, audiences have access to stages with performances from different genres. The event is also designed to be conscious of the environment in which it occurs.
Issues threatening the success of this event in the future
The event is susceptible to cancellation by some of the most anticipated performances by renowned artists. Transportation to the venue using trains is among the factors that present a predicament for guests intending to be part of different performances. The events which unfolded at Roskilde in 2000 have created fears of accidents in such events following the stampede which led to the death of 9 people (Hoegberg et al., 2017).
Marketing
How Roskilde Festival is marketed
The event is expected to foster “The orange feeling” for the guests in attendance (Christin, 2016). In most cases, it is defined as a combination of fun, love, an attitude that is carefree as well as openness. The guerrilla strategy is used to ensure that the event attracts the crowd anticipated. Jay Conrad Levinson provides the indication that guerrilla marketing involves achieving goals which are considered to be conventional by relying on methods deemed unconventional. The outcome is that instead of making commercial investments, the focus is not only on energy but also ideas.
The Scope
Who Roskilde Festival is marketed to?
The show is primarily marketed to Danish, Swedish, Norwegian and audiences from Germany. On average, festival-goers are considered to be of 24 years old. Men constitute 53% of the targeted clients while women make up 47%. In addition, 48% of the individuals targeted to by marketing efforts are single (Noehr, 2014). The event is primarily marketed for adventure-seeking people.
An analysis of whether Roskilde Festival marketing is successful
The event is a success owing to the number of the individuals who seek to be part of the experience. In 2017 and 2018, the audience comprised of 130000 individuals. Moreover, the people willing to offer voluntary services have increased over the years. While the Roskilde Festival Charity Society only employs 50 people, 32000 of its personnel are not affiliated with the organization (Mostafanezhad, Norum, Shelton & Thompson-Carr, 2016). The strategy used to market Roskilde Festival has resulted in a global interest attracting international audiences.
Impact
How the event impacts the community culturally, environmentally and financially
The event enhances the culture of its affiliated communities. Some of the presentations endeavor to showcase the cultural provisions evident in different regions. Environmentally, the materials used to facilitate the performances are intended to minimize potential hazards. In addition, through the available voluntary services, programmes geared toward environmental clean-up are initiated to reduce the presence of solid wastes in the areas utilized. The profits which accrue from the concerts are directed towards initiatives aimed at improving the prospects for the youths.
Conclusion
Regardless of the limited duration for which hallmark events occur, they pave the way for numerous benefits for the destinations involved. Roskilde Festival has garnered some prominence for Denmark among different European nations. In addition, it has opened up the region for visitors from other global regions owing to the experience offered which is rated as world-class. Through the event, different provisions are made to improve the outcomes that accrue to surrounding communities. The funds collected facilitate endeavors which improve the lives of the youths residing in the region. Moreover, it offers a conduit for cultural enhancement through various forms of art.
Concepts such as sustainability are enhanced owing to the products offered which endeavor to be green. Hence, the festival strives to offer a solution to the challenges noted on a scale which is global. The outcome has been its massive success throughout the years despite the difficulties that may be encountered. However, numerous threats are emerging which may serve to impede Roskilde Festival’s sustainability. The hurdles can be overcome by developing strategies endeavored to improve the areas from which the weaknesses arise. Moreover, efforts should also be made to adhere to set regulations relating to the use of alcohol and abuse of drugs.
Marketing efforts should endeavor to target other nations in the quest for cultural diversity. Festival organizers should create more positions that would serve to offer employment for local youths. This would ensure that the skills learned are put to use
References
Christin, D. (2016). Privacy in mobile participatory sensing: Current trends and future challenges. Journal of Systems and Software, 116, 57-68.
de Brito, M. P., & Terzieva, L. (2016). Key elements for designing a strategy to generate social and environmental value: A comparative study of festivals. Research in Hospitality Management, 6(1), 51-59.
Hoegberg, L. C. G., Christiansen, C., Soe, J., Telving, R., Andreasen, M. F., Staerk, D., … & Kongstad, K. T. (2017). The migration of drugs-of-abuse from Europe to Denmark–Analysis of pooled anonymous urine from urinals at Roskilde Festival 2016. In 37th Congress of the European Association of Poisons Centres and Clinical Toxicologists.
Huijbens, E. H., Hjalager, A. M., Bjo, P., Nordin, S., & Flagestad, A. (2017). Sustaining creative entrepreneurship: the role of innovation systems. In Tourism and entrepreneurship (pp. 74-93). Routledge.
Jensen, L. S., Rasmussen, B., Marlow, A., & Amdrup, N. (2018). A music festival as innovative living-lab learning in engineering education. In 46th SEFI Annual Conference. European Society for Engineering Education (SEFI).
Kirkegaard, A. (2016). Verden i Danmark: om det fremmede i musikkulturen efter 2000on Otherness in music culture after 2000. In Populærmusikkultur I Danmark Siden 2000 (pp. 65-94). Syddansk Universitetsforlag.
Lang, A., & Belfield, A. (2018). School For Civic Action at Roskilde Festival 2018.
Mostafanezhad, M., Norum, R., Shelton, E. J., & Thompson-Carr, A. (Eds.). (2016). Political ecology of tourism: Community, power and the environment. Routledge.
Noehr, S. (2014). Summer School on Hashing: Theory and Applications, 2014.
Olwig, M. F., & Christiansen, L. B. (2016). Festive environmentalism: A carnivalesque reading of eco-voluntourism at the Roskilde Festival. In Political Ecology of Tourism (pp. 126-146). Routledge.
Pivnenko, K., Edjabou, M. E., Boldrin, A., & Astrup, T. F. (2017). Challenge of material recycling at large public events. In Sardinia 2017, 16th International Waste Management and Landfill Symposium. CISA Publisher.
Watson, G. (2018). Sites of Protest: Rethinking Everyday Spaces as Sites for Protesting the Marginalisation of Difference. M/C Journal, 21(3)
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