PACIFIC REGIONAL CULTURE STRATEGY

2020 – 2030
VISION 2030 | SUSTAINABLE CULTURAL DEVELOPMENTPOST-MEETING FEEDBACK ON DEC TWG DRAFT
Response Rate:• 6 of the 11 WG members• CI, NZ, Fiji, FP, Kiribati and
Tonga

Focus:
1. The Approach
2. Our Story
3. National Culture Priorities
4. Vision
5. Cultural Values

RCS INTENT• A guiding and enabling policy framework• Provides a foundation for investment, development and growth within theculture sector and across national and regional development priorities.
• Aims to provide guidance and support to:• influence national, regional and global platforms• enhance understanding of the value of culture across sectors• build opportunities for partnerships and sharing• enhance communication and advocacy• build capability across the sector and for cross- and multi-sector
approaches• strengthen accountability for culturally sustainable development

VISION & MISSION
Our Vision | Pacific cultures are vibrant, visible and valued for theempowerment, wellbeing and prosperity of our people.
Our Mission |To foster an inclusive culture sector that:• is relevant to and encompasses all aspects of the daily lives of Pacificpeoples and contributes to their holistic wellbeing;• is supported by national, regional and international partnerships; and,• contributes to the sustainable social, economic and environmental
development of the region.

PACIFIC PROVERBS AND METAPHORS• Guided by Pacific indigenous/cultural beliefs and philosophies from which
we derive our values:• Vivili fa’amanu o matagi – We strive after our goals despite difficulties. It
may be used to describe our Resilience as Pacific people (Samoa)• Solesolevaki - Coming together as a community and working as a family
towards the common good, for collective wellbeing and prosperity (Fiji)• Wa kuk, wa jimor. Waan kojipan koj. Waan Kokkure koj. Waan jokkwier.
Canoe to bring us together. Canoe belonging to everyone. Canoe to help
us. Canoe to destroy us. Canoe to give meaning to our lives (RMI)• Hoʻokahi ka ʻilau like ʻana. Wield the paddles together. Working together(Hawaii)

PRIORITIES• Cultural Heritage: Our cultural heritage, arts and languages are protected and thriving• Cultural Wellbeing: Our cultures are treated as an integral component of economic,
environmental, social and spiritual wellbeing• Cultural Innovation: We are advancing culture in innovative ways for future generations• Institutional Mechanisms: Our national legislation, strategies and policies amplify thevalue of culture and heritage

Cultural Heritage:

Cultural Wellbeing:

Cultural Innovation:

Institutional
Mechanisms:

Areas of shared interest

Areas of shared interest

Areas of shared interest

Areas of shared interest

1.

1.

1.
2.
3.

4.
5.
6.
7.

8.

transmission of knowledge and 1.
history;
language revitalization;
safeguarding traditional
2.
knowledge including natural andcultural heritage and intangible 3.
cultural heritage;4.
protection of historical sites
5.
and places;
traditional architecture/ building
skills and navigation;
valuing heritage skills andexpertise;
6.
funding and institutional
strengthening of traditional andcontemporary artists and7.
producers;
celebrating and promoting
cultural events.
8.

incorporating culture into othersectoral efforts, including
mainstreaming culture in education;
climate change resilience andsustainable development;
disaster risk management efforts;
Health (?)
supporting sustainable cultural
tourism and arts/culture
opportunities that balance cultural,environmental, social and economic
demands;
supporting indigenous ownership oftraditional knowledge and materials
in sustainable development;
encouraging equal opportunity for
women, people living with disabilities
and other marginalized andvulnerable minority groups;
promoting healthy lifestyles throughimproved food security, local
agricultural practices, slow foodapproaches and traditional foodpreservation methods.

2.
3.
4.

5.
6.

taking a future-focused
perspective to the protectionof cultural resources andtraditional materials;
investing in opportunities thatbridge customary with
contemporary ideas;building youth capability andleadership around arts andculture;supporting creative
entrepreneurship to build
resilience especially creative
producers in ruralcommunities, out of school
youth, heritage artisans,contemporary artists, womenand marginalized community
participation in the creativeand cultural industries;
strengthening Pacific peoples’
participation in global markets;
technology, transmission andstorytelling

2.
3.

4.
5.
6.

implementing governmentled cultural strategies;
strengthening legislation toprotect culture;enabling regulations that
support cultural
production, traditional
knowledge and materials;
generating data, including
cultural statistics, forquality decision making;government-led funding
and communication topromote the arts;
capability building of
culture departments andother officials.

Cultural Heritage: Our cultural heritage, Cultural Wellbeing: Our cultures arearts and languages are protected and treated as an integral component of
thriving
economic, environmental, social andspiritual wellbeing

Cultural Innovation: We areadvancing culture in innovative
ways for future generations

Institutional Mechanisms: Our
national legislation, strategies andpolicies amplify the value of culture
and heritage

What does success look like?
What does success look like?
What does success look like?
What does success look like?
1. Increased public and private
1. Integration of culture, lanaguge
1. Dedicated funding for the 1. Commitment and resources
sector expenditure for theand heritage programmes in basic
establishment of a Pacificfor the development andpreservation, protection andeducation
resource base of digital
implementation of regional
conservation of all cultural and 2. Adoption and use of accessand mass media tools
guidelines for the protection
natural heritage, by type of
benefit tools for the use of TK of
including in Pacificof TK of indigenous peoples
heritage (cultural, natural, mixed,
Indigenous peoples and local
languages
and local communities;
World Heritage Centre
communities especially in relation 2. Improved access toframework for Culturaldesignation) provided by
to climate change mitigation andregional development
Indicators; checklist fornational, regional andadaptation, disaster risk
programmes including
collation of cultural statistics;
international agencies including
management efforts, health andcultural leadership andand, guidelines for Culture
heritage inventory/ cultural
extractive industries.
digital technology
mainstreaming and integration
mapping.
3. Increased access to community
3. Regularized Festpac
of TK in education and across
2. Improved access to scholarships
awareness and local capacity
spaces and activities thatnational and policies.
and training/development andprogrammes and opportunities infacilitate artist forums,
2. Improved access to regional
grant programmes for artists
sustainable cultural tourism,
cross-collaboration andand international development
and producers.
youth leadership anddevelopment
programmes for culture
3. Established regional andentrepreneurship
opportunities
sector practitioners
international export mobility
package for cultural andcreative goods and services.

QUESTIONS
1.

Covid-19 as an emerging issue (short/long term impact on culture sector andcultural wellbeing)

2.

Further thoughts on Vision/Mission

3.

Cross-Cutting Priorities:• Global Commitments & Engagement (how to engage across global forums in
the four priority areas)• Strategic Partnerships & Resource Mobility (across all 4 priority areas)• Cultural Statistics (for the enhancement of data/evidence base)

FESTIVAL OF THE PACIFIC ARTSHOST COUNTRY FESTIVAL MANUAL

We, the Indigenous peoples of the Pacific,
assert our cultural identity, rights and dignity, andsupport the recognition of Indigenous and all peoples of the region.
We do so, mindful of our
Spiritual and environmental origins, through our dynamic arts forms and rich cultural history andtraditions.
We value the wisdom of our elders, the dynamism of our youth, the creativity of all our
Peoples, women and men.
We view culture as integral to the continued well being of our peoples
and to the social, economic and political development of our region.

1

Contents Page
Section 1: Festival Overview
1. Roles and Responsibilities of key agencies
1.1
SPC
1.2 Council of Pacific Arts and Culture (CPAC)
1.3 Host Country Government
1.4 Festival of Pacific Arts Organising Committee (FOPAOC)

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Section 2: Festival of Pacific Arts Planning and Development
2.1 Festival Sections
2.1.1 Artistic
2.1.2 Administration
2.1.3 Government Coordination
2.1.4 Media, Marketing and Sponsorship2.1.5 Venues and Facilities
2.1.6 Support Services
2.1.7 Residential
2.2 Festival of Pacific Arts timelines
2.3 Designing the Festival: 6 – 4 years ahead of the Festival
2.3.1 Planning and Development: 4-3 years ahead of the Festival
2.3.2 Planning and Development: 3 -2 years ahead of the Festival
2.3.3 Planning and Development: 2 years ahead of the Festival
2.3.4 Planning and Delegation: 18-12 months ahead of the Festival
2.3.5 Planning and Development: 12-6 months ahead of the Festival
2.3.6 Festival Operations: 6 months ahead of the Festival till the end of the Festival

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19
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21
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23

Section 3: Festival Time: Venue based management
3.1 Main Operation Centre
3.2 Venues

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26

Section 4: Post Festival: Reporting and Festival Legacy
4.1Festival Legacy
4.2 Festival Publication and Festival DVD
4.3 Knowledge Transfer program

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27
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Appendix 1 Host Country Manual Template
1. Festival Overview
2. Developing the FOPAOC
3. Festival of Pacific Arts Organising Committee (FOPAOC)
4. The Festival Director and Section Directors
5. Festival Design, Planning and Logistics
6. Timelines
7. Planning and Development - Festival Sections
8. Festival Time: Venue Based Management
9. Festival Legacy
10. Festival Publication and Festival DVD
11. Knowledge Transfer program

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30
31
31
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32
32
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34
35
35
36

Appendix 2 Guidelines for Establishing the Festival of Pacific Arts Organising Committee(FOPAOC)37
1 Developing the legal structure
2 The role of FOPAOC
3 The layers of the FOPAOC
4 The FOPAOC Board
5 The role of the FOPAOC Board
6 Composition of the Board
7 Role of the Chair
8 Role of Vice Chair

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43
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43
44

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9 Role of the Secretary
10 Role of the Treasurer
11 Terms of Reference for Organising Committee members
Appendix 3

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44
44

Past Festivals FOPAOC Structures

45

Appendix 4 Administration Section Guidelines
1 Administration -The Festival Secretariat
2 Main Operation Centre (Festival Secretariat)
3 Communications
3.1 Communication for Internal Operations
3.2 Reporting to stakeholders
4 Procurement and management of Equipment and Facilities
5 Host Country Manual/ Policies and Procedures Manual

48
50
50
51
51
51
52
53

Appendix 5 Finance
1 Financial planning/ budget
2 Potential revenue
3 Expenditure
4 Budget development guidelines and templates

54
54
54
55
55

Appendix 6 Legal Aspects of the Festival
1. Host Country Guarantees
2. Cultural Property Guidelines
3. Protection for performers, artists and community rights
4. Insurance and liability

59
59
59
60
60

Appendix 7 Human Resource
1. Introduction
2. Roles and Responsibilities
3. Duty times and locations
4. Cultural protocols
5. Briefings and Reports
6. Policies and procedures for dealing with outside organisations

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61
61
61
61
61
61

Appendix 8 Delegation Services
1. National Delegations
2. VIP Delegations
3. Head of State
4. Head of Delegation
5. Traditional leaders
6. Fringe and Non-Country Delegations/ Participation
7. Festival Buyers and Trade program
8. Researchers and students program
9. Key delegation support staff
9.1Liaison officers
9.2Drivers

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62
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63
63
63
63
64
64
64

Appendix 9 Head of Delegation Dossier
1. Introduction
2. Timelines
3. FOPAOC services and relations
4. Accreditation
5. Accreditation timeline
6. Registration material
7. Submission of accreditation data
8. Card production and distribution
9. Administration support – Festival Secretariat
10. Delegation Communications
11. Delegations

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12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.

Head of Delegation
Delegation Outline
Pre festival visit
Arts and Cultural Activities Entries process
Arts services and equipment
Ceremonies
Weather information
Festival program
Residential
Catering
Delegation Accommodation
Check in process
Guest passes
Festival Accommodation operations
HOD briefings

Appendix 10

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73
73
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74
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75
75

The Festival Director

76

Appendix 11 Artistic Section Guidelines
1. The Artistic Director
2. Artistic Section team
3. Programming
4. Artistic/ Creative programming
5. Ceremonies
6. Programming team
7. Protocol
8. Workshops, meetings and symposiums
9. Production team
10. Sound and Lighting
11. Lighting
12. Sound
13. Stages
14. Stage equipment and back line
15. Artists specifications
16. Facilities for Artists
17. The Artistic team at Venues

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83
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84
84
85
86
87
88
88

Appendix 12

Festival Logos and Themes

91

Appendix 13

Government Services Festival Coordination

93

Appendix 14

Media, Marketing and Sponsorship

98

Appendix 15

FOPA 2012 Sponsorship Policy Template

101

Appendix 16

Sample Sponsorship contracts/letters of agreement guidelines

103

Appendix 17 Merchandise
1. Vendors, Exhibitors, Stall and crafts, Food and Beverage outlets.
2. Festival Merchandise
3. Brand protection

104
104
104
104

Appendix 18 Festival of Pacific Art 2012 - Merchandise Guidelines
1. Design and Development of Official FOPA merchandise
2. Trademark and protection for the Official Festival Merchandise
3. Use of Official Festival logo in Official Festival Merchandise
4. Production/ Manufacture of the Official Festival merchandise
5. Appointing the Official Festival Merchandise manufacturer
6. Retailing and distribution of the Festival merchandise
7. Internal retailing and distribution
8. Merchandise partners

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105
106
106
106
106
107
107
107

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9. Official Festival Merchandise partners
10. The Merchandise Retailer
11. Official Festival Merchandise Reconciliation and Royalty Settlement
12. Vendors Exhibitors, Stall and crafts, Food and Beverage outlets.
13. Example of a Product and services list
14. Main Festival village Products and Services
15. Venue services
16. Selection considerations
17. Vendors, Exhibitors and Service Providers Fee
18. Promotion
19. Infrastructure
20. Supporting Documentation
21. Related Material
22. GovernanceAppendix 19

Merchandise Policy Solomon Islands 2012

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108
108
108
109
109
109
109
110
110
110
110
112

Appendix 20 Vendor’s exhibitors and Food and Beverage Stallholders Draft Application
Template
114
1. Applications
2. Site Allocation
3. Registration
4. Accommodation and Meals
5. Vehicle Access and Parking
6. Set up, Trading & Breakdown
7. Power
8. Telephone and Internet
9. Product List and Sales
10. Waste
11. Security
12. Insurance
13. Terms & Conditions
14. Occupational Health and Safety
15. On Site Demonstrations
16. In case of Emergency
17. Release and Indemnities
18. Damage to Property
19. Payment
20. Cancellation
21. General
22. Event.

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115
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116
116
116
116
116
116
116
117
117
117
117
117
117
118
118

Appendix 21 Media and Broadcasting
1. Delegation media
2. Media management, accreditation, Media agreements and permits
3. Photography and filming in venues
4. Media services and facilities
5. Enforcement of media rights in legislation
6. Broadcasting
7. Broadcast and copyright ownership
8. Production
9. Documenting of the event
10. IPR, Traditional Knowledge, Rights and agreements
11. Venue Management

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123
123
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124
124
125
125
126

Appendix 22 Support Services
1. Accreditation
2. Types of accreditation

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3. Rights
4. Timelines
5. Considerations for the host country
6. Seating
7. Venue limitations
8. Accreditation Process
9. Application for Accreditation Forms
10. Instruction Booklet
11. Glossary

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129
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129
129
129
129
130

Appendix 23 Catering
1. Catering systems
2. Task areas
3. Service areas

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131
131
132

Appendix 24 Health and Safety
1. Medical
2. Health and Safety guidelines
3. Risk Management Plan

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134

Appendix 25

Transport

136

Appendix 26 Venues and Facilities
1. Arts venues and facilities
2. Rehearsal venues
3. Venue and zones codes
4. Performance and Exhibition venues
5. Accommodation
6. Delegation members
7. Venue Works
8. Venue Use
9. Venue Responsibilities
10. Tendering Process
11. Venue Schedule
12. Utilities
13. Festival Village

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Appendix 27 Residential/ Accomodation
1. Delegation Accomodation
2. Delegation health and safety
3. Pre-Festival accommodation
4. Disabled participants
5. VIP accommodation
6. Audience/ Participant accommodation

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Appendix 28 Venue Based Management
1. Venues
2. Artistic Venues
3. Non Artistic Venues
4. Residential

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Appendix 29 Tools for keeping it all together
1. Programming Templates
2. Programming guidelines and templates
3. Program Planners and Production sheets
4. Timing Guide
5. Festival Stage Schedules
6. Delegation programming and tracking
7. Audio, Sound and Lighting Specifications template
8. Workshop and symposium templates, model questionnaire and planning sheet

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7

Purpose of the Festival of Pacific Arts Manual
The Festival of Pacific Arts Manual (FOPA Manual) is a guideline developed by the Secretariat of the
Pacific Community through the Human Development Program, Adviser Culture. SPC’s role is to provide
support, guidance and technical advice to the host country that has been awarded the Festival of PacificArts, and to facilitate participation by member countries. It does so in line with expectations of theCouncil of Pacific Arts and Culture, which is the body that oversees the Festival.
The main purpose of the Manual is to assist the Host Country plan, develop and successfully manage the'event'. Because Festival preparations take place over a 6-year period, the 4 sections of the manual lay
out the different stages of planning and development:
Section 1: Festival Overview: History and Background of the Festival of Pacific Arts
Section 2: Pre Festival: Design, Planning and Development: 6 – 4years ahead of the Festival
Section 3: Festival: Implementation and Operations 6 months ahead and during the Festival
Section 4: Post Festival: The Festival Legacy, Reporting, Dissolution, and Knowledge Transfer
Section 1 provides an overview of the history of the Festival of Pacific Arts, its guiding principles, ethics
and values and briefly describes the role of some of the key agencies involved in the Festival of Pacific
Arts.
Sections 2-4 provide details of host country responsibilities and activities to ensure a successful Festival.
The manual also contains 29 Appendices, which include standard templates, detailed guidelines forcommittees, checklists, and job descriptions to help the Host Country successfully design, plan, develop
and carry out the Festival of Pacific Arts. The appendices are listed in order for easy reference and provide
simple guidance to each task.
Appendix 1 is the Host Country Manual template including Guidelines for setting up the FOPAOC and its
Board, examples of Past Festival Organisational Structures
Appendices 2 to 27 are separated into all the key areas addressed by the Planning and Development
Section Areas with guidelines and templates to aid in the planning and development of the Festival
Appendix 28 is the Guidelines for utilising the Venue Based Management Structure for Festival
Operations.
Appendix 29 has templates of forms that are used for the Festival
The FOPA manual was developed utilising the SPC Host Country Organising Guide of 2003 as a basis anddrawing on other sources including and in particular the Pacific Games Charter and Pacific Games reports
and resources, the Pacific Games Chef de Mission Manual, the London 2012 Chef de Mission Manual, andthe Commonwealth Games Candidate City Manual.
The FOPA manual also draws on other Festival models such as the Dreaming Festival and the BoomerangFestival, the Pasifika Festival, as well as the Festival of Pacific Arts reports from Palau 2004, American
Samoa 2008 and Solomon Islands 2012. It further uses the guiding principles of Managing Events by
ArtsLink Queensland, the Albert Tourism Events Guidelines, and Green Festivals.org.

8

Recommendation
One of the recommended tasks for the Host Country is to develop its own internal manual to suitits own economic, social and cultural make up. This is to ensure that during the Design, Planningand Development stage, plans are established for local teams and committees, with detailed
processes and procedures for each area of the Festival that are suited to local conditions.
The processes, procedures and plans developed during the Pre-Festival phase should through the
Host Country Manual, be effectively communicated to the Implementation and Operations teams
in a document that is logical, practical and that can be used by all teams to successfully
implement the plans of the Organising Committee. Preparations of the Festival take place over agood many years, and sometimes with different teams, and it is essential to keep a record ofwhat has been planned, by whom and how it will be executed, and that information is passed onfrom stage to stage of the Festival preparations. Developing the internal manual also ensuresinstitutional memory and can provide a useful guide for other festivals developed and carried out
in the future.
A template to develop a Host Country Manual is listed in Appendix 1

Section 1: Festival Overview
The Festival of Pacific Arts is a unique and important event that celebrates the diversity and beauty ofPacific cultures. It plays an important role in preserving, revitalizing, valuing and promoting cultural andartistic practices, knowledge and expressions of Pacific peoples. It is the only event that brings together
the indigenous and other communities of all 26 nations of the Pacific regardless of their political status.
For the host country, the Festival fosters different levels of participation, bringing individuals andcommunities together, working with government, the corporate sector, and the diplomatic community
and the arts and culture sector. Many segments of the nation participate whether as delegates, audience,
volunteers, contractors, committee members or sponsors. For the host nation this is a great
responsibility but it is also a great social, cultural and economic opportunity. The Festival provides anopportunity to celebrate its culture and its people, and to enhance national pride and identity.
Importantly the Festival provides the nation with the opportunity to build infrastructure, develop
programs and activities that will revitalize, and highlight the importance of the arts and culture sector.
The host country is not alone. It works with SPC and the Council of Pacific Arts and Culture.

1. Roles and Responsibilities of key agencies
SPC

CPAC
Host
Country
Government

FOPAOC

Figure 1: Key agencies are interlinked and provide support to FOPAOC

9

1.1 SPCThe Cultural Affairs Programme was established at the SPC in 1996. In 2006 the Human Development
Programme was established, and took over responsibility for culture work, which comes under the
responsibility of the Adviser Culture.
The Key Roles of SPC:
a. Serve as the Secretariat to the Council of Pacific Arts and Culture.
b. Develop and strengthen the Council of Pacific Arts and Culture.
c. Work with the Council of Pacific Arts and Culture to identify clear priorities for the culturaldevelopment of the regiond. Assist with the organisation of the Festival of Pacific Arts.
e. Provide technical and logistical assistance to the host country of the Festival of Pacific Arts.
f. Facilitate communication between the host country and the participating countries
g. Help create linkages with supporting organisations

1.2 Council of Pacific Arts and Culture (CPAC)
The Council of Pacific Arts was established by the Secretariat of the Pacific Community in 1972 to oversee
the Festival of Pacific Arts. Its role was initially to provide support and advise the Festival host country
and to develop policy and programs to ensure the continuity of the Festival. The Council has broadened
its role and now also acts as the lead consulting agency for considering policy issues, and determining
objectives and strategies for cultural development of the region.
Key Role and objectives of CPAC:
a. Assist in the development of national cultural policies in the region;b. Determine, inform and advise on cultural policy in the Pacific regionally and internationally;c. Develop, and monitor the implementation of the Regional Cultural strategy that ensuresculture is integral to the social, economic and political development of the region for the benefit ofpresent and future generations;d. Protect and promote traditional knowledge through support of monitoring the Implementation of theModel law on Traditional Knowledge and Expressions of Culture and the Model Law on Traditional
Biological Knowledge;e. Support the protection and promotion of tangible and intangible cultural heritage,
Including languages;
f. Facilitate the development of creative/cultural industries, and contemporary artistic expression in theregion;g.

Establish a platform for improved management of the Festival of Pacific Arts

1.3 Host Country Government
The Festival of Pacific Arts is a government-to-government initiative, which is often led by the Prime
Minister’s Office and/or Foreign Affairs as well as the Ministry in charge of Culture. Their first role is toassist in the bid to host FOPA, which generally begins 8 years ahead of the Festival.

10

Festival
Expressions ofinterest

Bid planninganddevelopment

Host Country
Agreements

FESTIVAL

Bidding andsecuring theFestival

Figure 2: Outlines the key stages that the host country will undergo before it hosts the Festival of Pacific
Arts
Currently the bidding process is partly competitive and so a formal Bid Committee is not often set up. A
task force appointed by government or the relevant cultural agency presents their proposal to host theFestival at the Council of Pacific Arts eight years in advance.
As the Festival continues to evolve, more formal structures will be put in place by the Council of PacificArts and Culture to award the festival, and monitor and evaluate the host county’s progress towards theFestival. Until then, the ‘task force’ or equivalent is responsible for the preparing and submitting their
proposal, and works with their government and national agencies to secure the right to host the FOPA in
their country. See Appendix 30 for the FOPA Bidding Process
Once the host country has secured the Festival then the government appoints a specific Ministry or
national agency to oversee the design, planning, development and implementation of the Festival.
Key Role of the Host Country government:a. Appoint the Board of the FOPAOC to oversee Stage 1: Design of the Festival
b. Appoint the Festival Director to link Stage 1 with Stage 2: Planning and Developing the Festival
c. Appoint the Section Directors or Committee Chairs to work with the Festival Director to oversee
Stage 2: Planning and Developing the Festival
d. Government to government liaison with participating countries
e. Ensuring funding and Resources for the Festival
f. Providing Infrastructure and support services
g. Providing Security
h. Developing legislative, regulatory and enforcement measures for the Festival

1.4 Festival of Pacific Arts Organising Committee (FOPAOC)
The host country government sets up and appoints their FOPAOC. For most countries the Festival will bea government-to-government initiative and therefore it is important for government to take a leading rolein the support and implementation of the Festival and to have a mechanism to keep the range ofgovernment ministries informed of the requirements and progress of the Festival.
The Host Country determines the composition and structure of the FOPAOC, and because the Festival is anational event, the FOPAOC should have representation from government, public, private, civil society
and particularly technical expertise from the arts and cultural community.
The FOPAOC is generally developed over 6-4 years ahead of the Festival and will be in place until Festival
Operations 6 months ahead of the Festival where a more operational team will take over.

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See Appendix 2 for Guidelines for Establishing the FOPAOC. These guidelines recommend a structure thathas been adapted from the 2003 South Pacific Games, while also considering the structures of past
Festivals of Pacific Arts.
Recommendation:
This structure is recommended as it takes into consideration, that like the Pacific Games, the Festivalof Pacific Arts depend on ‘volunteers’ for their work force. This structure also recommends spreading
the workload, responsibility and accountability across 7 Sections that have clear roles andresponsibilities. This structure also focuses on clear communication, processes and procedures anddistinguishing the various stages for the Festival from Design, to Planning and Development, toImplementation and finally to the dissolution of the Festival.
The recommended structure is led by a Board who is appointed by government. The FOPAOC Board inthis structure is small and consists of key individuals who are highly respected, influential withgovernment and have extensive experience with events of this magnitude. Their role will be tooversee, support and guide the 7 Planning and Development Sections. Their key role is governance.
Detailed guidelines for establishing the FOPAOC Board can be found in Appendix 2

Chair

Secretary

Director
Administration

Treasurer

Festival
Director

Director
Festival
Coordination

Figure 3: Festival of Pacific Arts Organising Committee Board
As the Festival develops Directors or Chairs are appointed by the Board to lead the 7 Planning andDevelopment Sections. The 7 Festival Sections are outlined in more detail below. Section 4 of thismanual is a recommended timeline to consider when Designing, Planning, and Developing the Festival.

Section 2: Festival of Pacific Arts Planning and Development
2.1 Festival Sections
In past Festival the roles and responsibilities of the entire Festival have fallen on three key Directors: theFestival Director, Artistic Director and Administration Director. It is recommended that this workload befurther divided into 7 key planning and development sections, which spreads the responsibilities andplanning into focused technical areas that have specific roles. This division also aids in identifying
individuals with specific skill sets to undertake the planning and development in these sections. It also
lends itself to distributing these planning and development areas to specific organisations/ sectors of thecommunity. For example the Artistic planning can be done with the Ministry of Culture, National Arts
Council, and arts organisations, the Festival Coordination can be led by a government ministry as well as
the city town council, Marketing and Sponsorship by the corporate sector, etc.

2.1.1 Artistic
Programming - which includes all arts and cultural activities, ceremonies and protocol, workshops,
symposiums and meetings.

12

Production - which includes all the technical and infrastructural support needed to stage the activities
such as staging, sound, lighting, equipment, gallery and exhibition materials and equipment, technicalcrews, curators, etc.

2.1.2 Administration
Finance - develop budgets, manages receipt and disbursement of funds, manages acquittal and reports,
Festival Procurement which includes the acquisition and disposal of Festival equipment, materials, etc.
Legal - legal matters for the Festival including contracts, branding, IPR, trademark, copyright, insurance.
Secretariat - the administration needs of the festival and ensures effective internal and external
communications, timely and correct recording and reporting for the Festival.
Delegation services - liaison point between the delegations and all sections of the Festival.
Human resource - manages all staff, volunteers, task force members of the Festival and ensures thedevelopment and adherence to all processes and procedures developed for the Festival.

2.1.3 Government Coordination
Government and VIP Protocol – coordination, support and contact point for all host country government
and VIP protocol, including Delegation VIPs.
Government facilities and personnel – ensuring the availability of government owned venues, facilities
and the coordination of all government personnel deployed to support the festival
Government support services – coordination and provision of government services such as Customs,
Immigration, Quarantine, Transport authority, Army, navy, police, etc. needed to ensure the health,safety and support for the Festival
Host City Representative – office of the mayor of the city to ensure the coordination of all municipal
services and facilities and to provide support for ensuring that the host city works together with the
FOPAOC for the city image/ look

2.1.4 Media, Marketing and Sponsorship
Sponsorship and Fundraising – corporate sponsorship, fundraising events, donors, grants and investments
Public Relations and Promotion – nationally and internationallyMedia Management – Media coordination and management, IPR, TK and Copyright issues andenforcement, documenting the Festival, broadcasting and all support to media
Merchandising – design, development and distribution of all Festival merchandise, Festival vendors,
outlets and management at all venues

2.1.5 Venues and Facilities
Venue Management – selection, development, upgrading, construction of all venues, set up andprocurement, management and maintenance
Venue Security – selection, training and management of venue security during build up and Festival time.

2.1.6 Support Services
Accreditation – coordination of accreditation for delegations, media, VIP and FOPAOC
Medical – medical services for the Festival and liaison between public and private medical services
Security – Festival security, venues, delegations, public/ spectator safety, crowd control
Transport – Delegation and VIP transport, coordination of public transport, parking
Technology – Phones, Internet, equipment, communications
Volunteers – coordination, training, management of all volunteers

2.1.7 Residential
Accommodation – development, maintenance of accommodation areas including procurement offurniture, equipment and other infrastructure, hotels partnerships for VIP and public accommodation
Building and Grounds – upgrading and construction

13

Catering – Delegation, VIP, Media and FOPAOC catering
HOD info and admin center – development and management of HOD administration services
Residential support services – security, medical, technology
Each of these sections is led by Section Directors or Committee Chairs who report to the Festival Director.
They will then have either a task force made up of paid staff and contractors, and/ or volunteers
sectioned into various sub committees to take care of the planning and development that they are
responsible for. In some country’s government have also seconded personnel into these taskforces/
committees to aid in the planning and development.
Guidelines for developing each of these sections can be found in Appendices 2 to 28.

FOPAOC Board
Festival Director

Artistic Director

Director
Administration

Programming

Finance

Legal
Production

Director Government
services Coordination
Government
VIP/ Protocol

Host
City Rep

Government
facilities andpersonnel

Secretariat

Ceremonies
Human
resources

Government
supportservices

ProtocolMunicipal
services
Municipal
facilities

Director Media,
Marketing andSponsorship

Director Venues/
Facilities

SponsorshipandFundraising
PR andPromotion

Media
Management

City image
and look
Merchandising

Delegation

Director
SupportServices

Director
Residential
Operations

Venue
Management

Accreditation

Accomodation

Venue
Security

Medical

Building and
Grounds

Security

Catering

Transport

HOD Info and
Admin centre

Technology

services

MedicalVolunteers

Festival
procurement

Figure 4: Festival of Pacific Arts Organising Committee divided into 7 Planning and Development Sections

2.2 Festival of Pacific Arts timelines
The following sections will provide brief outlines of the key milestones for the Festival of Pacific Arts
Organising Committee from its establishment through to the Operational Phase, which begins 6 months
ahead of the Festival, and then post Festival activities and responsibilities.
There are four key phases for the Festival.

DesignPlanning anddevelopment

Festival

14

Post Festival reporting,dissolution, knowledgetransfer

Figure 5: The four phases for the Festival of Pacific ArtsThe Design, Planning and Development process for FOPAOC should begin at least 6-4 years ahead of theFestival. The time frame is dependent on the host country’s ability to mobilise its resources effectively
and efficiently, and ensuring that the initial commitments from government and the private sector, that
helped to secure the bid, are actually realised.
Once the Festival has been awarded to the host country the appointed FOPAOC will be in place to design,
plan and develop the Festival until about 6 months before the Festival when it moves into its final phase,Festival Operations.
The ‘skeleton’ design and planning process would already have been done for the Bid process and so thisphase will take the design and planning process to the next stage.

Photo

2.3 Designing the Festival: 6 – 4 years ahead of the Festival
In the Design phase, which should begin 6 to 4 years ahead of the Festival, the key areas of focus aredeveloping the overall direction of the Festival and developing a tangible understanding of the hostcountry’s capacity, challenges and risks associated with hosting the Festival. This phase will include
Vision, Concept, Logo, theme and branding, Evaluating the value and benefits, Economical andOperational feasibility. It is worthy to note that some host countries may have already addressed theseareas in the Bidding Proposals to the CPAC.

Activity
FOPAOC Board
appointed

Details
Government appoints FOPAOC Board
Design organisational structure: Sections,departments, task forces and define thehierarchical structure

15

Considerations
Legal framework
Legal and regulatory needs
Identify authorities of the event
Agreements with government and support
service agencies

Establish vision

Describe the Festival vision and how this will
be integrated throughout the Festival

How does this vision fit into governments
vision of the host country’s long termplanning
Festival legacy

Establish the Festival
concept

Propose dates to host Festival
Propose program
Festival Venue Design and Concepts forexample Tent City such as the Woodford
Festival or Boomerang Festival in Australia,
Traditional architecture (FOPA 2012),
Centralised permanent structures (FOPA
Cook Is), etc.

When selecting dates consider weather,school holidays, tides, and other scheduled
major events

Develop Festival
logo and theme

It is important to develop the logo and thetheme early as it is needed for all theMarketing, Media and Sponsorship
campaigns that need to begin at least 4
years ahead of the Festival.

The Festival logo has been developed byother countries through national
competitions or through a tender call to
local artists. See Appendix 12 for Past
Festival logos and themes

Community
Consultation

Ownership, support and cultural protocol
SWOT Analysis of Major events held in hostassistancecountry with elders, youth
Consult
Consult with arts organisations, artists,
cultural producers

Mapping: Venues,
Facilities

Venues used for arts, culture
Potential venues already in place
Venues for development
Outline Festival location and venues

Mapping:
Residential

Delegation accommodation
VIP accommodation
CPAC and FOPAOC accommodation
Media accommodation
Festival Guests accommodation
General public accommodation options,packages
Map out infrastructure, and support systems
in place for:Accreditation
Catering
Transport
Medical, Health and Safety
Programming and Production technicalneeds, equipment, suppliers, etc
Develop a Human resource map for eachsection and each proposed venue
Identify skills currently available in country
from the public and private sector,
organisations/ companies/ contractors
Develop Human Resource Manual which
outlines the personnel roles responsibilities,

Community engagement plan
Research various
on pasttypes
festivals
Considerof consultation:
Researchmapping,major events
held inmeetings,
the host
culturalcommunity
country
andinterviews.
Identify successful models and consider
recommendations from these events
Detail reasons behind the selection of
Map out major constraints, challenges
venues and locations
Determine availability for the Festival
Consider what permanent and temporary
structures need to be developed, upgraded
and the consider the investment required
Working with the national tourism agency
to develop special packages
Working with schools, universities andcolleges for accommodation

Mapping: Support
systems

Mapping: Human
Resource

16

When developing the program refer topast festival programs.

Identify systems in place for infrastructure.
What equipment and infrastructure has
already been developed? For example if
the Pacific Games was held in your country,
there will be software and equipment,
trained personnel for accreditation

A detailed Skills mapping will identify what
human resource is available nationally.
This will include scoping for individuals
who will serve on committees, those who
could become staff and identifying thesources of volunteers. See Appendix 7 for
Human Resource GuidelinesCode of Conduct, etc.

Mapping: Funding
and investment

Identify different finance options including
sources of funding and investment from thepublic and private sector locally andinternationally

Consider possible assistance in kind fromagencies and organisations such as airlines,banks, hotels, etc. and/ or mutually
beneficial partnerships

Risk Assessment andFeasibility Study

Risk Assessment of Festival
Situational Analysis
Evaluating the Benefits and Value of theFestival
Economic feasibility
Operational feasibility
Environmental impact assessment
particularly for new venues

Information collected from the hostcountry mapping will help to develop the
Risk Assessment and provide anunderstanding of the potential problems
and risks of hosting the Festival, as well as
the benefits for the nation.
Consider also external factors such aspolitical stability, natural disasters, etc.
See Health and Safety Guidelines Appendix
24 for a brief outline of Risk Assessments

Preparation for
submissions toCabinetEvaluation of the Value of the Festival
Situational Analysis and Risk Assessment
BudgetNeeds statement and submissions to Cabinet

Outline the commitment needed fromgovernment and secure guarantees for:Funding
Venues and Infrastructure
Support services including Immigration,
Customs and Quarantine, Police, Army,
Navy, Aviation, Road and Transport, Public
Utilities

2.3.1 Planning and Development: 4-3 years ahead of the Festival
During this phase the focus is on planning and developing the Festival programming and production.
During this phase the FOPAOC Section Directors will also begin to develop their committees and task
forces and will each develop more detailed, task orientated and section specific timelines and tasks. The
focus for this phase is for:
Planning and Development Section Directors to finalise their task forces/ committees
Section Work plans and timelines
Finalising the Festival program and productions needs
Finalising all infrastructure, support services and logistics for the Festival

Activity
Festival Coordinationand Support Services
begin development

DetailsNational and local government should at
this stage be active in assisting in theplanning and development of the Festival
particularly in terms of the support
services that come under their mandatesuch as Immigration, Quarantine, etc.

17Considerations
Visa waivers or special cultural entry visas
for delegations and VIPS
Information on Customs and quarantine
regulations to be developed anddistributed early
Training for army, police and other services
to be developedPublic health, transport and road systems
to be upgraded
Public amenities and host city upgrades
and image
Government appoints
Planning andDevelopment Section
Directors

The Board has begun to identify thetechnical expertise needed for thevarious sections of the Festival and havemade their recommendations for
Sections Directors/ Committee Chairs togovernment.

Since the Festival is a governmentmandated event, it is recommended thatall sections are established throughCabinet submission where TORs for each
Section Directors are submitted andapproved by Cabinet.

Launch Festival ofPacific Arts Organising
Committee

At this stage the FOPAOC comprises of
the Board, including the Festival Director,
and the Section Directors.
Public launch of FOPAOC

TOR should be developed and the Board
will begin to dispatch the appointment
letters for the full Organising Committee.
Orientation for the entire FOPAOC whichshould at this stage include communicating
the ‘Design’ of the Festival and detailingthe current plans in place for the Festival
through the first draft of the HOST
COUNTRY MANUAL

Festival culture andarts content outlined

Detail the key special events, art form
activities, and cultural programs
Preliminary outline of the symposiums,
workshops and meetings that will takeplace.

Review past Festival programs

Finalise legal
framework for IPR, TK
and Copyright for theFestival

Oversee development of Culturallegislation
Make submission to government toengage legal team to undertake cultural
intellectual property measures for theFestival

Follow the link for IPR, TK, Copyright issues
for the Solomon Islands Festival of PacificArts 2012

Complete preliminary
venues andinfrastructure plan

Preliminary plan for venues andinfrastructure for all Artistic venues, Nonartistic venues and residential

Consider long-term development for thearts and cultural community. The Festival
provides the possibility to have specificvenues and infrastructure built for thecultural industry. The Pacific Games has
enabled stadiums, swimming pools andother important infrastructure to be built
for the host country.
Consider involving local artists and arts
organisations that have had international
experience, in the venue development, as
it is these groups of people who will use
the venues after the festival.

Finalise Media,
Marketing andSponsorship Strategy

Launch website
Launch preliminary Festival program

At this stage the website should include
general information about host country,
Festival logo, theme and logisticalinformation. All festival communications

18

http://www.wipo.int/freepublications/en/tk/10
16/wipo_pub_1016.pdf.

must be done well in advance as the
FOPAOC needs to consider time fortranslation and ample time for countries tobe able to plan and budget for their
participation
SPC advisory

Work with SPC to secure consultants to
do first technical assessments

Areas of possible assistance:
Venues and Infrastructure Assessment
Intellectual Property Issues for the Festival
Technical Visit

Photo: Venue development for the Solomon Islands Festival of Pacific Arts 2012

2.3.2 Planning and Development: 3 -2 years ahead of the Festival
At this stage most of the Section plans, and budgets are in place and the focus for this phase is thephysical development of the Festival such as venues, infrastructure, support services and putting in place
for procedures and protocols for each Section.

Activity

Details

Considerations

Develop a Risk
Management plan

Risk Management Plan developed andregularly updated

Continue to assess the human resource,
venue and infrastructure capabilities, andother factors that may affect the Festival
Consider also external factors such as
economic, political stability, natural
disasters, etc.

19

Continue developing Host
Country Manual

At this stage the FOPAOC will have asecond draft of the Host Country
Manual which will be updated
regularly and detailed as task forces
become establishedEstablish Festival
Secretariat

Initially this may include only one or
two staff but as the Festival develops,
more staff and volunteers will be
added to the task force and moreequipment will be needed.

Consider a venue that is central and visible
to create a presence in the host city

Complete Marketing andSponsorship Strategy

Marketing and Sponsorship Strategy
Website and promotions plan
Sponsorship campaign
Donor applications
Merchandise Program

Begin to develop strategies for marketingand financing the festival.
The festival logo, its use and the materials
developed will begin to take shape.

Develop Financeguidelines

These guidelines should be developedin consultation with the Ministry of
Finance or other equivalent national
financial agency to ensure theirdisbursement and reporting
procedures are detailed and form partof the policy and procedures.

The purpose of the guidelines andprotocols is to ensure efficient processes
and financial accountability. These
guidelines should be put in place in thevery early stages of the Festival particularly
before donor and sponsorship money isinvested.

Photo: Sponsors, American Samoa, Festival of Pacific Arts 2008

2.3.3 Planning and Development: 2 years ahead of the Festival
At this stage most of the Festival planning and developing is done and the FOPAOC focuses on:Completing venues, infrastructure and facilities
Identifying and training task force, volunteers
Finalising upgrades, and establishment of support services
Delegation planning and communications

Activity

Details

Considerations

SPC Technical Visit

In order to provide support to theFestival and to access their progress
and preparations, SPC send out
technical advisors in advance of theFestival

At this stage the host country shouldpresent its Venues, Infrastructure andsupport services plans as well as the Risk
Assessment and Risk Management plan.
Consider also utilising this visit as a
training/ workshop opportunity for20

committee members, volunteers and task
force that have been identified.
Continue developing the
Host Country Manual

At this stage the Festival Manual isdeveloping and should include:
Section guidelines: Artistic, Logistics
and Support services, Administration,
Marketing and Sponsorship, Venues,
Residential
Programming and Production
Guidelines
Venue management and Operations
policies and guidelines, roles andresponsibilities and reporting process

Host County Manual and Guidelines

Head of Delegation
DossierFirst draft of Head of Delegation
Dossier to be submitted to Cultural
Focal Points at Council of Pacific Arts
and Culture Meeting

Consider putting this in a folder/ file format
so that additional information can be sent
to the HOD and they can simple print,
punch and add it into the folder. Consider
also a cd/ dvd with a video or photos ofvenues and infrastructure to aid in theirplanning.

Festival Communications
and PR in place

Regular Festival bulletins for Cultural
Focal points and delegations
Public bulletins should be posted on
the Festival Website, sent out on
CultureTalk and other communication
portals

See Appendix 9 for HOD Dossier
See Appendix 4 for Communications
See Appendix 14 for Media, Marketing andSponsorship Guidelines

2.3.4 Planning and Delegation: 18-12 months ahead of the Festival
At this stage all the final logistical, programming, production and support service development will
depend on the level of delegation participation and therefore the focus is to get the informationfrom delegations about their delegation numbers, including VIPs, officials, support crew, media andother Festival guests that will impact on final planning and development.
Activity

Details

Considerations

Country invitations

Send out PM’s letter of invitation tomember countries

This invitation is usually directed to thePM’s office or Foreign Affairs. Consider
also sending a copy to the Cultural Focal
Points so that they are aware it has been
sent and can aid in ensuring it is given
priority by their governments.

Delegation participation

Information regarding delegations andtheir participation begins to come into
the Festival Secretariat

Timelines set for receipt of:Country Participation Form
Delegation Registration and Accreditation
forms
Artist and Delegate event registration
Contractual procedures for artists

21

See Appendix 29 for templates of forms

2.3.5 Planning and Development: 12-6 months ahead of the Festival
At this stage the planning and development is complete and the focus is the transition fromplanning and development, to Festival Operations. Some of the planning committees will begin tophase out and move into venue task forces or form part of the Main Operations Center. The
Section Directors will begin to finalise their Section guidelines, protocols and procedures manuals
with their teams and begin the transition into their assigned venues and ensuring everything is inplace for the Festival.
Activity

Details

Considerations

Detailed program

At least 12 months ahead of thefestival a detailed program should
be released to all delegations which
include:Arts and cultural activities
Thematic areas for Symposiums andWorkshop

The final program with a detailed schedule,
venues, etc. will be released closer to thefestival once all the information regarding
participation from delegations have been
finalised.

Festival Venue Management At least 1 year ahead of the Festival The planning process should be complete
and Operations Manual
the Festival Venue Management
and the Festival goes into operationaland Operations Manual is complete. mode.
Venue Managers are in place as well as key
See Section 3 of this Manual for an
personnel and volunteers
outline of the Venue BasedManagement system
Main Operations Centre

Establish Main Operations Centre

The Organising Committee is now assigned
to different venues or sections.

Operational guidelines
completed for eachcommittee and task force

Transport System policy andprocedures in place
Catering System and policy andprocedures in place
Support services established andpolicy and procedures in place
Customs, immigration andbiosecurity policy and procedures inplace

HOD dossier should be updated to also
have detailed information about thesecomponents.

Ceremony and Protocol in
place

Finalise Ceremonies
Develop Protocol guidelines

Liaise with Cultural Focal Points about
protocols to be followed for their countries
so that these can also be added into theProtocol guidelines to aid FOPAOC when
dealing with delegations, VIPs, etc.

22Marketing and Sponsorship

Merchandising Forms
Vendors Application

Consider starting the merchandise
campaign at least 6 months ahead of theFestival to begin creating hype for theFestival. Consider also involving selected
vendors in lead up events, promotions and‘best outlet’ competitions and otherinitiatives to get retailers involved inassisting in the city clean up and image.
See Appendix 17 for Merchandise

2.3.6 Festival Operations: 6 months ahead of the Festival till the end of theFestival
The Festival is now in its operational stage. The Main Operations Centre/ Festival Secretariat isnow full time and each of the venues have begun to do test events and to function as anindependent unit reporting to the Main Operation Centre. Section planning and development
committees have dissolved and staff and volunteers have moved to their assigned venues. Venue
managers are in place and Section Directors are based at the Main Operations Centre.
Activity

Details

Considerations

2nd Technical Visit

The 2nd visit usually includes aMedia/ Broadcast advisor as well as
the Cultural Advisor and the focus of
this visit is to assess Venues,
Infrastructure, Support services andalso the Legal infrastructure in place
to address TK, IPR and Copyrightissues for the Festival.

All venues, infrastructure, support services
and a majority of the task force should bein place and available to brief this visiting
team

Venue development

Venue preparation, fit out anddécor, personnel

Consider involving artists, arts
organisations, schools, youth groups andcommunity in the décor process of eachvenue to create community ownership

Final Program

Final program to all member
countries with details of delegations
schedules and allocations should bein place at least 6 months ahead of
the Festival

Some countries may not have confirmed
their participation so it is advisable to slot
them into the program rather than have to
make last minute additions, etc.

Financial disbursements

Allocation of operational budgets to
Festival Committees and taskforces

Support services in place

Transport
Accommodation
Catering
Immigration, Customs, quarantine

Accreditation processing
beginsSee Appendix 22

See Appendix 22 for Accreditation

23

Move into Operational
phase

Final personnel training
Venue checks
Program printed
Website updated
Sponsors branding in place
Merchandise in outlets
Vendors selected and visibly
promoting the Festival
Communities engaged and lead up
activities begin
Final delegation communications
and logistics

Consider running a test event at each of
the venues, such as the host country
delegation launch

Photo

Section 3: Festival Time: Venue based management
The Festival of Pacific Arts is a considerable undertaking with over 2000 participants, local, regional andinternational patrons, media, VIP delegations and over 2 weeks, and therefore the operations andlogistics of the Festival needs to be concrete.
Ultimately it is the host country that will determine how they organize the Festival and the organizational
structures that they put in place to effectively implement the Festival Planning and a lot of this isdependent on the level of resources available to the host country. For events that rely heavily on
volunteers the Venue Based Management Structure has proven successful particularly with major events
such as the Pacific Games.

24

Recommendation
It is recommended that the Venue based management structure be utilized for the Operational phaseof the Festival. This structure focuses all the activity, decision-making and day to day operations with
Venue Managers and their team. All the planning and development, which was done in 7 Sections, hasbeen done by the FOPAOC and the implementation is handed over to each of the Festival venues. The
Section Directors are allocated a venue, which they oversee and provide guidance and support to theVenue Manager.
The FOPAOC Board has now taken a back seat in terms of decision-making but will now predominantly
focus their time and efforts as Festival hosts. The Chair and Vice Chair will generally be spending theirtime hosting VIP delegations and are the face of the Festival alongside the Festival Director. Generally
in past festivals they have also been involved in the CPAC meetings and focus their efforts on the longterm legacy of the Festival.
The Section Directors continue to work alongside the Festival Director and are based at the MOC tooffer guidance, leadership and support to the Venue Based Management team.

Main Operations Centre/ Festival Secretariat

Venue Manager
Site Manager

Construction/
Maintenance

Programing and
Production Manager/
CuratorAdministration

Operations
Manager

Finance/ HR
Technology

Ceremonies

Logistics

ProtocolEnvironmental

Stage Manager/
Gallery Manager

Venue image

Sound andLighting

House Manager
Sponsorliasion, brandprotection

Accreditation

Merchandise

Health,SafetyTransport
MedicalCatering
Spectator
services
Media andBroadcast

Figure 6: Venue Based Management Structure

3.1 Main Operation Centre
The Main Operation Centre (MOC), which can also be referred to as the Festival Secretariat, becomes the
hub of operational decision-making and troubleshooting during the Festival. This is where the Festival
Director and Section Directors meet on a daily basis with Venue Managers to trouble shoot and make on
the spot decisions whenever issues arise throughout the Festival.
The Secretary and Treasurer may at this stage be preparing the reports and evaluation documents for theFestival, as by this stage the majority of the funding has already been spent or allocated.

25

3.2 Venues
Each venue at the Festival operates as a silo with a team of trained staff and volunteers, led by the Venue
Manager. Each venue will have a specific team and this is dependent on the programs and activities thathave been assigned to the Venue. The complexity and size of the team depends on the size of the venue
and the numbers of programs and events held at the venue. For example one of the largest venues willbe the Festival Village, which operates daily from early morning to late in the evening. This venue has
multiple activities, stages, demonstration and display areas and combines all Festival art forms and genres
and because of these reasons this venue will possibly have a large team that works in several shifts.
Smaller venues such as the Visual Arts Gallery will have a smaller team focused only on the Visual Arts.
After this venue has been set up only a small management/ sales team will need to be onsite. Howeveragain this is dependent on the host country and how they will operate their Gallery.
Regular briefings of all Venue Managers will take place with the Section Directors to ensure that all areasof the Festival are functioning effectively and efficiently. The Section Directors key focus is to provide
support, to troubleshoot any major issues that can’t be solved at the Venue level, to prepare their Section
reports and prepare for the Dissolution of the Festival.
See Appendix 28 for more details on Venue Based Management

Section 4: Post Festival: Reporting and Festival Legacy
4.1 Festival Legacy
The Festival Legacy is about what is left behind once the Festival of Pacific Arts is over. The Festival
Legacy is something that should be planned and thought through in the early stages of development.
With so much support, investment and focus on the arts and culture it is important to ensure that theFestival and all that it leaves behind has a lasting impact and strengthening of the arts and cultural sector.
There have been situations in other major regional events, as well as the Festival of Pacific Arts wherelarge stadiums, galleries, museums, auditoriums etc. have been built but after the Festival or after the
Games these venues are not maintained due to lack of funding, and access for artists, sports people isrestricted etc. Therefore plans and a ‘hand over’ process must be put in place with local arts and culturalcommunities, agencies and organisations who can become the custodians for these venues and working
with government or other relevant agencies to ensure that the venues are utilised for the arts andcultural community.

Photo: The Sir Geoffrey Henry, National Cultural Centre, which was built for the Cook Island Festival of PacificArts in 1982

26

4.2 Festival Publication and Festival DVD
The Festival publication is the historical record of the Festival. These publications whether in the form ofbooks, CD-ROMs, or audio-visual materials capture the Festival, its programs and activities and serve as apublic record of the host countries achievements. With language, arts and cultural skills diminishing theserecords may serve as important material that can ensure the survival and or revival of lost practices andknowledge systems.
It is important to ensure that this publication is accurate and takes into consideration cultural identity,
protocols and practices. It is therefore encouraged that the host country liaises with Cultural Focal points
and Head of Delegations during and after the Festival while the publication is being development.

4.3 Knowledge Transfer program
With each Festival information, databases with artist’s contacts and details, templates, equipment,
software, human resources, etc. are developed. The FOPAOC should provide a process for support andknowledge transfer to the next Festival. This can be in the form of a CD, publications, visits, etc. The
importance of this component is sharing knowledge and capacity building for the region.

27

Appendix 1

Host Country Manual Template

Each host country is different in its approach to designing, planning, developing and implementing theFestival and this can be dependent on the nation’s political, economic, social and cultural structures.
The Host Country Manual Template provides a simple guideline for the Host Country to create a‘communication’ tool between the FOPAOC and their implementing and operational task force.
Essentially it is the Board and the Section Directors of the FOPAOC who have designed and planned theFestival, and the Host Country Manual will be the practical guide to ensure that these designs and plans
are effectively communicated to staff, volunteers and the entire team who will be responsible for
ensuring that the Festival operates efficiently and effectively.
From research of past Festivals of Pacific Arts some of the key problems have been:The communication between those that have planned the Festival and the transfer of information,plans, processes and procedures to the operational task force during the Festival

Lack of clear processes and procedures and understanding of decision-making protocols to be able toeffectively troubleshoot and deal with crisis situations.

The aim of this manual is to provide a ‘fill in the blank’ template so that the committees, taskforces, etc.
that are planning and developing the Festival can effectively communicate their designs and plans to theoperational team that will take over during the Festival.
The drafting of your Host Country Manual should begin as early as 6 years in advance when the Design,
Planning and Development process begins however the time frame is dependent on the host country.
The design and planning of the Festival can take many years and there will be many meetings, discussions,planning sessions with government authorities, etc. and this can occur with a multiple of different people
leading these sessions. Therefore the Manual will be a living document that will develop as the planninggets more detailed until about 6 months before the Festival when it moves into Phase 3: Festival
Operations.
The ‘skeleton’ design and planning process would already have been done for the Bid process and sothese can be used to develop the first draft of the FOPA Manual.
The host country should develop their manual by also utilising the contents, guidelines and templates of
the SPC FOPA Manual.

28

FESTIVAL OF THE PACIFIC ARTSHOST COUNTRY FESTIVAL MANUALTEMPLATE

FESTIVAL LOGO

The key focus for the Host Country Manual should be to:29

Establish detailed processes and procedures for each area of the Festival to convey what has beendeveloped during the Design, Planning and Development stage, andThat these processes, procedures and plans are developed into a document that is logical, practical andthat will be used by all teams to successfully implement the plans of the FOPAOC
This can be established in Four Key Sections:
Section 1: For the Organising Committee: this section should focus on helping the FOPAOC address highlevel planning issues. It should help you to:
Define what your vision and mission for your FOPA, and what the key things you want to achieve are.
Provide guidelines on the structure of your FOPAOC

Section 2: Guides for the various Festival Section and the specific Directors/ Coordinators and their
Committees and task forces
These guides are for the people who will be doing the actual work for the festival on the ground. We
have divided this into 7 key Functional Sections – Administration, Artistic, Government Services
Coordination, Media, Marketing and Sponsorship, Support Services, Residential, Venues and Facilities
These section is divided into these functional sections so that they can be pulled out and given to theSection Directors and major team leaders.
The Roles and responsibilities of the Directors and sub-committee/ ask forces chairs should be welldefined and tools and templates for their sections added.

Section 3: Tools and Templates

Section 4: Festival Legacy and Knowledge Transfer
This section is to assist the FOPAOC and all the Section Directors and committees, to input into planning
the Festival Legacy and what will be left behind for the host country. This section also focuses onplanning for Knowledge Transfer and helping SPC and CPAC to evolve the FOPA by passing on
experiences, templates, etc.
Section 1: FOPAOC

1. Festival Overview
Detail in this section on overview of the Festival that you envisage you will be hosting. Utilising the key
objectives that the CPAC has for the Festival of Pacific Arts, you can develop your Festival Vision, Mission
and Objectives by considering these questions:
How will your Festival of Pacific Arts celebrate the diversity and beauty of Pacific culture? Portray theculture of your nation?
How will the programs and activities of the Festival contribute to the revitalisation, valuing and promotionof many practices, knowledge systems and ideologies of Pacific peoples, of your own people andcommunities?

30

How will your Artistic, and your Marketing, Media and Sponsorship team: Through programming, bring together the indigenous communities of all 26 nations of the Pacific andconnect them with communities in your own nation
 Foster different levels of participation and brings individuals and communities together withgovernment, the corporate and diplomatic community and the arts and cultural sector.
 Engage and include participation from sponsors, audience, volunteers, contractors, committee
members and delegates.
Why will your government contribute and be committed to the Festival? And how will it contribute to thesocial, cultural and economic opportunity for the host nation?
How will the Festival benefit your cultural sector? And how will it provide the nation with the important
opportunity to build infrastructure, develop programs and activities that will revitalise, and highlight theimportance of the arts and culture sector?
Getting a clear understanding of the purpose of hosting the FOPA and what your intentions and objectives
are for the Festival will help to focus all other planning areas and development of the Festival.
Read the FOPA Manual as it has been designed to provide suggestions, give information andrecommendations from SPC.
Once you have done this you can begin to determine your ultimate goals, values and objectives andformulate your Vision Statement and Mission Statement.
See 2.3 in the SPC FOPA Manual suggestions on the timelines for developing the Vision and Mission.

2. Developing the FOPAOC
The Festival is a government-to-government initiative, which is often led by the Prime Minister’s Office (orits equivalent), the Ministry of Foreign Affairs as well as the Ministry in charge of Culture. Once theFestival has been secured the government generally appoints a specific Ministry or national agency tooversee the planning, development and implementation of the Festival.
Detail who these agencies are in the Host Country. Detail what their role is in the Festival and what their
responsibilities are to the FOPAOC. Detail the key contact people and the protocols for dealing with theseagencies.
Other key agencies that are involved are the SPC and the Council of Pacific Arts, which is already detailedin Sections 1.1 of the SPC FOPA Manual. It is important to map out all these agencies and their roles andresponsibilities and also the processes and protocols for dealing with representatives of these agencies.

3. Festival of Pacific Arts Organising Committee (FOPAOC)
See FOPA Festival Manual Section 1.1 and Appendix 1.4 for guidelines on developing the FOPAOC andpresenting the structure in your Host Country Manual.
This is an important component to include so that all who are involved in the Festival understand thestructure, the roles, responsibilities and reporting process of the different sections, committees,
taskforces and individuals.

4. The Festival Director and Section Directors
Selecting the leaders of the Festival are important, as it is through their effective and efficientmanagement and their experience with dealing with such large events, that will see either the success or31

failure of the Festival. See FOPA Manual Appendix 2.5.1 for Guidelines for the Festival Director andSection Directors.

5. Festival Design, Planning and Logistics
There are several keys that need to be addressed by the Festival. As addressed earlier, the FOPAOC will
begin with the Board and as the Festival develops each function will require a Director/ Sub Committee
Chair. The key functions of the Festival are:Overall Festival management – which is done by the Chair, the Board which we have recommended toinclude the Festival Director, the Administration Director and the Director for Government Services
Coordination.
Financial management
Fundraising and SponsorshipMedia and Promotion
Programming – arts and cultural events and activities, ceremonies, meetings, workshops, symposiums
and other participants and public entertainment and activities
Production – Technical production for all arts and cultural activities
Support Services/ Logistics – Security, Media, Traffic, Catering, Transport, etc.
Human Resource – management, training and supervision of all committee members, staff, volunteers,
seconded civil servants
Evaluation and Reporting
Use this section to map out all these areas of the Festival and how these functions will be handled. In the
SPC FOPA Manual we have recommended that these functions be divided and managed by 7 Section
Directors. See Section 2 of the SPC FOPA Manual.
One of the other key areas of ensuring the success of your Festival is to understand your participants –the national delegations, and also your potential audience. Depending on the size and hosting capacity of
the host country the FOPAOC may decide to limit the audience only to Festival participants and the local
community. Other nations may chose to develop special cultural tourism packages, research and student
packages, etc. to bring in and encourage an international audience as well as local communities. Thisdecision will affect how all your planning and logistics are mapped out.
Use this section to detail your target audience and to detail information about your participants.
See SPC FOPA Manual Appendix 2.4 for some background on participants and potential audiences.
At this point you will have your FOPAOC set up, your vision and mission developed and have defined youraudience. Now the Festival Planning and Development begins.

6. Timelines
In the SPC FOPA Manual we have mapped out a timeline suggesting a step-by-step approach to thedevelopment of your Festival. These timelines provide an outline of the key milestones for the Festival ofPacific Arts Organising Committee from its establishment through to the Operational Phase; 6 months
ahead of the Festival, and then final milestones and reporting deadlines post Festival.
Utilise this time line to map out your own work plan and set key dates and milestones to develop theFestival. Detail in your timeline:
Activity - what are the key activities
Details - details of this activity and the key tasks
Considerations – use this column to list out some notes or considerations for your teams so that they
understand things that may affect their activities or that they should be aware of for example are there32

any government regulations you need to consider, key contacts for advise and support, past reports orother guidelines on this areas, any cultural protocols etc.
Date you plan to commence activity
Date for completion
You may also have another column for Internal Action and External Action since each activity will needaction internally, within the Organising Committee and may also need Action Externally to partners,delegations, contractors, etc.
Your timelines should be mapped out in several different phases that have key objectives and specified
milestones and outcomes that you will achieve. See also SPC FOPA Manual beginning Section 2.2 fortimelines recommendations to the FOPAOC, which will aid in developing your own timelines such as
suggested in the Table below.
Table 1: This template timeline gives two activity examples to help you develop your timelines.
Activity

Details

Set upFOPAOC

Executive
Board todesign anddevelop
Organisation
al Structure

Start
Date
Jan
2010

Finish
Date
Mar
2010

Internal Action

External Action

Designorganisational
structure:
Sections,
departments, task
forces and define
the hierarchicalstructure

Consult and Sign
agreements withgovernment andsupport service
agencies

Identify areas
where
government
coordination andsupport is needed
Establish
visionDescribe theFestivalvision andhow this willbeintegrated
throughout
the Festival

March
2010

April
2010

Study the SPC
FOPA Manual andMap out various
vision statements

Personresponsible
Minister ofCultureConsult with
Cultural Focal
Point if not on
Executive Board
and SPC

Publicconsultations

Notes
Legal andregulatory
requirements
and relevant
issues such astax, etc.
neededIdentify
authorities ofthe event

Chair
FOPAOC andCultural
Focal Point

How does thisvision fit into
governments
vision of thehost country’slong termplanning
Festival legacy

Section 2: Festival Section Directors/ Coordinators and their Committees and task forces

7. Planning and Development - Festival Sections
This section should focus on setting out process, procedures, roles and responsibilities for the various
Section Directors/ Coordinators who will be responsible for planning and executing their areas for theFestival. As discussed early we recommended 7 Festival Sections.
Each of these Sections should operate as a stand alone ‘department’ with the appropriate personnel,
equipment and resources. See Section of the FOPA Manual for an outline on the 7 Sections and Appendix
2-8 to assist you in creating your own guidelines for each Festival Section.

33

Each section should also develop their own timelines, which will be more action and detail specific to theirareas.
Table 2: This template timeline gives two activity examples to help you develop your own Section
timelines. The example below is for the Artistic Section.
(Festival Date: July 15th)
Festival Date: Updated June 1st
Task
ProgramCollate arts entries and enter
information into various art form
genre programs and schedules

Start Date

Deadline

Early Feb

First week Manager
of JunePrograms

StagesTemporary performing arts stages Early
to be ordered from StagePacific
March

PersonStatusAll entries collated, informationentered. First draft of Final
Program ready.

DeliveryFirst weekof JuneProduction
Manager3 - 10 x 10m main stage ordered
delivery June 15th by PFL Shipping

HR

Done

Advertise for contractors forstage build up

Early
March

Close late
April

Finalise contractors to build
stages

Early
May

Build up last Artistic
week ofDirector
June

StagePacific sending their own
team

8. Festival Time: Venue Based Management
As outlined in the SPC FOPA Manual one of the ways to give focus to the Operational stage of the Festival
is to utilize the Venue based management structure. In this structure there is a Main Operation Centre(MOC), which can also be referred to as the Festival Secretariat, where the decision makers are based,
and all other operations are focused in each Venue.
Each Venue operates as a silo with its own venue manager, team of contractors, staff and volunteers,
programs and activities, and protocols and procedures. Each venue is specialized and specific to its
programming role.
Section 1: This section of your Manual should then detail each venue and its:
Role and its responsibility in terms of the Festival program for example a music venue, visual arts gallery,or as a support venue for example catering hall, media centre, etc.
Detail what happens for each Festival Section in that venue

34

Administration - what will be stationed in that venue, what services will operate, which administration
personnel will be on staff at that venue, the policies, procedures and protocols for that venue including all
HR and cultural protocols that need to be considered
Artistic – detail the programs that are to take place at that venue and what the production guidelines are,equipment allocated, etc.
Support Services – detail what support services will operate at that venue, will there be accreditation
services, catering, medical services, banks, etc. what transport is allocated for that venue – shuttles,
specific cars, etc.
Government Coordination – will there be VIP ceremonies, protocols, etc. expected at that venue andwhat government services will be needed to facilitate these events and activities – for example Security,
Immigration. At specific venues other government services may be needed such as a Quarantine andCustoms officer will need to be present at the Canoe Venue when the Canoes arrive
Residential – is it an auxiliary venue and therefore Residential areas will be stationed near that venue
Venues and facilities - Detail the organizational structure for each venue and the roles, authorities, andresponsibilities of each person assigned to that venue and the facilities allocated to that venue and who is
responsible for it
Detail the reporting procedures and protocols for each venue. These reports are important, as they will
feed into the main FOPAOC report.
Section 2: This Section of the Host Country Manual will be the most detailed component of the Manual,
as it will contain all the Operational processes and procedures for every venue of the Festival. See
Appendix 2- 8 of the SPC FOPA Manual for guidelines on each Festival Section, as well as Appendix 9 formore details on Venue Based Management.
Section 3: Tools and Templates
List out any templates, checklists, production sheets etc. that you have developed for your festival
Section 4: Post Festival: Reporting and Festival Legacy
The Festival Legacy is something that should be planned and thought through in the early stages ofdevelopment. With so much support, investment and focus on the arts and culture it is important toensure that the Festival and all that it leaves behind is for the development of the arts and cultural sector.

9. Festival Legacy
Detail what will happen to each venue and how arts and cultural activity will be perpetuated, particularlyin those venues that were specifically built or upgraded for the Festival.
Detail what will happen to Festival assets – equipment, material, temporary structures, etc. that havebeen acquired for the Festival. Consider whether these will be donated to arts organisations, sold or
passed onto arts venues.
A clear ‘hand over’ process is essential to identify and ensure that local arts and cultural communities,
agencies and organisations who could become responsible and effective custodians who will ensure
access and continued development for the arts and cultural community.
10. Festival Publication and Festival DVD
The Festival publication is the long-lasting public face of the Festival. These publications whether in the formof books, CD-ROMs, or audio-visual materials capture the Festival, its programs and activities and serve asa public record of the host countries achievements.

35

Detail in this section how this publication will be developed. A detailed plan should be put in place to ensurethat key milestones are captured right from when the Festival was awarded through to the final day of
dissolution of the Festival. Photos, videos, testimonies from the Board, Committee members, staff,
volunteers, artists, delegation officials and the public are important to capture all the experiences of theFestival.

11.Knowledge Transfer program
With each Festival information, templates, equipment, software, human resources, etc. are developed.
Detail in this section the FOPAOC process for and knowledge transfers to the next Festival.

36

Appendix 2
Guidelines for Establishing the Festival of Pacific Arts
Organising Committee (FOPAOC)
For most countries the Festival will be a government-to-government initiative and therefore it isimportant for government to take a leading role in the support and implementation of the Festival andthis starts with the host country government or equivalent entity setting up and appointing their FOPAOC.
The main objective of the FOPAOC is to develop and establish a solid framework for hosting the Festival.
As the Festival is evolving and involves many nations, cultures and expectations, the framework needs tobe flexible enough to deal with change and to deal with issues such as political instability, natural
disasters and other external factors. The core responsibility for the Festival falls on the Festival of PacificArts Organising Committee (FOPAOC). There will also be certain functions that may be outsourced tooutside service provider’s and/ or government departments and bodies such as catering, transport,accreditation, security, quarantine, etc.
These guidelines make recommendations on how to establish and develop the FOPAOC, however it isultimately the Host Country that determines its composition and structure.
Once the festival has been awarded to the host country, the first major role of government of the hostcountry will be to develop the organisational structure of FOPAOC and establish its Board. There arethree aspects to establishing the organisational structure for the Festival of Pacific Arts:
Legal – bringing together stakeholders under a legal structure
Operational/ Functional – creating sections with assigned tasks and functions
Coordination/ Management – all the sections are coordinated and managed to successfully stage theFestival

1 Developing the legal structure
Task
Determine thesupporting legal
entityDetails
The legal entity determines who legallyowns and who is legally responsible for the
event. For most host countries, this will be
developed and decided by the Ministry
responsible for Culture and/ or a special
committee/ task force appointed bygovernment

Considerations
The FOPAOC may fall under an existing
entity such as an Arts Council, Cultural
Commission

Determine theOrganisational
Structure

Develop the framework for all individuals
and partners involved in organising theFestival

Generally because government plays amajor role in the Festival a public legal
structure is developed that includes
public private and civil sector entities.

Develop FOPAOC
Statutes/
Decree/ Acts

These laws/ rules will outline:
Conditions for participation i.e. the roles ofgovernment, public and private sector, therole of art organisations, etc.
Decision making, accountability andreporting processes and procedures
Identifies and established the partners

Consider how to involve:
Arts and cultural community
Local, regional and national government
and public authorities
Economic partners/ private sector
Civil society, professional organisations,
unions37

The FOPAOC may be created as a newand separate entity that operates only forthe life of the Festival

The identification, selection and hiring ofSection Directors or Committee Chairs
 Appointment of private sector
members
 Appointment of public sector members
 Conditions/ Remuneration/ Benefits
Set up FOPAOC
Board

The FOPAOC Board:
Design of the Festival
Makes strategic decisions
Approves the program
Passes the budget
Authorises major contracts
Identifies and appoints the Section
Directors or Committee Chairs and makesthese recommendations to government
Direct link and advocates to government
Contact between all agencies particularly
with the SPC and the CPAC.
Provides leadership and guidanceConsider representation from each of thegroups listed above to include:
Chair
Vice Chair
Secretary
Treasurer
Government representatives
Mayor of the host city

Develop and set
up the remaining
layers of FOPAOC
beginning with
the Section
Directors or
Committee
ChairsThe Section Directors and its Section
planning and development committees andtask forces are responsible for:
The overall planning, development andimplementation of the Festival
Managing all funds transparently
All operational decision making
Reporting to FOPAOC Board
Ensuring the ethics, principles and values of
the Festival are upheld
Overseeing operations of the Festival

All the main functions of the event which
are divided in Section are led by a
Director or Chair:
Festival Director
Artistic Director (Programming and
Production)
Director Venues and Facilities
Director Festival Coordination
Director Administration
Director Support Services
Director Marketing and Sponsorship

2 The role of FOPAOC
The FOPAOC is appointed by the Host Country government and has three primary roles:
Phase 1: Pre-Festival – Designing, Planning and Developmenta. Phase 2: Festival Time – Implementation, Advisory, monitoring and governanceb. Phase 3: Post Festival – Reporting and Dissolution
The host country government will set up and appoint their FOPAOC. The Host Country ultimately
determines the structure and it is necessary to develop a clear structure to ensure that the event runs
smoothly. In past Festivals the workload has often fallen on three key Section Directors: Festival Director,
the Administrative Director and Artistic Director. See Appendix 1.2 for Past Festival FOPAOC Structures.
Generally in these past Festivals the FOPAOC has been set up with a relatively large Board and twofunctional sections led by the Artistic and Administration Director:

38

BoardFestival
Director

Artistic
Director

Administration
Director

With the Festival increasing in terms of programs, participants, and the growing interest frominternational and regional arts and cultural organisations, placing such a large workload on only 3 key
people create greater risk.
In order to allow for this growth and to enable key people with specific technical skills, knowledge andnetworks, it is recommended that the structure be expanded at the planning and development sectionlevel rather than at Board level. The Board should always remain concise and focused on governance.
It is therefore recommended to increase personnel at the ‘work force’ level. This can be achieved by
setting up the planning and development task forces/ committees with 7 Sections which are inter related
but have specific objectives and outputs:









Artistic/ Creative (Programming and Production)
Administration (finance, administration/ secretariat/ human resources/ delegations)
Festival Coordination (liaison with government, NGOs, municipal government, etc.)
Venues and Facilities
Support services
Media, Marketing and Sponsorship
Residential

The Festival Director is then appointed to be the link between the Board and the planning anddevelopment committees. The Festival Director will oversee the delivery of the festival and will work with
the Section Directors, who lead their specific technical areas. Host countries may prefer to use the term
Committees and Committee Chairs, rather than Sections and Sections Directors.
Ultimately the host country will decide on their Organisational Structure but due to the size of the Festival
and the fact that most host countries will rely on a ‘volunteer’ task force, this recommended structure isfocused on dividing the work load and responsibility into key functional and technical sections so that theworkload is spread evenly and the communication processes are clear.

3 The layers of the FOPAOC
The FOPAOC is structured into four layers that have specific roles:
Tier 1: FOPAOC Board: Design of the Festival, Governance and government liaison
Tier 2: Festival Director: Link between the Board and the Planning and Development taskforce,coordination and management of Section Directors
Tier 3: Section Directors/ Committee Chairs: Planning and Development
Tier 4: Task force/ Committees: Technical expertise39

The table below sets out the key layers of an FOPAOC:
Tier
FOPAOC Board

Appointment
By government

Representation
Chair, Secretary, Treasurer, 2-3
members. These Board members
should represent the Head ofState/Government, Culture Dept., theagency responsible for national financesuch as the Minister responsible forFinance and one or two prominent
figures who have good standing and arerespected. A gender balance is strongly
advised.

Role
The FOPAOC Board oversees,
supports and guides the Boardof Directors and takes theirplans and proposals togovernment for endorsement
and support. Their key role isgovernance.

Festival Director

By government
withrecommendationfrom the Board

The Festival Director is similar to a CEO
or Managing Director. This person will
have overall responsibility for all stagesof the Festival from planning,development, implementation andoperations to the final reporting anddissolution of the Festival. A brief job
description for the Festival Director isoutlined in Appendix 2.5.1 of theFestival Manual

The key role is to manage allstages of the Festival.

Planning andDevelopment
SectionDirectors/
Committee
ChairsBy government
withrecommendationfrom the Boardand the Festival
Director

Ideally the FOPAOC will have 7 key
Sections headed by a Director/ Chair
who will have the various skill sets tolead the planning and development ofeach section which are inter related but
have specific objectives and outputs.
These sections are:
 Artistic/ Creative (Programming and
Production Administration (finance,
administration/ secretariat/ humanresources/ delegations) Festival Coordination (liaison withgovernment, NGOs, municipal
government, etc.)
 Venues and Facilities
Support services
 Media, Marketing and Sponsorship Residential

The key role of the Section
Directors is to lead the planningand development of the Festival
and report to the Board.

Detailed guidelines for each Section isoutlined from Appendix 1.1 to 1.9 of theFestival Manual
Planning andDevelopment
Section task

Board withrecommendationfrom Section
Directors

This layer represents the stage where alllayers of the FOPAOC are in place with
its full task force or committees. How
this is structured is largely dependent

40

The various levels of theOrganising Committee provide
the technical expertise andadvise to their Section Directorsforce/Committees

on the host country and whether they
will have a paid task force to execute
the Festival or rely on committees/
teams of volunteers to undertake theplanning and development of theFestival. An example of the fully
established organisational chart is listed
below in Figure 4.

to enable them to effectively
plan and develop the Festival.

In the first phase of the Festival, which is the Design phase, the FOPAOC will operate initially with a Boardin place and possibly 3 Section Directors. The Festival Director who is responsible to the board for theoverall management of the Festival. The Director Administration who is responsible for Finance andLegal, and Director Festival Coordination, who are responsible for coordinating government services, mayalso sit on the Board.

Chair

Secretary

Director
Administration

Treasurer

Festival
Director

Director
Festival
Coordination

Figure 1: FOPAOC Board
In the second phase of the Festival, The Planning and Development phase the Section Directors areappointed and the Festival Director takes the lead role in moving the FOPAOC from the Design phase to
Planning and Development.
FOPA Board

Festival Director

Director
Administration

Director Festival
Coordination

Director
Marketing andSponsorship

Director Venues
and Facilities

Director Suport
Services

Director
Residential
Operations

Figure 2: FOPAOC Section Directors
As the Festival approaches, a full FOPAOC will be in place with a full time Secretariat, all Section Directors
and their task forces and committees. There should be a mixture of experienced arts and culturaladministrators, events managers, producers and representatives of key stakeholders including
government, municipal council, corporate agencies, chamber of commerce, and private sector
organisations.

41

FOPAOC Board
Festival Director

Artistic Director

Director
Administration

Programming

Finance

Director Media,
Marketing andSponsorship

Director Festival
Coordination

Government
VIP/ Protocol

Legal

Government
facilities andpersonnel

Production
Secretariat

Ceremonies

Government
supportservices

Human
resources
ProtocolSponsorshipandFundraising

Host
City Rep
Municipal
services

PR andPromotion

Director Venues/
Facilities

Venue
Management

Director Support
Services

Accreditation

Accomodation

Medical

Building and
Grounds

Venue Security
Security

Municipal
facilities

Media
Management

Transport

City image
and look

Catering

HOD Info and
Admin centre

Technology

Merchandising

Delegation

Director
Residential
Operations

services

MedicalVolunteers

Festival
procurement

Figure 3: FOPAOC Planning and Development task force/ committees

With the Operational Phase of the Festival, which begins about 6 months ahead of the Festival comes achange in the structure and section responsibilities change. Operations move under the Main Operations
Centre (this can also be the Festival Secretariat) and to Venues. The Section Directors involved withvenues that they have been appointed to, but continue to have meetings to ensure their Section Plans arebeing implemented effectively. See Appendix 9 for Venue Based Management Structure.
FOPAOC Board

Festival Director
Artistic Director

Programming

Production

Director
Administration
Finance

Government
VIP/ Protocol

Secretariat

Host
City Rep

Director Marketingand Sponsorship

Government
facilities andpersonnel

Municipal
facilities

Director Support
Services

PR andPromotion

Venue
Management
Medical
Venue
Security

Director Residential
Operations
Accomodation

Building and
Grounds

Security
Catering
ARTS VENUESCity image
and look

Human
resources

Director Venues/
Facilities

Accreditation
Sponsorshipandfundraising

Municipal
services

Legal

Ceremonies

ProtocolDirector Festival
Coordination

Media
Management

Transport
HOD Info and
Admin centre

Technology
Delegation
services
MULTI
PURPOSE ART
VENUE, FILMFESTIVAL,EXHIBITIONS

Festival
procurement

Government
supportservices:

MOC
AIRPORT/P
ORTS,
CANOE

Merchandising

MEDIA CENTRE
CONFERENCEAND
SYMPOSIUMS

MedicalVolunteers

SATELLITEVENUESRESIDENTIAL

Figure 4: The planning and development for the Festival is complete and FOPAOC now focuses on handing over to the Operational
Teams and taking their roles in the various venues. These venues are indicated in red.

42

4 The FOPAOC Board
The FOPA Board is appointed by government as the legal entity responsible and accountable for theeffective and efficient delivery of the Festival of Pacific Arts. The FOPAOC Board is the first tier that will be
set up by government. This will then develop with another layer who are the Section Directors or
Committee Chairs. The Festival Director who sits on the FOPAOC Board is the link between the Board andthe Section Directors who will focus on the Planning and Development of the Festival. The Festival
Director would ideally be an arts/ cultural professional who has international experience and a strong
events experience. At this stage this may be the only full time paid personnel. The Director
Administration could be from the private sector with a strong administration and finance background.
The Director Festival Coordination is ideally from government, who has operational experience and canwork with a high level of authority, coordinating with government, local government and the host city.

5 The role of the FOPAOC Board
The FOPAOC Board oversees, supports and guides the Planning and Development Section Directors andtakes their plans and proposals to government for endorsement and support. Their key role isgovernance.
Design of the Festival
Makes strategic decisions
Approves the program
Passes the budget
Authorises major contracts
Identifies and appoints the Section Directors or Committee Chairs
Direct link and advocates to government
Provides leadership and guidance
One of the key recommendations is that the FOPAOC not be too large and cumbersome. Although theboard composition may evolve it is preferable that the board not be too large, particularly initially as thiscan make meetings cumbersome, slow down decision-making and prove to be expensive. On the other
hand, it is important to note that the Festival in some countries is an all-of-government initiative requiring
involvement from a range of Ministries so it is important to have a mechanism to keep the range ofgovernment ministries informed of the requirements and progress of the Festival.

6 Composition of the Board
Consider representation from each of the groups listed above to include Chair, Vice Chair, Secretary,
Treasurer, plus 2-3 members which should represent the Head of State/Government, Culture
Department, Mayor of the host city, the agency responsible for national finance such as the Minister
responsible for Finance. A gender balance is strongly advised. Representation on the board and thevarious Sections task forces/ sub committees should also come from a mix of:Arts and cultural community
Local, regional and national government and public authorities
Economic partners/ private sector
Civil society, professional organisations, unions

7 Role of the Chair
The Chair is often someone that is highly respected in the community, known for his/ her ethics, integrity,
leadership skills and ability to manage crisis situations. For the Festival of Pacific Arts, this person may notnecessarily be someone from Culture, but should be someone who has a long-term commitment andpatronage of the arts and indigenous culture. Ideally this person has had extensive international
experience with events whether it is with sports, culture or in business. The key role of the Chair for the
FOPAOC will be to support and advise the FOPAOC in the:

43









Design, planning and development of the Festival
Policy and decision making
Ensure compliance and respect of CPAC and SPC guidelines for the FOPA
Provide direction and focus in meetings
Ensure all information and reports are being accurately kept and dispersed
Ensuring that all planning and development is inline with the Mission and Vision set
Provide guidance and mentoring to all Section Directors

8 Role of Vice Chair
Will take on the duties of Chair when he/ she is not available. The Vice Chair may be someone with equal
standing in the community to the Chair, but is often someone with a different skill set. In many past
Festivals the Vice-Chair has been the government representative for the Prime Minister or Foreign Affairs.

9 Role of the Secretary
The Secretary may be the Administration Director or a representative of the Administration Directors
Section. The Secretary may also be someone within the Ministry of Culture or related agency that has had
a strong link to the CPAC or SPC. This person will be tasked with ensuring communication between the
Board, the wider FOPAOC and with key stakeholders particularly SPC and CPAC.
The Secretary will also ensure that all records of the meetings are accurate and that meeting notification,
agendas and minutes are distributed to Board members in good time.

10 Role of the Treasurer
The Treasurer is for the Festival of Pacific Arts often from the Ministry of Finance or Treasury, whichever
the relevant agency for the host country. Since a major part of the financing will come from government,
it is often the case that this position is necessary to have direct links to government. This helps to ensuretransparence, accountability but often ensures that the disbursement of funds from government to the
FOPAOC is done efficiently. The Treasurer will ensure all financial management; protocols and processes
are maintained and effectively reported.

11 Terms of Reference for Organising Committee members
A detailed TOR should be developed for each FOPAOC member. It is dependent on the host country as towhether Organising Committee members are remunerated with an honorarium for this work. In order toensure commitment from the best people and because of the level of commitment, a reasonable sitting
allowance is recommended. The TOR should include:
Introduction of the Festival
Role of the Board
Board meetings
Cultural protocol, ethics and principles
Conditions/ Remuneration/ Benefits
Termination of Appointment

44

Appendix 3

Past Festivals FOPAOC Structures

11th Festival of Pacific Arts, Solomon Islands FOPA National Organising Committee (FOPANOC)The FOPANOC was officially launched in July 2009 with 10 members of the Festival Executive Board of
Directors and an implementation group of 11 technical committees, which would be coordinated by aFestival Secretariat.

Chair

Deputy Chair

Private sector

Honiara City
Representative

ChineseCommunity Rep

Former Speakerof National
Parliament

Former public
servant

CEO Solomon
Islands Chamberof Commerce

Permanent
Secretary Ministryof Culture andTourism

Under Secretary
Ministry of Culture
and Tourism

Under Secretaryof the Ministryof Finance andTreasury

Private Sectorand Event
OrganiserThis Board ended their term in 2011 and the second FOPANOC was set up and approved by
Cabinet in January 2012.

Chair (Private Sector)

Deputy Chair (Permanent
Secretary Ministry of Culture
and Tourism)

Chair
SolomonIslandcontinegent

PrivateSector Board
members

Chair
Venues

RSIP,
HoniaraMarketingManager
SolomonIslands
Visitors
Bureau

Chair
Ceremonies

Administration
Director

ProtocolTransport andLogistics

Media
Committee

IT
representativefrom private
sectorFestival
Director

Artistic Director

Accomodation
and Catering

Performing Arts
Committee

FinanceCreative Arts
Committee

Ceremony

SI Contingent
Commttee

Venues andFestival Village

Personnel
Committee

45

Under
Secretary of
the Ministryof Financeand Treasury

Under
Secretary
Ministry of
Culture andTourism

Permanent
Secretary
Ministry ofHome
Affairs

Attorney
GeneralChambers

Permanent
Secretary,
Ministry of
Health andMedicalAll 11 technical committees report to either the Artistic of Administration Director. A Chairleads each committee. The Festival Director, the Administration Director and the Artistic
Director led the Festival Secretariat, which is shown, in the chart below.
Festival
Director
Artistic
Director

Admin Director

Chief
Accountant
Senior
Accountant

Senior
Accountant

AssistantAccountant

Executive
Personal
Secretary
Assistant
Personal
Secretary

Festival Driver
1

Assistant
Personal 3

Festival Driver
2

Festival Driver3

Office Cleaner

The 9th Festival of Pacific Arts, Palau FOPA National Organising Committee (FOPANOC)
By a Presidential directive the FOPAOC for the 9th Festival of Pacific Arts in Palau, was formed in
December 2001. The first members of the FOPAOC comprised of the Belau Organising Committee, whowere the team that presented their proposal to host at the 8th Festival of Pacific Arts, as well as membersof the Palau Council of Arts and Festivals Association.
In early 2004 the Festival Secretariat was set up and the Head of the Secretariat employed. The Festival
Secretariat was initially supported by the Belau National Museum until the Koror State Government
allocated an office space.
The FOPAOC was also supported by the Republic of Palau Government, Rubekul Belau (Traditional
Women of Palau) and the Association of Governors who also acted as advisors for the FOPOAOC.
The Festival Director and Deputy Director led the FOPAOC. The FOPAOC was divided into 7 maincommittees which each had several sub-committees working in their own fields and areas of expertise.
This structure is outlined in the chart below:

46

Festival Director(Minister of Community andCultural Affairs)

Deputy Director(Director, Belau National
Museum)Programs and Activities
Committee

Finance Committee

Meal Catering Committee

Performing Arts
Communications and Publicity
Committee

Publicity

Ceremonies Committee
Protocol Coommittee (Chair:Director Bureau of Foreign
Affairs)

Liaison Office andEscorts

Media
Accomodations
Media
Accreditation

Logistics Committee

Literary Arts

Gift and Uniforms

Accomodation
Beautification/
WasterManagerment

Choreography and
Costumes

Quarantine
Escort and Symbols

Security

Airport/ Seaport
Operations

Applied Arts

Architecture

Transport andDrivers
Publication

Visual Arts

Canoeing andNavigation
Design andDecoration

Environmental
HealthNatural History

Transportation
Person Identification
Tags and Baggage
Tags

Masters ofCeremonies

Export of Marine
Resources

Healing Arts

Culinary Arts

Venue
Preparation

Symposium

Traditional SKillls and Games

It is important to note that in all committees there was representation from government, the public andprivate sector, arts and cultural community. For example:
Committee on Protocol included the Director for the Bureau of Foreign Affairs; Supervisor, Bureau of
Immigration; Minster, Ministry of State; Director, Bureau of International and Trade Assistance.

47

Appendix 4

Administration Section Guidelines

The key role of the Administration Section during Phase 1: Design, Planning and Development is to lay thefoundations for all the administration, finance, legal and human resource needs for the Festival. The
Administration section is the key link between the FOPAOC and all the planning sub committees, task
forces, partners and stakeholders.
As each section develops their programs, events and activities the Administration Division will provide thesupport to communicate these plans and put in place the legal, financial and human resources to facilitate
the Operations Phase of the Festival. The key roles will be:
a)
b)
c)
d)
e)
f)
g)
h)
i)
j)

FOPAOC administration, communications, minute taking and support
Link between all the committees, task forces, staff and volunteers.
Reporting, Collecting, managing and filing all records of the Festival
Convening meetings, cabinet briefings, etc.
Financial resource planning, management of receipt and disbursement of funding
Human Resource planning, recruitment and training
Legal framework development, legislation, trademarks, contracts and insurance
Festival procurement
Festival build up and monitoring of contractors and consultants
Information focal point for delegations, stakeholders, partners and the public

The key tasks for the Administration Section will divided up into five specialist sub-committees/ taskforces
or if resources permit paid staff departments:
Administration which includes Communications and the Festival Secretariat, which is the hub for all theadministration, needs of the festival and ensures effective internal and external communications, timely
and correct recording and reporting for the Festival.
Finance, which develops budgets, manages the receipt and disbursement of funds and ensures properacquittal and reporting procedures are in place. This team will also look after all Festival Procurement,
which is the acquisition and disposal of Festival equipment, materials, etc.
Legal which looks after all legal matters for the Festival including contracts, branding, IPR, trademark,copyright and insurance.
Delegation services which is the liaison point between the delegations and all sections of the Festival thatprovide the necessary services to delegations to ensure that they are able to undertake their role asparticipants, and are kept safe and taken care of throughout the festival. The liaison officers will workwith this team to ensure all communication between the necessary services and delegations are effective.
Human resource manages all staff, volunteers, and task force members of the Festival and ensures thedevelopment and adherence to all processes and procedures developed for the Festival.
The two charts below outline the reporting hierarchy during the Design, Planning and Development phaseand show how the various sections link and relate to each other.

48

FOPAOC Board
Chair FOPAOC
Director Administration

Administration

Finance

Legal

Human Resourse

Delegation services

Figure 1: FOPAOC Organisational Structure

Director Administration

Adminstration

Festival Secretariat

Communications

FinanceFinanceFestival Procurement

Host Country
Manual /Policies
and Procedures
ManualLegal

IPR, TK, Copyrightand Artist
protection

Festival Legislation

Contracts, licensing
and insurance

Figure 2: Administration Section Structure49

Human Resource

Staff

Contractors/
Consultants

Delegation
services

HOD Dossier1 Administration -The Festival Secretariat
The key role of the Festival Secretariat will be to:Role

Key Tasks and Activities

Report andinformation
dissemination






Communication
hub

Secretariat
ServicesManage the reporting and information dissemination for the FOPAOC.
Develop and circulate memos for committees, task forces
Ensure the Festival Secretariat is informed of all Festival activities and events
Ensuring processes are in place to facilitate the flow of up-to-date and correct
information
 Compiling reports
Develop protocols and processes to effectively manage incoming calls, emails andface to face enquiries
 Respond to phone calls and emails, develop protocols for collecting, displaying
and communicating information
 Provide Secretariat services to the FOPAOC which includes typing,photocopying, designing and managing the filing system, and managing theprovision and access to equipment and facilities
Provide administrators for committees to undertake Minutes and note taking foreach committee
Printing and photocopying support
Manage files and documents

2 Main Operation Centre (Festival Secretariat)
The key role of the MOC/ Festival Secretariat during Festival time is:Role

Key Tasks and Activities

Communication
hubManage incoming calls, emails and face to face enquiries
Respond to phone calls and emails, develop protocols for collecting, displaying andcommunicating information
Program changes and updates
Festival logistic notices and memos Displaying and communicating information on all Festival activities and events
 Festival hotline
 Information focal point for delegations
 Information focal points for stakeholders, partners and the public Collecting, displaying and communicating program changes
 Troubleshooting memos from MOC
 Manage the reporting and information dissemination for the FOPAOC.
 Collecting, managing and filing all records of the Festival

Report andinformation
dissemination
VenuesSecretariat
ServicesLink between venues to MOC and vice versa.
Develop and circulate memos for committees, task forces

Provide Secretariat services to HODs, Venue teams and FOPAOC which includes
typing, photocopying, designing and managing the filing system, and managing
the provision and access to equipment and facilities

50




Administration center
Financial control

During the Festival the Administration Director will be based at the MOC/ Festival Secretariat andoversees and monitors administration at each venue.
At each venue, the Venue Administrator will look after:
Finance management administration, and program support for each venue:o Arts and cultural venues
o Festival Villageo Media Centreo Residential
o HOD

3 Communications
The Communication team is responsible for all communications for the Festival. This will include internal
communications, which are of an operational nature, communications with stakeholders, which will bereporting to SPC, etc., and communication with delegations and the public. Communication to the public
is led by the Marketing and Sponsorship Committee but in direct collaboration with the Communications
team so that the Festival themes, principles and ethics are communicated correctly and accurately acrossall Festival Sections.
The Communications team/ sub-committee is responsible for:

3.1Communication for Internal Operations
Internal communications: Organising Committee and Festival Committees, task forces, staff andvolunteers
Communications with delegations, VIPs and other Festival participants
The Festival Secretariat: Link between internal and external parties
Streaming information to media and broadcasting

3.2Reporting to stakeholders
Communication and reporting to SPC
Communication and reporting to the Council of Pacific Arts
Reports, publications, and other official communication documents
Post Festival Official publication and report
The key outputs for this team will be:
OutputCommunications
Plan with adetailed timeline
for delivery

Details
The Communications Plan should guide theCommunications Committee in the
preparation and delivery of all theircommunication materials and the deliveryof all other outputs

Considerations
Consider consultation
with other committees as
this plan will form thefoundation of effective
operations of all teams

Community
engagement
program

The Community engagement programme
will detail how to engage local andinternational community

This should be set up in
the years leading up to
the Festival to promoteand engage communities
nationally, regionally andinternationally.

51

Communications
Policy andProcedures
Manual

Details for every committee, task force andindividual and the necessary guidelines oncommunicating with each other and withthe public.
Festival Committee Communications bothinternal and external - which includes
phone, fax, email, letters and memos
Festival Committee reporting and briefing
procedures which should provide firm setof principles, practice and instructions toguide festival committee members andstaff.
Pre festival and Festival Delegation
Communication
HOD DossierFestival Program brief and country
Performing and Creative Arts participation
forms
Festival Communication
Communications with Delegations and
HOD briefings
The Festival Secretariat and Dealing with
queries for the Festival

This is essential to ensurethat everyone is receiving
the same information
which is accurate and inline with the decisions,policies and proceduresof the Organising
Committee.

Communications
and Marketingstrategy

They will work with the Marketing andSponsorship Committee to develop a
strategy, which focuses on external
communication and effectively promoting
the Festival to its target audiences.

The Communications
Committee details what
information needs to bedelivered, while theMarketing andSponsorship Committee
details the strategies forgetting these messagesout to delegations,stakeholders and the
public. Alternatively
these can be done as
separate documents.

Each of these outputs should:a) support the aims of the Council of Pacific Arts and the Organising Committeeb) promote the Festival of Pacific Artsc) establish and ensure clear communication between the FOPAOC Board, FOPAOC and all partners andstakeholdersd) ensure access to accurate and up to date information FOPAe) ensure effective reporting and communication between the Council of Pacific Arts, donors and SPCf) establish and ensure efficient use of communication and information technology (IT)

4 Procurement and management of Equipment and Facilities
The equipment needs for each Festival Section will be collated by this team who are then responsible forthe actual procurement of equipment, management of delivery, set up, maintenance, inventory andmanagement and will be the team who are actually responsible for the final stocktake and disposal of all
equipment.

52

5 Host Country Manual/ Policies and Procedures Manual
As the Administration Section collates reports, updates, plans from each of the Sections, the Host Country
Manual is developed which is then eventually handed over to the implementation team 6 months aheadof the Festival. This is one of the key outputs of the Administration Director whose responsibility it is toensure the Manual is completed, published and disseminated to all necessary personnel. The Festival
Director and all the Section Directors will be a part of the final, edit process to ensure that all their
Sections are correctly represented and all the necessary policies and procedures are recorded. This
document will then also assist the Administration Section to write its report.

53

Appendix 5

Finance

The Finance sub-committee is responsible for overall financial management of the Festival, including
developing the budget, handling accounts, financial reporting, and insurance. The Finance Committee isaccountable to the Administrative Director and will often form sub committees or employ staff to assist in
the management and accountability of funds.
The Finance sub-committee should develop detailed guidelines and protocols that should include:
Financial decision making process
Protocols for grant making, sponsorship and funding
Management and responsibility for fund distribution
Management and responsibility for payments
Management and responsibility for generated revenue
Process for reporting
Budget templates for each committee/ task force and process for submitting budgets for approval

1 Financial planning/ budget
The financial plan/ budget developed needs to support the operations of the Festival.
Ideally before undertaking a bid for the Festival, the body responsible should ensure that the host country
government makes a commitment to being the major funder for the Festival. In particular it is importantthat they provide a guarantee on ensuring the financing of all major capital infrastructure investment
required to deliver the Festival and to cover any potential shortfall.
Other things to consider when getting the support of government is to assist in any price control before
and during the Festival, and assessing what taxes will need to be considered and what their impacts will
be for the Festival
It is important to also consider what taxes will be put on delegations for example when they sell theirproducts, art worked, crafts, etc. as well as any duty and any other relevant taxes on their equipment,materials, supplies, when it is brought into the country.

2 Potential revenue
As part of the budget development look at the possible revenue streams:a) Governmentb) Local sponsorshipc) Regional and international donors, grant agenciesd) Broadcast rightse) Official suppliersf) Ticket salesg) Donations and investmentsh) Merchandisei) Charter flight and travel packagesj) Subsidies from local agencies such as banks, public authorities, etc.
k) Commissions:i.
Accommodation – hotels
ii.
Official supplier commission – rental cars, tour buses, etc.
iii.
Catering – commission on food and beverage sales in restaurants, cafes’ that surround theFestival venues, vendors booth at venues
iv.
Media accommodation - commission on sale of rooms, food and beverage and other services
in the54l)v.
Commission on guest meals
Revenue on other special events such as tickets for Opening and Closing ceremonies

3 Expenditure
When developing the budget it is important to include:
An overview of capital investments for all arts and cultural venues, accommodation and other Festival
infrastructure
Cash flow detailing the expected cash flow and all the areas that need financing from planning, to Festival
build up and set down.
Plan for distribution of assets and the running and maintenance costs of festival infrastructure such as
Arts galleries, theatres, museums that may have been built during the Festival.
The budget lines for expenditure should include:a) Capital investmentsb) Festival planning and build up to the actual implementation period.
c) Festival implementation and the daily operating costs of all Festival venues
These budgets will be developed by each section director and submitted to the Festival Director and theAdministration Director who will then develop and present a full Festival budget to the board.

4 Budget development guidelines and templates
At the minimum your budget should include:

Artistic
Ceremonies and Protocol

Opening Ceremony
Arrival of the Canoes Ceremony
Pageant of countries
Flag handover ceremony for next Festival
Welcome ceremonies
VIP gifts and protocols

Programming and
Production

Artistic planning sessions and meetings
Production equipment, personnel and contractors
Community engagement protocol ceremonies
Educational programs

Administration
Executive office: FOPAOC,
Festival Director, and 5
Section Directors
Festival Secretariat andAdministrative services

Communications

Administrative costs including office rental, fit out and operating costs
Administration systems: finance, human resource, project
management
Hardware, software, computers, photocopiers, printers
Furniture, equipment, telephone, utilities, etc.
Reports
Post Festival - Settlement of accounts, reports, audits, publications
Language services
Events and meetings
Observation travel to other Festivals
Festival Secretariat venue communications and operations centers
Costs for Information points

55

LegalHR - Festival task force
Work force: paid,
volunteers, contractors,
recruitment process,requirements, uniforms,
work areas

Information technology and Telecommunications: Infrastructure,
Landline, Wireless, Radio Frequency, Public address systems, TV andcabling, Other technologies including the internet
Legal services
Licensing royalties
Insurance
Operational safety costs
Workplace safety advisory/ monitoring services
Consider the entire cycle of workers from Pre festival planning toactual festival operation time which begins about 1 year ahead
Consider each venue process from planning committees to venue
specific operations
Indicate for each area the number of staff, duration of employment
and compensation. Costs for human resource administrative function
should be included under administrationa) Permanent staff – more than one yearb) Temporary staff – less than one yearc) Volunteersd) Consultants – provide specific advise, tasks or projectse) Contractors – service providers such as Construction, cleaning,catering, etc.

Government coordination
Government andmunicipal services andmanagement

Host Country preparation
Airport
Roads
Visitor accommodation
Waterways and beach areas
Parks, etc.

Media, Marketing and SponsorshipMarketing andSponsorship

Publication of Festival program and reports
Décor program for host city, venues and facilities
Marketing and Sponsorship program
Merchandising
TicketingCommunity relations
Media relations
Corporate and government relations
WebsiteBroadcasting, Media and Documentation both during (photographic,
video, media exposure, audience

Venues and Facilities
Artistic Venue build up
Non-Artistic Venues build
up

Exhibition and performance venues
Media, Work force office/ centres, Host Broadcasting at each venue
Temporary facilities
VIP lounges
HOD administration centers

56

Venue logistics andoperations: delivery, setup, installation,
maintenance and set
down

Cleaning, waste management, laundry services: overall budget as well
as a venue by venue breakdown
Furniture and Fixtures and equipment for each venue
Rentals costs for venues that need to be hired
Utilities: electricity, water

Production/ Operations
at each venue

Health and Safety: Crowd control: bag search and security, ticketingchecking and ushering, audience service and information.
Technical requirements for each venues: sound, staging and lighting foreach venue Media center

Support Services
Medical services

Catering

Hospital facilities
Medical transport
Venue first aid
Delegation care at accommodation and performance/ exhibition venues
Delegation
VIP
Hospitality – VIPs, Sponsors, government, etc.
Staff and volunteer catering
Spectator
Media
For staff, volunteers, media, etc. it should be considered what services
will be provided and what level of subsidy is provided by FOPAOC. Thisshould be clearly detailed when liaising with these persons to avoid any
undue expectations.

Security

Equipment and facilities
Contracted security
Support to police and local authorities
Planning, training and management

Transport

Delegation travel
VIP travel
Work force, committee members
Media
Corporate/ sponsors, donors
PublicResidential
Delegation and VIP
accommodation villages

Venue and infrastructure planning
Build up
Procurement of furniture, equipment, bedding, etc.
Contractors
Set down

Follow these links for examples of Festival budgets:
http://arts.gov.au/sites/default/files/regional/festivals-australia/round-34/r34-festival-budget.xls

57http://www.hamilton.ca/NR/rdonlyres/AE0FC916-E450-49D5-AC94-5603CC55EF2E/78772/BUDGETtemplate_1812.xls

58

Appendix 6

Legal Aspects of the Festival

This section briefly lists the key components of the Festival that will require legal input and support. This
guideline was developed with reference to the ‘Developing broadcasting and media protocols for theFestival of Pacific Arts 2012: Report on meetings with Regional Media Centre, Secretariat of the PacificCommunity, Suva’ written by Terri Janke, as well as guidelines from the Pacific Games Charter,
Commonwealth Games Candidate City Manual, and from reports of the Festival of Pacific Arts in Palau,
American Samoa and the Solomon Islands.
One the most important components for the Host Country will be to develop a framework that
establishes how FOPAOC will work with the national, regional and local authorities, and to put in placemechanism to ensure their obligations as the Host Country.
Some of the key areas for the Festival that will require legal consultation, and consideration were detailed
by Terri Janke in the report on Developing media and broadcasting rights which are:










Copyright
Performer’s rights
Moral rights
Indigenous communal moral rights
Contracts
Cultural integrity – defamation, racial vilification
Trade practices and passing off
Trade marks and FOPA trade mark policy
Environmental legislation in the Pacific Region

These following sections briefly address some of these key issues.

1. Host Country Guarantees
Host Countries should acquire the following guarantees:Agreement of support, from all authorities (national and local) concerned with the hosting of theFestival.
Guarantee from government that no other event will take place immediately prior to the Festival andduring the Festival, as this may divert resources, national focus, etc.
Declaration from government that all necessary legal and legislative measures will be taken to
facilitate protection of the CPAC mark and the FOPA markDeclaration from government that the Organising Committee is empowered to represent the
government in coordinating, promoting and implementing the Festival and detailing names of the key
people who have the authority to sign agreements, contracts and documents for the FOPA.

2. Cultural Property Guidelines
Host Countries also need to develop a Cultural Property Guideline, which will include:







Declaration from government that all necessary legal measures will be taken to facilitate and address
potential IPR, TK and Copyright issues
Management Protocols/ Protocols for Copyright, TK and IPR
Risk analysis of potential IPR concerns and a risk management plan
Legal framework of intellectual property tools
Protocols, procedures and policies for dealing with IPR, TK and Copyright for the FOPAOC, Allcommittees, staff and volunteers
Signage advising59

Trademark strategy and legislation

3. Protection for performers, artists and community rights
Host countries also need to address:Permits, licenses and insurance
Releases for performers
Documenting artists at the Festival

Following the links below to recent studies and publications on IPR, TK and Copyright issues in the Pacificwhich can help to formulate your host country Cultural Property Guidelines:
IPR, TK, Copyright Issues for the FOPA in Solomon Islands 2012 following this link
http://www.wipo.int/export/sites/www/freepublications/en/tk/1016/wipo_pub_1016.pdf
http://www.wipo.int/export/sites/www/freepublications/en/tk/tk_fpa/tk_fpa_2012.pdf
The ACP Secretariat site also has a list of key links:
http://www.acpcultures.eu/?page=centre_de_ressources&lang=uk&no_theme=9.
Samples of artist’s agreements and release forms can be found:
http://www.artslaw.com.au/sample-agreements/sample-agreement/performers-release/

4. Insurance and liability
This section is dependent of the extent of insurance and protection needed by the Festival. Legislationdiffers from country to country but this section outlines the type of insurance that is needed for mostlarge-scale events.
a) Property insuranceb) Public liability insurancec) Legal advise and representation for delegations

60

Appendix 7

Human Resources

The human resources or personnel committee of the Festival is key to ensuring that the event runs
smoothly with well selected, trained and informed committee members, staff and volunteers. A Section
Director who reports to the Festival Director will head these teams.
A detailed Human Resources manual should be prepared by FOPAOC and this will go to all Directors,
Managers and their task force team leaders. The manual will be used to aid them in building their task
force and mapping out all the skills needed for the different areas of the Festival. The Manual is alsoessential to detail the processes, guidelines, protocols and expectations of staff, volunteers, consultants
and contractors. The HR Manual should detail the:1. Introduction
Detail in this section the expectation of the Human Resource Committee/ task force. Introduce the
FOPAOC Organising Committee and map out the structure including names and contact details

2. Roles and Responsibilities
a)
b)
c)
d)

Human Resource Map
Individual contract/ agreement
Roles and Responsibility of designated station i.e. Artistic, Administration, etc.
Performance indicators

3. Duty times and locations
a)
b)
c)
d)
e)

Hours of duty
Reporting protocols
Refreshment times and venues
Office locations
Venue and Infrastructure – maps should be included and details of the different zones

4. Cultural protocols
a)
b)
c)
d)

Mode of dress
Festival ethics and principles
Festival cultural protocols and policies
Delegation cultural protocols

5. Briefings and Reportsa) Briefing locationsb) Procedures and policies for accidents and Injuries –all injuries and/or near misses to be reported prior
to stand down

6. Policies and procedures for dealing with outside organisationsa) How to deal with specialist/ consultant deploymentb) Protocols of working with other agencies including government and support services

61

Appendix 8

Delegation Services

The Delegations Services section focuses on ensuring all Delegations are well supported managed andhave all the necessary information to ensure their participation in the festival is successful. Initially during
the planning stage this committee will focus on:
Communications with HOD
HOD Dossier
Disseminating information from Delegations to the relevant Directors, committees, and task forces
During the Festival much of this is managed by the liaison officers that are appointed to each delegation
and are responsible for liaising with Residential, Support services and the Festival Director for delegationneeds and requirements ahead of the Festival
The Council of Pacific Arts and Culture has agreed that the host country has the prerogative to set the
maximum number of participants in each delegation. This limit may be set two years in advance. Setting alimit enables the host country to ensure it can provide accommodation, food, etc. for all participants.
Allowing host countries to set a limit has several benefits: it enables smaller countries to host the Festival,
helps maintain the quality of performances and the standard of living conditions for delegates, andensures adequate resources will be available for the Festival. Participating countries are required torespect the host country’s limits on the number of participants; alternatively, countries may takeresponsibility for finding accommodation and financing meals and transport for excess delegation
members.

1. National Delegations
The government of each invited country is required to determine which cultural groups will represent theinvited country, bearing in mind the philosophy of the Council of Pacific Arts and the Festival. The
government of each invited country also determines which VIPs will lead the national delegations to theFestival. However it is the host countries prerogative to set reasonable limits to delegations numbers and
VIPs that they will host. Countries may then be given the option to fund additional VIPs.
Generally delegations include:
Traditional/ community artists and performers
Professional artists and performers
Cultural leaders
Arts organisation representatives
Delegation media
Delegation staff including medical, catering
Production crew

2. VIP Delegations
There are multiple groups of leaders within a single delegation and these include:

3. Head of StateThe Head of the State from each country (or the representative of the Head of State, is a senior elected
government official such as the Minister of Culture. Host country responsibilities to the Head of State
include:Accommodation and catering
Car with a driver
Head of State program
Security

62

Some Heads of State may wish to travel with their spouses and staff. It is the decision of the host country
as to whether they are able to assist in accommodating staff, spouses or other family members.

4. Head of Delegation
The Head of Delegation should not be the Head of State or their representative, but rather someone in asenior position who will manage and coordinate the delegation while at the Festival. Host country
responsibilities include:
Accommodation and catering
Car with a driver
Phone, internet and other administration needs and support
Security

5. Traditional leaders
To ensure that proper protocol is followed, delegations must inform the Organising Committee of any
delegates who have both an official and traditional title. Host country responsibilities include:
Accommodation and catering
Car with a driver
Traditional leaders program
Security

6. Fringe and Non-Country Delegations/ Participation
Some host countries have facilitated the inclusion of non-country delegations that often are regional artsand cultural groups and organisations, individual artists and cultural managers, and sometimes otherindigenous nations that are not SPC members. The Council of Pacific Arts should be consulted on theseinclusions to ensure participation is not contradictory to the Festival ethics and principles.
Their access to accommodation, catering and venues are at the discretion of the host country, howeverthese delegations should not be housed with national delegations. Consultation with the Council of PacificArts is necessary.

7. Festival Buyers and Trade program
The festival has recently begun to see festival buyers; gallery owners, curators and other cultural industry
stakeholders come to the Festival to scout for talent, new work, performances, etc. In order to monitor
these activities and ensure that these visitors are respectful of the national delegations, it may beadvisable to facilitate a special program.
These individuals’ and/ or groups should apply to the Festival Organising Committee for accreditation andaccess. This will enable the Festival Organising Committee to liaise with Heads of Delegation to facilitate
this process to ensure artists are protected and to ensure that real opportunities for artists are facilitated
and fulfilled.

8. Researchers and students program
The festival also has a great number of research, academics and students who come to the festival tolearn, share and to gather information. In order to protect artists and cultural custodians, it is again
advisable to facilitate a special program and ensure their participation is registered with the Festival
Organising Committee.

63

9. Key delegation support staff
9.1Liaison officers
The liaison officer’s role is to:
Act as a facilitator between the Organising Committee and the delegation.
Meet and greet their delegation or VIP on arrival
Provide support to their appointed Representative of State
Provide support to their appointed delegation.
Each delegation should be allocated one to five liaison officers, depending on the size of the delegation
and whether events or accommodations are decentralised. Training and development is necessary aheadof the Festival to ensure liaison officers understand their roles and responsibilities. Apart fromunderstanding their roles as coordinators, it is important that they undergo specific training for thedelegation that they have been appointed to. Training should address cultural protocols, language,delegation officials, hierarchy and their roles and responsibilities.

9.2 Drivers
Drivers transport each Representative of State, Heads of Delegations, and the delegates themselves.
Consideration may be given to housing drivers and liaison officers in a central area close to theSecretariat, or alternatively having them accommodated and fed with their delegations.

64

Appendix 9

Head of Delegation Dossier

Purpose of the HOD Dossier
In order to prepare delegations and to keep them up to date with important information it isrecommended that the host country prepare a Head of Delegation dossier or manual. The key point forthis dossier is to communicate as much information as possible to the delegations to aid in their prefestival preparation, and during the Festival to assist in the day-to-day coordination and dissemination of
information.
It is possible to develop several sections to the dossier to allow for the FOPAOC to add information into
these sections, as the Festival develops. The suggested sections could reflect the following section areas:









Artistic/ Creative (Programming and Production)
Administration (Accreditation, VIP liaison, HOD secretariat services)
Festival Coordination (Customs and Quarantine, immigration)
Venues and Facilities
Support services (Catering, Transport, etc.)
Marketing and Sponsorship (Information on branding, sponsors, media, etc.)
Residential (Accommodation)

Section 2 through to Section 7, gives more details on how to develop these Sections for the HOD Dossier
and it is essentially dependent on the Host Country when this information is released and when
information is needed from the HOD.
The host country should consider putting all the information in a folder/ file format so that updates,
forms, etc. can be sent to the HOD and they can simply print, punch and add it into the folder.
The first draft of this Dossier should be available at the Council of Pacific Arts and Culture
meeting two years ahead of the Festival. Many delegations may not yet have a Head ofDelegation appointed so this initial draft will be given to the Country Focal point who will thenpass onto the Head of Delegation.
2 years of the Festival – 1st draft for the Council of Pacific Arts Meeting
1 year ahead of the Festival – 2nd draft with first Festival application forms
8 months ahead of the Festival -3rd draft with all Festival application forms
6 months ahead of the Festival – 4th draft with technical requirements
1 month ahead of the Festival – 5th draft with final arrival and logistic details
The key information, timelines, etc. will differ depending on the host nation, but detailed below is atemplate to aid the FOPAOC in developing their own HOD Dossier. The template details the timelines
given above, and an outline of the key information that each delegation will need to aid in their
preparation.

65

HOD Dossier template

1. Introduction
In the introduction section of the Dossier it would be ideal to have a message from the Chair of theOrganising Committee, which would be directed, to the delegations. The message could outline the hostcountry’s expectations and requests to delegations as well as reflect on the vision, objectives and ideals of
the Festival.
The introduction should also give general information about the host country such as climate, currency
information, religions, cultural and community backgrounds and protocols, electricity voltage, politicaland economic situation, vegetation, health and vaccination requirements, passport and visa
requirements, etc.

2. Timelines
In the timeline section of the HOD Dossier map out:The activity/ event
Section – this details the Section that the information/ activity or event falls under. FOPAOC should
also consider putting a note on each information update that is sent to the HOD about which Section
they should file information
Details of this activity: list what the activity is, what type of information is needed, the purpose of thisinformation and what is expected of the HOD
Deadline: the date column should specify the date that the HOD should expect this information, as
well as the date that the HOD needs to get this information back to FOPAOC

2 years ahead of the Festival
This will be the first draft of the HOD Dossier General information on the host country, which will be
updated according to the schedule below but should also be presented two years out from the Festival at
the CPAC meeting. At this point of the manual you may have in the file all the 7 Section areas but at thisstage they may all only have basic information. These sections can then be populated with more details as
the Host Country develops the Festival.
Activity
SectionDetails
Deadline
HOD Dossier Introduction
Instructions to HOD on use of the manual and timelines
Delivery todelivered atfor update of information
HOD atCouncil ofCouncil of
Administration
FOPAOC Organisational Structure and contact details
Pacific Arts
Pacific Arts
Festival Secretariat details
meeting
Meeting
Accreditation process
Communication with FOPAOC processes and protocols
Delegation outline
Programming content - proposed arts and cultural
Artistic
activities and events
Festival
Coordination

VIP protocols and processes

Marketing andSponsorship

Festival theme
Logo
Website details

Support services

Basic information of services in place. See section for
guidelines.

Residential

Basic information on accommodation, hotels, etc.
Contact point in tourism for hotel inquiries

66Delivery ofFestival
participation
entry to
HOD

Venues andFacilities

Basic outline of venues and facilities that are available
and planned for the Festival

Administration

This form entry will be a preliminary commitment from
Detail the dateeach country to enable the Festival Organising
FOPAOC
Committee to begin their festival planning and budgeting. expects the
HOD to return
This form should be filed into the appropriate Section ofthis form andthe HOD Dossier
the means ofdelivery

1 year ahead of the Festival
Activity

Sections

Details

Deadline

Final deadline for
return Festival
participation
entry
Charter flightapplication

Administration

All details of your delegation’s
participation should be sent via
email or fax to the FOPAOC

Detail the date for final returnto FOPAOC

SupportServices

Delegations can make a preliminary
expression of interest for the charter
flights that a host country can opt toorganise

Detail the date that FOPAOC
will release this information andthe final date for receiving theapplication

8 months ahead of the Festival
Activity

SectionDetails

Deadline

Media waiverform

Marketing andSponsorshipThis form will give the FOPAOC and the hostcountry the ability to film and document yourdelegations activities solely for the purposes of
the Festival publication and DVD series as wellas the live broadcast for the Festival

Detail the date that
FOPAOC will release thisinformation and thefinal date for receiving
the form

Delegation
Accreditation
application
form

Administration

Delegation
media
application

Marketing andSponsorshipThis form should be filed into the appropriate
Section of the HOD Dossier
Each participant must fill an accreditation
application form
This form should be filed into the appropriate
Section of the HOD Dossier
Each media participant must fill an
accreditation application form
See Appendix 6 for Accreditation timelines andguidelines

VIP Details
and logistics
form

Festival
Coordination

This form must be filled for each VIP travellingto the Festival with all details of their travel,
time at the festival, dietary and medical needs,
etc.

67

Detail the date that
FOPAOC will release thisinformation and thefinal date for receiving
the application
Detail the date that
FOPAOC will release thisinformation and thefinal date for receiving
the application
Detail the date that
FOPAOC will release thisinformation and thefinal date for receiving
the application

Participant
Registration
form / Entryby nameapplication
forms

Administration

Charter flightapplication
form anddepositSupportservices

Arrivalinformation
formsThis application form will detail each individual
participant’s entry into his or her various
activities.
This form should be filed into the appropriate
Section of the HOD Dossier

Supportservices

Delegations should provide formal expressionof interest for the charter flight with thisapplication form and provide a deposit tosecure their flight.
This is an option for the host country and soeach host may develop a form for charter flights
if applicable
Travel information is necessary to facilitate
quarantine, immigration and meet and greet
logistics and proceduresThis form should be filed into the appropriate
Section of the HOD Dossier

Departure
information
forms

Supportservices

Travel information is necessary to facilitate
quarantine, immigration and departure logistics
and proceduresThis form should be filed into the appropriate
Section of the HOD DossierSpecial events
application
forms

Artistic

This form will detail the delegations’ expressionof interest to host their own national events,
such as national evenings, cocktail nights etc.
The information from these forms will aid theOrganising Committee to program these eventsand to inform hotels and other venue providers
who can contact delegations directly toorganise the event

Detail the date that
FOPAOC will release thisinformation and thefinal date for receiving
the application

Detail the date that
FOPAOC will release thisinformation and thefinal date for receiving
the application anddeposit

Detail the date that
FOPAOC will release thisinformation and thefinal date for receiving
the application

Detail the date that
FOPAOC will release thisinformation and thefinal date for receiving
the application

Detail the date that
FOPAOC will release thisinformation and thefinal date for receiving
the application

This is dependent on whether the host country
wanted to get involved in assisting these
events. It may then be tasked to the Artistic
Section or Marketing and Sponsorship section

6 months ahead of the Festival
Activity

SectionDetails

Deadline

Venues andFacilities
information

Venues andFacilities

In order to aid delegations in their preparationconsider also a cd/ dvd with a video or photos ofvenues and infrastructure to aid in their planning.

Detail the date that
FOPAOC will release thisinformation

68This information may be released early and isdependent on the host country
Staging andequipment
requirements
form

Artistic

Lighting andsoundrequirements
form

Artistic

Exhibition
requirements
form

Artistic

Details of delegations staging, equipment needs
This form should be filed into the appropriate
Section of the HOD Dossier

Details of delegations lighting and sound needs
This form should be filed into the appropriate
Section of the HOD Dossier

Details of delegations exhibition needs for visual
arts, photography, etc.
This form is in Appendix of the Festival Manual
however it should be filed into the appropriate
Section of the HOD Dossier

Detail the date that
FOPAOC will release thisinformation and thefinal date for receiving
the form
Detail the date that
FOPAOC will release thisinformation and thefinal date for receiving
the form
Detail the date that
FOPAOC will release thisinformation and thefinal date for receiving
the form

1 month prior to Festival
Activity

SectionDetails

Deadline

Charter flight
final payment

Supportservices

Details forcanoe arrival

Supportservices

Travel information is necessary tofacilitate ceremonial, quarantine,
immigration and departure
logistics and procedures

Detail the date that FOPAOC will release
this information and the final date forreceiving the application

Finaldelegation
arrival details

Supportservices

Travel information is necessary tofacilitate quarantine, immigrationand departure logistics andprocedures

Detail the date that FOPAOC will release
this information and the final date forreceiving these details

Final VIP
arrival details

Supportservices

Travel information is necessary tofacilitate quarantine, immigrationand departure logistics andprocedures

Detail the date that FOPAOC will release
this information and the final date forreceiving these details

Detail the date that FOPAOC will release
this information and the final date forreceiving the application

Festival
In this timeline detail for the HOD the programs and activities planned around these ceremonies and specify
the information that is needed from the delegation
Activity
Details
Deadline
Opening of Festival Accommodation
Arrival of the Canoes

Detail as much information as
possible on each event, the69

Pageant of Nations
Opening Ceremonyrequirements of delegations,maps, contact points, etc

Festival Village Opening

Detail as much informationas possible on dates andtimes

Festival Village Closing
Closing Ceremony
Festival Accommodation closes

3. FOPAOC services and relations
Detail the organizational structure for FOPAOC so that the HOD understands how the Festival ismanaged and who will be the key points of contact and support. Give key contact details for
FOPAOC in charge of delegation services and relations. For example detail as below:
The Delegation services and relations team comes under the FOPAOC Administration Director
who will work closely with the Artistic Director and the Festival Support services, Residential andother relevant task forces. This team will:Provide the primary interface between FOPAOC and the Delegation
Facilitate the participation of the delegation by providing all the necessary information andassistance
Liaise with various sections within FOPAOC to ensure that all policies, procedures and services
meet the needs of the delegation
Train, supervise and coordinate all delegation liaison officers and drivers

4. Accreditation
The role of the HOD is to register its participants, officials, VIPs and media from its country/
territory and therefore will need clear processes and timelines to ensure that information that isreceived is correct and timely to enable the Host Country to produce and distribute the cards.
Detail in this section the Accreditation process that will be in place by the host country.
The process, which is used, by the International Olympic Committee and the Pacific Games
Council has been amended and is detailed below which can be used as a template:Accreditation is the process of identifying participants and their role at the Festival while ensuringthat they are granted the appropriate access to fulfill their role.

5. Accreditation timeline
The host country should set out their own timeline in detail but listed below is atemplate based on possible timelines for the Festival of Pacific Arts, Guam 2016.
Dates
1 August
2015

Applies toParticipants

1 September VIPs, officials
2015

Activities
FOPAOC sends Delegation Accreditation and Arts Entries applicationmaterials, draft program and other material by courier and electronically.
Forms are also posted on the website
FOPAOC sends VIP, Officials Accreditation by courier and electronically.
Forms are also posted on the website

70

1 October
2015

Media

31 February
2016
31 March
2016
1 April 2016

Participants

31 April
2016
31 June2016
31 June2016
31 June2016
1 April 2016

Media

ParticipantsFirst call for completed accreditation application forms to be sent
through electronically or to be uploaded directly into website
Deadline for completed accreditation application forms to be sent
through electronically or to be uploaded directly into website
First call for completed accreditation application forms to be sent
through electronically or to be uploaded directly into website
First call for completed accreditation application forms to be sent
through electronically or to be uploaded directly into website
Deadline for all Arts/ Activity Entries

1 June 2016All

All accreditation completed and ready for printing and packing

1 June 2016All

All arts/ activity entries closed

VIPs, officials
ParticipantsParticipants
VIPs, officials
Media

FOPAOC sends Media Accreditation, Media guidelines and agreements
and other materials, by courier and electronically. Forms are also postedon the website
First call for completed accreditation application forms to be sent
through electronically or to be uploaded directly into website
First call for completed accreditation application forms to be sent
through electronically or to be uploaded directly into website
Online Arts/ Activity Entries open

6. Registration material
At least 12 months in advance HOD’s should receive materials to register their delegations. Detail what
the package will include for example:a) Participant Accreditation and Arts Entries Manualsb) Accreditation Application forms in electronic format.
Parental consent formsc) VIP and officials Accreditation formsd) Media accreditation forms and Media agreementse) Draft programf) Other Festival material

7. Submission of accreditation data
Applications for accreditation should be received before the deadline in order to have accreditation fordelegations ready on arrival into the host country. Detail what data elements are needed which should
be compulsory for all participants:

Family NameCountry
Genre
Birth Date
Nationality
Passport number
Expiry date on passport

Given Name
FunctionGroup name (if applicable)
GenderPlace of birthCountry of issue

A complete accreditation application is composed of an Accreditation Application form and a photographas per specifications. Detail also what type of photo specifications are as required for example for most
passport photos:

71







Face forward, looking straight into the camera and nothing covering your face
Look natural with no facial expression
Nothing covering eyes
No sunglasses or tinted glasses
No hat or covering of head unless for medical or religious reasons

Detail also the photograph format that should be sent:Digital image file (jpeg, gif, bmp)
100kb size
Width to height ration – 0.8

8. Card production and distribution
Give details of when and how the cards will be produced and distributed. For example:
If the delegation has sent through all their accreditation applications by the deadline, the accreditation
cards will be given to each delegation on arrival into the host country. The accreditation cards will begiven to the HOD who will then have the responsibility to check and disseminate to their delegation
members, media and VIPs.

9. Administration support – Festival Secretariat
Detail the location, services, equipment and facilities available to the HOD at the Delegation and VIPResidential areas, Festival Secretariat and other venues.

10.

Delegation Communications

This section can detail all communication services that will be in place for the festival such as Internet,
phones, etc. Past festivals have allocated phones to HODs, which are linked to FOPAOC so that this allows
for easy and regular communication between the HOD and the FOPAOC. This has proven essential as ameans of notifying last minute program changes, medical emergencies, traffic delays, etc.

11.

Delegations

Detail your expectations of the Head of Delegation and their roles and responsibilities. See below forexerts from the 2003 SPC Organiser’s Manual on the expectations of the Head of Delegation.
Detail also the host country’s maximum quota for delegations including media, officials, and VIP. See
section 6.2 for Delegation outline.

12.

Head of Delegation

The HOD will be the only contact point between the Festival and delegation that will:
Negotiate and sign, on behalf of their delegation all media, marketing and sponsorship agreements withthe host country.
Provide information for logistics, programming, production and cultural needs
Be consulted on for any programming and participation involving their delegation
Be consulted for any decision making involving their delegation
During the Festival the Head of Delegation is the key point of contact for all decision-making andinformation dissemination for the national delegations. The Head of Delegation may also have adelegation Artistic Director and other key people who will assist with the logistics of the delegation. It is72

important for the Festival Organising Committee to also understand the processes of the delegation as
this may differ from country to country and is often dependent on the size of the delegation.
The Head of Delegation is responsible for:Arrangements in case of the death of a delegate, the Head of Delegation is responsible for informing
family members and making the appropriate arrangements.
Security and care of the members of their delegation during the Festival, including children and disabled
persons.
Informing their delegations of health and safety procedures within their accommodation, food hygiene
issues, and procedures for reporting sickness and accidents.
For the behaviour of their delegations and ensuring that respect is shown to the Host Country and otherdelegations.
Controlling their delegations and ensuring that they are at a scheduled place at the scheduled time.
Press releases developed for national purposes during the Festival are provided to the media room toenable the host country to comment on, monitor and collect publicity materials.

13.

Delegation Outline

The Council of Pacific Arts and Culture has agreed that the host country has the prerogative to set the
maximum number of participants in each delegation. Allowing host countries to set a limit has several
benefits: it enables smaller countries to host the Festival, helps maintain the quality of performances andthe standard of living conditions for delegates, and ensures adequate resources will be available for theFestival.
Detail in this section the delegation limit, including VIPs that will be hosted and funded by the FOPAOC
and what this hosting includes i.e. accommodation, etc.

14.

Pre festival visit

Often HODs of Country Focal points will visit the host country ahead of the festival in order to makepreparations for their delegation. It is recommended that these visits are planned and that the organizing
committee facilitates all visits including visits to venues, car hire places etc., to aid the HOD but also sothat the FOPAOC are aware of arrangements being made. Give details in this section about how thesepre-visit arrangements should be made.

15.

Arts and Cultural Activities Entries process

A more formal process of getting information from delegations regarding their program participation canbe designed in a form to facilitate the correct information from delegations to FOPAOC. To ensure
delegations clearly understand the process of advising the FOPAOC detail the Host Country Dossier suchas below, the purpose of completing the Arts and Cultural Activities Entries process is to provide the hostcountry with the necessary information needed to prepare the program, venues, services and equipment
for each art and cultural activity. Without these entries completed and delivered before the deadline, the
FOPAOC will have no knowledge about your delegations participation in certain activities and cannot
guarantee your place in the program.

16.

Arts services and equipment

Give as much detail as possible about the services and equipment available for each venue and activity. It
is better for the countries to detail what they can provide so that countries are able to work within theircapacity. Alternatively if your country has great resources you may want to send out a requirement form
to countries so that they are able to detail in advance their specifications.

17.

Ceremonies

All delegations will be a part of the Ceremonies and so this section should detail the logisticalarrangements for the ceremonies such as transport, catering, tickets, seating arrangements, services

73

available to participants such as water, toilets etc. The proposed program for the events should be
detailed and the expectation of the delegations i.e. how they will participate, what they are expected towear, any cultural protocols to be made aware of, etc.
Opening and Closing Ceremonies
Arrival of the Canoe ceremony
Pageant of Nations ceremony
Flag raising ceremony

18.

Weather information

Give a brief statement about the weather for that time of the year in your host country. A link to national
weather forecasting sites will be ideal particularly to help with the delegations that have canoes arriving
and also have an impact on costuming, etc. for ceremonies and events.

19.

Festival program

Slot in the Festival program with date of latest update so that the HOD can keep track of the most recent
program.
Government Coordination
The Festival Government Coordination section is responsible for all government, municipal and national
services including VIP and Government protocol and services. Detail in this section:
The process, procedures and protocols that the host country will have in place for Arrival and departureof VIPs
Welcome ceremonies, events and activities and the expected protocols around these eventsProtocol of gift giving and exchange
Program and facilitation of government to government and other VIP visits
Protocol around hosting VIPs including the numbers that the host country will fundProtocol on family’s travelling with the VIP
Detail in this section the information that is needed by FOPAOC to facilitate VIPs delegations in theseareas. It is important early in the planning to find out the number of officials and leaders and theirposition and define the rank of traditional or customary leaders

20.

Residential

21.

Catering

Detail your catering arrangements whether this will be on a voucher system or designated times andvenues for meals for accredited participants. It will also be ideal to give a list of other catering amenities
or recommended eating and shopping places for delegations.

22.

Delegation Accommodation

It is important in this section to detail for delegations the type of accommodation that will be available,
the facilities, service, furniture, equipment, power and water access, whether their own bedding isnecessary, etc. This will enable delegations to better prepare for the essentials that they need and to givethem the opportunity to bring with them any necessary equipment and materials.

23.

Check in process

Detail the process of check in which also should include signing over to the HOD an inventory of all
Furniture, Fixtures, equipment, etc. that will be assigned to each delegation including their repairs andany replacement costs.

74

24.

Guest passes

Host countries will differ as to what their policies are on allowing guests into the Delegationaccommodation or residential area. Some past festivals left these decisions up to the HOD and otherofficials while some countries designated visiting areas or required HOD’s to issue passes. Some of theissues that have arisen in the past from allowing unauthorized guests is that they brought alcohol or otherbanned substances into the accommodation area which in turn caused problems. In other instances,
relatives and community members would spend long hours late into the night at delegationaccommodation and this infringed upon the privacy and rest for other delegations. Having designatedvisiting hours and an application process for passes can alleviate some of these issues. Detail the hostcountry protocols on these issues. Consider also developing the following passes:
a)
b)
c)

Delegation guests
Dignitaries guest passMedia guest passes

25.

Festival Accommodation operations

Detailed below are also other areas that this dossier may detail to give HOD’s a clear understanding ofwhat is available at the accommodation so that they are able to prepare their delegations in advance.
a)
b)
c)
d)
e)
f)
g)
h)
i)
j)
k)

26.

Delegation information center
Amenities, Administration and Medical services
Festival Accommodation catering services
Festival Accommodation transport services
Festival Accommodation services center
Resident entertainment and recreation
Security and law enforcement
Emergency services
Lost and foundDelegation flags
Non-smoking and alcohol policy

HOD briefings

Past festivals use daily HOD briefings to exchange information and resolve any issues that have arisen
from that day’s activities and operations. This section should be used to detail the venue and proposed
times of meetings. It is also advisable to detail where reports of these meetings may be picked up, forthose HODs who may miss a meeting or need a representative to attend.

75

Appendix 10

The Festival Director

The principle role and responsibility of the Festival Director is the overall planning, programming,management and execution of the Festival. The Festival Director also oversees the work of the Section
Directors and their wok plans. Generally the Festival Director sits on and is directly accountable to the
FOPAOC Board. The key roles and responsibilities of the Festival Director are:
Reporting to the
BoardWorks with the Board to design, plan, develop and manage the Festival
Budget management and reporting
Facilitates all reporting and communication with SPC

Festival
Coordination
andManagement

Develop a detailed timeline and work plan for the planning, development andmanagement of the Festival
Oversees and maintains all health and safety requirements, events safety
manuals, risk assessments and ensures effective and safe working practices at all
times are in place with the implementation of a risk management plan

Human
Resources

Oversees the recruitment, training and management of staff and volunteers

Programming

Oversees all programming for the festival

Sponsorship,
Fundraising

Works closely with the relevant committees as well as the FOPAOC to Board tosecure the necessary funding for the Festival
Community participation, Cultural protocols and cultural policy development
IPR, TK and Cultural ceremonies protocols and process

Cultural
Advisory

Works directly with community elders, cultural elders, Delegation traditional
leaders and Cultural Focal Points

Special eventsand ceremonies

Oversees the coordination of special events and ceremonies such as governmentand Head of Stage hosted events, HOD pre festival visits, etc.

Marketing,Publicity

Oversee the development of the Festival Communications Policy and Strategy
Oversees the development of the Festival Marketing Strategy as well as areas
such as Merchandise, Trademarking, etc.
Oversee the design, planning and development of all venues prior to the Festival
Managers the relationship between the Artistic Director and the Director Venues
and Facilities to ensure all the needs of the Artistic programming and production
are facilitated within budget, timelines and within proper Operational and Safety
Guidelines
Manages the handover process from the Venue design, planning anddevelopment team to the Venue Managers
Provides support and advise to the Venue Managers during the Festival

Venue
development
andmanagement

The Festival Director will be the key person for the Festival and so finding the person with the mix of all
the skills and experience needed will be a task. The Festival Director needs to be someone who has awide and diverse network from which he/ she will pull expertise and advise from. Ideally this person has
worked extensively in the Festival circuit in the Pacific region, or someone with extensive ‘large’ event
experience, particularly one that deals with large delegations, numerous venues and with both private
and the public sector experience and networks. Some of the key skills and abilities that will be needed76are someone that is able to fulfill all the roles and responsibilities detailed in Section 2, and with theadditional characteristics detailed below:












Demonstrated leadership, vision, collaboration, team building
Strong interpersonal skills, integrity and high energy
Minimum of 5 years experience in ‘large scale’ event management
Full understanding of the production process for events in particular Festivals
Proven and strong background in financial and budget management
Sound administrative and human resource skills is essential
Self motivated and able to work independently
Strong understanding of Pacific cultures and experience working across art disciplines
Extensive experience working within both the public and private sector and an understanding ofregional organisations and structures throughout the PacificFundraising and Sponsorship experience
Fluent in English and French77Appendix 11

Artistic Section Guidelines

The Artistic Section (Also know as Creative Arts) is the creative component of the Festival. The
committees and task forces under this component look after programming for the entire Festival, which
includes the development, coordination and production of all arts, cultural, delegation and VIP activities
and programs. All the other Sections of the Festival are the support systems to make sure that everythingthat is needed is in place to make the program happen, as efficiently and cost effectively as possible.
There are two key stages to the Artistic/ Creative Arts component:
Phase 1: Programming and Production Design, Planning and Development, which is done by the Artistic
Director and taskforce/ committees.
Phase 2: Operations/ Production, where the Artistic Director and a production team at each of theFestival venues implement the program.
The Key Roles of the Artistic/ Creative Arts Committee is to:
Lead development of the Festival logo and the Festival song
Develop the Festival Program which includes all the artistic and cultural events and activities before andduring the Festival of Pacific Arts
Budget development for Artistic Program and production
Advisory on Venue and Infrastructural needs

1. The Artistic Director
The Artistic Director is the person with the overall artistic vision and artistic control for the Festival andhis/ her two key functions is:
Programming - developing a program to include all the arts and cultural activities of each Pacific nationand their delegations, but also a program that reflects the host country’s culture and the Festival theme.
Production - all the technical and infrastructural support needed to stage the activities such as staging,sound, lighting, equipment, exhibition materials, equipment, and technical crews, etc.
The Artistic Director is a person with artistic vision but also strong administration awareness to be able toplan, develop and produce the Festival program and put in place the necessary work plans and budgets
needed to realize the Festivals vision. Some of the key tasks will be:
Programming

Ensuring that the Festival programming reflects the vision of the FOPAOC and theFestival theme
Programming, scheduling arts and cultural activities, ceremonies, special events,
meetings, symposiums and workshops
Develop the full Festival program
Oversee the curatorial team for all Festival Exhibitions
Ensuring accurate and efficient program updates to Administration Director todisseminate internally and externally
Venues andSelection and development of Artistic Venues, equipment, furniture and materials in
Infrastructure consultation with the Festival Director and the Director Venues and Infrastructure
Administration Determines costs and overall needs for the Programming and Production teams, andand Financeeffectively communicate this to the Festival Director and the Administration Director
Assist in Budget development, management and reporting
Responsible for all reporting to the Festival Director and Administration Director

78Opening andClosing
Ceremony

Production

Develops the vision and overall production for the Opening and Closing Ceremony aswell as conducting all the rehearsals and casting performers, designers, musicians,
artists, etc.
Opening and Closing Ceremony (often this may fall directly under the Festival
Director with a specific Coordinator of subcommittee)
Works with the Festival Director and Administration Director to establish an
operating plan and budget to execute the vision for the entire Festival
Design how each component of the Festival will be shown to the audience as well asstage design and layouts
Identifies and hires the creative personnel such as designers, production andtechnical teams for each venue
Oversee the technical and production elements of performances and exhibitions

The technical committees/ task forces that fall under the Artistic Directors portfolio are the: Programming Ceremonies and Protocol
 Production/ Technical Symposiums, Workshops and Meetings

2. Artistic Section team

Artistic Director

Performing Arts

Film Festival

Visual Arts/
CuratorFashion

Producer

Heritage Arts

Dance

FIne Arts

Natural fibres:
Tapa, weaving

TheatrePhotography

Wood carving,
potteryMusic

Ceremonies andProtocolSymposiums,
Meetings,
workshops

Production
Manager

Technical
Director

SchedulingManager

Production
Assistant

Culinary Arts

TattooVoyaging andNavigation

Traditional
Games

Table 1: Artistic Section team: Planning and Development
The key personnel in the Artistic Section work under the leadership of the Artistic Director and it ispossible that there are two phases of personnel who have different skill sets:
Planning and Development Phase: this layer will describe the personnel, their role and responsibility andthe team that they work with to assist in the Planning and Development of the Festival.
Festival (Venue Based): Once the Festival begins many of the team members of the Artistic Section may
be assigned to a particular venue or may hand over to an operational/ technical team. This layer should
describe the personnel and their operational role and responsibility once the Festival has begun.

793. Programming
Programming across all Festivals to date has been similar, and has often been divided into 5 areas, which
are developed by a coordinator and or sub-committee but led by the Artistic Director. For the
programming sub-committees the responsibilities will include:









Developing a program with a list of what activities need to take place that will reflect the Festival
theme and also undertake the requests of delegations to portray their national arts and culture
Receive all delegation arts entries and evaluate how to include everyone in the Festival, on every
stage/ exhibition space, demonstration, workshop etc. without programming clashes that will cause
problems for delegations
Scheduling – when the art entries have been received from the delegations, they will need to map
this out into a schedule and ensure that there are no clashes between activities for different
delegations. All ceremonies, workshops, meetings and other special events need to be carefully
mapped out
Needs assessment for Artistic Program and production needs
Needs assessment for Venue and Infrastructural needs
Report on needs to Artistic Director so that a budget can be developed
Regular reports to Artistic Director

It is advisable to organize all parts of the Programming on a timeline to ensure that the sub-committee
keep on track and are quickly able to identify gaps and issues.

4. Artistic/ Creative programming
The following activities are expected to be part of the Festival program but host countries have also had
the liberty to add programs that are relevant to their artistic community and cultural environment.
Follow the links below to view Past Festival reports for these programs and activities(links to be sourced)

5. Ceremonies
The Ceremonies sub committee is responsible for:









Plan and manage ceremonies and schedule this into the main Festival program
Plan and coordinate special events, religious services
Plan and coordinate and ensure all cultural protocol is followed for the Festival
Facilitate any special events and ceremonies for each country
VIP programs
VIP and HOD gifts
Coordinate with Venues and Infrastructure task force for appropriate venues
Develop budgets for Ceremonies

Some of the key ceremonies for the Festival include:
Delegation Arrival meet andgreet
National delegations flagraising ceremony
Festival Flag raisingceremony

Each Festival celebrates the Arrival of delegations in different ways andthis is often done at the airport or at the port on arrival of thedelegation
This is often done at the Festival Residential area and symbolizes thedelegations arrival into the Festival. Some Festivals have also repeatedthis as nations set up in the Festival Village
The process for the flag raising ceremony is generic across most Festival
but each host country may want to add cultural ceremony,80Festival Song

Traditional Gift giving
ceremony (VIP and HOD
gifts

Ecumenical services

Arrival of the Canoes
Ceremony

Parade of Countries

VIP ceremonies

performance, etc. around it. The flag raising ceremony is generally doneby the Army, Navy, etc. as they are trained in the protocols of flagraising ceremonies and often during the Opening Ceremony
This has often been done through a national competition, or by areputable musician, who is well known in the region for representing
the host country. The Festival song is often first heard at the Opening
Ceremony
Gifts from the host country often range from baskets, food, carvings,
mats and other ceremonial gifts appropriate to the host country’s
culture. As this custom is very important for some countries it isimportant that a specific time be set for when gifts are to be exchanged
The Ecumenical services have traditionally been done on the first
Sunday of the Festival and often the day before the Opening Ceremony.
These services have generally been an interfaith service but delegations
do respect if countries have chosen to conduct these services in aparticular faith. Many delegations also prepare hymns, prayers or
readings to contribute to the service and so this should be consideredby the host country
The Arrival of the Canoes and the traditional welcome ceremony fordelegations is often conducted early morning on the same day as the
Official Opening Ceremony. This ceremony is also often the ceremony
where traditional gifts are exchanged between the delegations and thehost country
In many past Festivals this has been done through the streets of thehost city after the Arrival of the Canoes, as well as during the Opening
CeremonyThis is dependent on the host country and may include special welcome
ceremonies for the VIPs of each delegation

6. Programming team
The job of developing the Artistic program under the leadership of the Artistic Director is theProgramming team. This team will consist of individuals who have had extensive experience working in
the arts and cultural sector. In the planning and development phase there will several meetings andconsultations with host country artists and cultural producers as well as the HOD and Cultural Contact
points on the CPAC. Several sub-committees may be set up to oversee the planning and the development
for each of the artistic/ cultural areas, which will include:
Culinary Arts
Film Festival
Fine Arts

FashionHeritage Arts

Visual Arts
Photography
Sculpture
Natural fibre, Tapa
Weaving
Wood carving
Pottery
TattooTraditional Games
Voyaging and Navigation

81Performing Arts

Dance
TheatreMusic

To lead the planning and development for these areas the host country will ideally have at the minimum a
programming team in place, which will include:
Assistant Artistic
Director
Programming/
Scheduling manager

Workshops/
Symposiums andmeeting manager
Ceremonies
manager
Cultural Protocol
advisorProvides creative advise, logistic support and any other assistance needed by
the Artistic Director
Key focus is to work with the Festival Director and the Artistic Director todevelop a schedule that captures all the arts and cultural events and activities of
the Festival, that meets the arts entry requirements of all delegations andensures a program that minimizes clashes and that allows enough time forartists movements between venues, etc.
Coordinate the development of all workshops, symposiums and meetings which
will include researching the themes for workshops and symposiums, organizing
speakers and facilitators and liaising with SPC and CPAC for all meeting needs
Will focus on planning and development of all ceremonies with the Festival andArtistic Director.
Ideally this person is a well-respected cultural elder who has strong
relationships both in the community and with government. Their key focus will
be to provide advise to the Festival Director and Artistic Director on all aspectsof cultural protocol, which need to be considered when developing the Artistic
Section.

7. Protocol
With a large number of VIPs in attendance for the Festival a separate sub-committee may be set up
specifically for Protocol. In the FOPAOC model recommended in the SPC FOPA Manual this sub-committee
will work directly with the Director Government Services Coordination particularly if VIPs are Heads ofState or government Ministers.
This sub-committee or task force is often headed by a senior Foreign Affairs official as well as
representatives from Immigration, Customs and Quarantine, Police, Aviation Security and Tourism andworks in consultation with the Festival Director and Artistic Director to ensure VIP programs and logistics
are coordinated and linked in effectively with the main Festival. The key role for this sub-committee is:Programme and logistics for VIPs, Head of Delegation and other important senior government officials
and guests.
Liaise with human resource task for selection and management of liaison officers and drivers for VIPs,
HOD’s and other officials
Liaise with Logistics task force for all VIP logistics including catering, transport and accommodation
Liaise with human resource task force for personnel uniforms, equipment and other needs

Some of the key considerations for protocol are to ensure:Trained personnel for VIP liaison officers and drivers selected undergo intensive training andpreparation to ensure they understand the cultural protocols associated with their assigned VIP. In
some host countries these roles are assigned to trained army/ police personnel
Language to be a consideration when selecting and assigning liaison officers.
Appointing a person to oversee seating arrangements at both the opening and closing ceremony canhelp provide control and may prevent difficulties from arising. Police and security services should be82

well informed regarding preparations and programs for the opening ceremony to enable them tobetter coordinate VIP security and the increased amount of traffic. Consideration should be given to
establishing first aid posts, given the large crowds that attend the opening ceremony.

8. Workshops, meetings and symposiums
The FOPAOC is responsible for developing the workshop and symposium program. This activity would
come under the Festival Director and the Artistic Director and will be a component of Programming.
The FOPAOC may decide to contract a consultant, outsource to a local university or to a special task force
who has had experience in the regional cultural industry and in developing conferences and workshops.
SPC Cultural Affairs Advisor will play a key role in the development of this program, as it is important tounderstand what the current key issues are in the region and have sessions that address these specificareas.
The festival is an opportune time for artists and delegates to come together and exchange knowledge,
skills and network in order to develop the industry. One of the key purposes of the Festival of Pacific Arts
is to assist in the perpetuation and preservation of culture so it is through developing practitioners,
enhancing the transmission of knowledge and skills, which this purpose is served. Therefore a programthat is targeted at this should be one of the priorities.
Workshops and symposiums have taken place in various forms:
round-table discussions
workshops
panel discussions
lectures.
master classes
Participants in these workshops will vary depending on the issue and purpose.
Consider facilitating workshops and symposiums focused on different participants:
Artists exchange/ skill development workshop or master classes
Cultural leaders for the purpose of policy development, programs and development
Arts managers, arts administrators, artistic directors for delegations and other individuals involved in the
support for practitioners

9. Production team
The job of overseeing the physical implementation of the program is the production team, which will
include specialized skills:
o Technical knowledge of stages, sound and lighting, set and prop design, gallery cu ration, etc.
o Venue selection and development
o Venue set up and Infrastructural needs including material, equipment and technical needso Conducting risk assessmentso Working with HR to select the right production personnel for each venue
o Training and management of all committee members, staff and volunteers
At the minimum the production team during the Planning and Development phase should include:
ProducerThis role works alongside the Artistic Director. However when resources are scarce theArtistic Director may also play this role and then have an experienced Production
Manager to oversee the technical aspect of the Festival. The producer’s key role will be
the realization of the artistic and festival directors vision. The producer will be83

Production
Manager

Technical
Director

Production
Assistant
Technical
specialists

10.

responsible for the pre production phase of the festival and works closely with theartistic sub committees implementing schedules, resource requests, budget
management and regular reporting
Technical preparation from the Planning and Development phase through to the Closing.
Coordinates with the Producer and Artistic Director
Negotiates with contractors and suppliers
Works with venues and facilities teamDevelopment, Training and Management of Stage Managers
Supervises the execution of the technical elements:
Preparation of working drawings for all artistic venues including stages, dressings rooms,
rehearsal spaces, etc.
Supervises the development, construction and mounting off all artistic venues
Maintenance of equipment, facilitates and supplies
Construction and rigging
Sound, lighting and special effects
It is ideal for the Production Manager to also have a Production Assistant who also looks
after the Production Officer and their primary focus is the physical aspect of the Festival
and the workshops: stage, props, venue design, overseeing designers
Lighting and sound designers/ contractors, stage designers/ contractors, venue
designers, artists

Sound and LightingThis is always a major issue for all performers and this is one area where the basic set up will not change
regardless of what kind of stage is built. Sound and Lighting enhances the performances and allows thestoryteller to tell his or her story as effectively as possible. It is necessary for each performer to be able tohave some control on the light levels and to have a good sound system in place. This will be a major
component of the budget, as many island nations have had to import the necessary equipment for theFestival.
Sound and lighting engineers and technicians also need to be considered in the planning anddevelopment, if there are resources available locally, who needs to be brought in for the festival and what
training and development needs to be put in place.

11.

Lighting

Stage lighting is used to illuminate certain parts of the performance and at time, the whole stage.
The common types of lights used for outdoor stages with these specifications are Fresnel, PAR, ellipsoidal,
cyc light, strip light, scoop, LED stage lighting, moving light or stage spotlight.
For a stage such as this, the minimum requirements are LED stage lighting (enough to light the wholestage if needed) and a moving light or spotlight.
Ideally a lighting booth should be located right next to the sound booth so the lighting engineer is alsoable to view the stage and more importantly, communicate with the sound desk.
Lighting will also be necessary for all venues, exhibition spaces, vendor and merchandise space andspectator areas.

12.

Sound

Whether the performance is by a large delegation of 50 or as small as 5, their requirements are the same:84

Front of House Speakers, Side and Back Monitors, Vocal Microphones (wireless and with chords),
Instrument microphones, microphone stands, Cables (Canon and Jacks, mini jack adaptors for mp3
music), a guitar amp as well as a bass amp on standby if needed.
This is your basic backline, all other instruments should be provided by the delegations, such as electricguitars, drum set etc. and all other specific stage requirements must be shown clearly on their stage plot
diagram, which must be forwarded to the stage techs well in advance.
The sound booth is specifically for the sound engineer and should be at least 30 meters away from thefront of stage. This should also be at the same as the main stage or higher then the crowd level. The
sound engineer must have an unobstructed view of the stage

13.

StagesAll stages however, will differ depending on the festivals hosts, some may prefer to have sand stages
beside a lake and some may choose a hillside as the base of their stage. There are various models forstages and performance areas for the performing arts but some considerations when deciding on the typeof stage or performance area:
Temporarystage or amorepermanent
stage?

Stage must be firm and have a solid base to cater for large delegations
Temporary stages are often built from scaffolding and ply wood floors, it is advisablethat the stage is no higher then 1-meter of ground level. Anything higher then thisbecomes too unsteady and will be dangerous for all artists on stage
If the stages are to be built more permanently then more effective material such asconcrete with a portable sprung dance floor is ideal but this will be costly

Size

Should be large enough for delegations with large numbers
Consider performance space on the ground for example sand stages
Consider maximum number of performers on the stage at a particular time
What equipment, instruments will be used on stages and how these are placed

Type ofactivity on
stage

Traditional performances tend to be high in energy and involves a lot of jumping andstomping so stages need to be able to take the load and the constant moving andshifting

Surface

Safety for performers and risk of injury caused by slippery surfaces, the flooring mustcater for oils, sweat and traditional costumes pieces etc. and must be easy enough toclean out before the next performance.
Issues with body oil, paint, and sweat causing injury on normal wood stages

ShelterSite lines

Main stage (roofing)
Shelter for speakers
The stage should be set in a position that’ll give the audience a 180 degree clear viewof the performance, having an elevated stage will allow this and will also give better
coverage for still, video, and television purposes.

Boundary
lines

There should be clear boundary lines that indicate the end point for the audience andtheir access to performers to ensure security

Entry and
Exits

Entry and exit points to facilitate smooth and safe transition between groups
The stage will require 2 entries, left of stage and right of stage

85

Stage settings

Trusses must be set professionally and safely to allow clear lighting for night
performances as well as allow proper film and television coverage.
Allowing room and space for front, middle and back of house monitors.
All instruments and traditional equipment must be set on stage according to
specifications and these must be sent to the programming team well in advance.

14.

Stage equipment and back line

For a standard stage size of 8 metres by 10metres:
Backline

2 by 12 inch floor monitors in the front
2 by 12 inch monitors for both wings of the stage.
For a festival such as this, the stage may double or even triple in size, so all backline
equipment should adjust accordingly.
Mics with cables (numbers depend on performance). Wireless mics are dependant on
the performers preference and sound engineers recommendations

Front ofhouse
speakers

2x double 15 inch tops on the left side and 2 x double 15 inch tops for the right side of
the stage
1 x double 18 inch sub for the left side and1 x double 18-inch sub for the right side.
This will increase according to the size of the stage as well as the audience area.
Front of house Speakers should be sheltered and raised about 1.5 metres of the groundto ensure clear and maximum distance for sound.
A boundary must be clearly set up around all speakers to ensure no interference fromthe audience
Position of speakers should be in front of stage and far enough to avoid feedback
All cabling must be well covered from weathering and more importantly from audienceand participants.

Soundengineer

There should be a dedicated sound engineer to oversee the quality of sound from themain stage. The festival will only offer the basics, which are mics for vocals and Direct
Inputs for all other instruments such as guitars etc.
The sound engineer should be positioned approximately 30 to 50 metres from the frontof stage, facing the main stage.

Generally the main stages for the Festival are:







Festival Village Main Stage
Jam Stage
Main music performance stage
Main performing arts stage
Auditorium
Welcoming Ceremony stage

86

Opening and Closing stages

Follow these links for production plans and templates(links to be inserted)

15.

Artists specifications

Delegations should be informed well in advance regarding the types of venues, and stage dimensions andstructures, as this will impact on the type of performances that can be given. The staging requirements formusic, traditional dance, modern dance and theatre/drama differ, and in the past some delegations haverefused to perform when performance areas were not suitable, or their expectations regarding theperformance areas were not met.
It is also the responsibility of the delegations to hand in all tech requirements well in advance for theirperformance and a brief outline of instruments and singers on stage such as:
Numbers on stage
Entry and exit points
Type of performancemic and sound requests
Lighting requirements if needed.
A stage plot design with all requirements such as sound requests and positioning must be confirmed by
the delegations before attending the festival so the logistics team can prepare these with the sound andlighting team before the delegation takes the stage. This is the best method of getting all necessary
requirements through to the technical team. An example of a stage plot diagram is:

All requirements such as Cultural Protocols before, during or after performances should also be finalized
so the technical team can prepare all the necessary props such as tanoa's, bilo's and the sound techs canalso prep for events such as these.
Follow these links for Festival stage plans and templates of artists specification forms(links to be inserted)

87

16.

Facilities for Artists

Access tocatering andrefreshments
Changing
Room

Storage

17.

This does not necessarily need to be provide free but often programs run late anddelegations are at venues for several hours
Min of 2 changing rooms, so delegations can prep artists before the performance slot.
Clear and efficient access to the main stage.
Intercom system so everyone knows when and where to be at all times.
Access to sufficient clean water and electricity as well as proper flooring
Showers so performers are able to wash off all access body oils, paints, etc.
Toilets
Adequate lights for makeup and changing during night performances
Facilities need to be capable of accommodating at least two groups at one time
Facilities should be quiet and private, with strict controls to prevent members of theaudience and media from entering (many groups have rituals or use facilities forrehearsals prior to performing).
Consider lock up storage space at venues where large and bulky items such as large
instruments can be kept so delegations are not lugging these items between venues.
Security is required and a check in system needs to be in place.

The Artistic team at Venues

Once the Festival begins the Artistic Director’s role is to overseeing regular meetings with the Artistic
team at each venue. The majority of issues will be scheduling and production issues such as sound andlighting failure, stage issues because of weather, etc. Therefore it is important for the Artistic Director tomaintain regular communication with their teams at each venue and to make regular visits particularly inthe first week when each venue will be running their events for the first time.
The Artistic Section management team will be based at the Main Operation Centre (MOC):

Main Operations Centre

Festival Director

Artistic Director

Producer

Production Manager

Table 2: Artistic Section management team: MOC BasedAt each venue the Artistic team will work directly with the Venue Manager to ensure that the activity andevents of their venue run effectively, efficiently and that all health and safety policies and procedures arefollowing for artists as well as spectators. The size of the team at each venue will depend on the numberof activities, artists and the size of the venue.

88Venues such as the Visual Arts gallery may not have as many issues as the Festival Village so the Artistic
team will be smaller and may have less need for regular meetings with the Artistic Director. However thisdepends on the number of activities take place at each venue.
The Artistic team at a performing arts venue would usually consist of:Stage
Manager

The role of the Stage Manager is to ensure his/ her stage runs according to program andthat all technical needs are in place to ensure the efficient running of all activities andevents
The stage manager will keep the flow on and off the stage as smooth as possible ensuringthat the participants/ delegations stick to the program as well as enter and exit the stage
safely and quickly.
They will also be in charge of clearing all debris of stage and wiping all wet and oily spots
left behind from the previous performance.
They are in charge of developing and maintaining all stage plot diagrams andKnow the stage requirements for each delegation, and technical setting such as mics,
instruments etc.
The setting up of traditional instruments must be overseen by members of thedelegation to ensure that the equipment is set up properly and safely as most traditional
equipment are fragile.
The Curator at the visual/ craft/ film etc. venues will play a similar role in Visual and New
Media venues.
During Festival time, depending on the size of the venue there may be one or two
personnel specifically focused on ensuring the program is in place, and liaises with allother venues to ensure all venues programs are running on time.

AssistantStage
Manager

Technical
Director

It is important to note that delegations particularly the performing artists will perform on
several stages and may be required in different venues each day and so it is importantwhen programming to be aware of this. In many delegations artists play multiple roles
and so liaising with the HOD in the early stages of programming is important to ensure
program clashes don’t occur as this will also lead to delays.
Runs all rehearsals in the venues if any
Runs props and dressing rooms
Supervises setting and running of props for each performance
Documents propos and equipment running list for the production
Keep supplies of all things needed for the stage: thumb tacks, blue tack, safety pins, tape,
medical kit, paper clip, tape, hammer, nails, etc.
List of contact for maintenance and crew: sound, lighting, carpenter, electrician, plumber
Oversee the day to day coordination of all arts and cultural activity production needs
Lighting and Sound maintenance and troubleshooting at each venue
Stage maintenance, health and safety issues

89

Venue Manager

Stage Manager

Assistant Stage
Manager

Technical Director

Sound
engineerLighting
designer90

Appendix 12

Festival Logos and Themes

1st Festival of Pacific Arts, Suva, Fiji Islands, 6–20 May 1972
Fight against the disappearance of traditional arts in most Pacific countries
Protect them from being submerged by other cultural influences
Start a process of preservation and development of the various local arts forms

2nd Festival of Pacific Arts, Rotorua, New Zealand, 6–13 March 1976
Presenting our culture to our neighbors and sharing a common heritage Acting forfriendship between the peoples of the region Culture as a key to individuality.
The original sun, sea and sky emblem (designed for the 1972 Festival in Fiji Islands) was
modified to include a koru, a bold motif in Maori carving and scroll painting. The koru
represents a budding fern. There is a Maori proverb stating "mate atu ai he tetekura",meaning ‘one warrior falls in battle and another always takes his place’. In the same way,
as one fern frond develops to maturity, a new one buds, and this proverb was very
appropriate for the succession of festivals. The Rotorua festival emblem also incorporated
a bold depiction of the prow of a Maori canoe moving towards and into the sun. The prowof the canoe is a gesture of welcome, symbolising the people of New Zealand moving
forward to greet the visitors from overseas.
3rd Festival of Pacific Arts, Port Moresby, Papua New Guinea, 30 June–12 July 1980
‘Celebration of Pacific Awareness’ we are lifting our eyes beyond the narrow artistic
confines of an arts festival. The athestic value of the art presented at the festival remains
important – the festival should demonstrate the richness, the best, and the most creative
elements of Pacific culture –but we beg you to explore other dimensions of such an event;
it is good that we aim to enrich the lives of participants, but we also want to makesomething happen to Pacific Awareness, to make the festival an integral part of a Pacificawakening – a renaissance of the Pacific Way.
4th Festival of Pacific Arts, French Polynesia, 29–15 July 1985
Pacific, my new home Our own Pacific way for our new home For a Pacific way indevelopment

5th Festival of Pacific Arts, Townsville, Australia from 14–27 August 1988
To promote the maintenance of indigenous cultures of the Pacific region Making the Arts
Festival a time for communication between Pacific peoples Making the “Dreamtime” arebirth for the Pacific peoples in their common destiny, working, living, and achieving
fulfilment together through their arts and cultures
6th Festival of Pacific Arts, Rarotonga, Cook Islands from 16–27 October 1992
Seafaring Pacific Islanders- Pacific Islanders as great ocean voyagers
One of greatest achievements of Pacific Islanders was the building and sailing of oceangoing canoes, or vakas. Under the command of chiefs and navigational priests, early Pacificseafarers undertook long oceanic voyages of discovery and settlement in their canoes.
They developed advanced skills in canoe design and construction, and navigated byreading the stars, winds and currents, making landfall without the aid of compass, sextant
or chart.
7th Festival of Pacific Arts, Apia, Samoa from 8–23 September 1996
Tala Measina is a form of introduction said by the orator or tulafale, just before a big orfinal presentation is made. It means to unveil treasures. In the context of the Festival, it is
the unveiling of our culture, arts and traditions. It is found in the goodwill of many helpers

91and hosts. Measina includes the gifts of oratory, peacemaking capabilities, consensus,
wisdom and all that is associated with the beauty of Samoan customs and traditions.
The logo for the 7th Festival was designed by students from the Leulumoega Fou School ofFine Arts, and featured the distinctive saipo (tapa) design typical of Samoan clothing andfabrics. Strips of bark in the center pattern come from the mulberry tree, from which saipo
is made. The many strands signify the items of Samoa’s material culture —the ie toga (finemat), the tuiga, (ceremonial head-dress), the fue and to’oto’o (orator’s whisk and staff),and Samoan ‘ava. The logo represents the sun, symbolising both beginning and end.
8th Festival of Pacific Arts, New Caledonia, 23 October–3rd November 2000
Pacific cultures on the move together Words of Yesterday (Paroles d’hier). The souls of
our forefathers Words of Today (Paroles d’aujourd’hui) Free expression and a clamor ofcompeting voices. Words of Tomorrow (Paroles de demain) The way forward
Words of Yesterday, These represent our ancestral wisdom and fit into the precise
hierarchy of a strict social order. They are our history since the founding myth; they are
our laws. They are the bond between the elders and the children of their children.
Yesterday’s words spring from forms of expression anchored in tradition. We wish to passthem on to our children.
Words of Today, Traditional societies have all had to come to terms with major influencesfrom the outside world. How can we resist the violent impact of Western cultures, which
are penetrating our societies, especially through the new communication media? What isthe effect of modernity and how can our traditional societies absorb it? More specifically,
what are the concerns of today’s younger generation, such as the problems due to deepsocial change and acculturation, which Pacific societies are experiencing because of
migration and urbanisation? How do we react to monetisation and the shift to the market
economy? Such are issues to be pondered during the Festival.
Words of Tomorrow, What are the ‘Words’ we will need to address the cultural andeconomic issues of the Pacific in the third millennium? Now the men and women who will
share the destiny of this region have their chance to say.
9th Festival of Pacific Arts, Palau, 22–31 July 2004
“Oltobed a Malt – Nurture, Regenerate, Celebrate”. Oltobed a Malt signifies the process ofpromoting new growth through which the essence of a people is not lost, dependent on
the wisdom and the endurance of the ancestors. The physically able youth power thecanoe, while the elders stabilise the country, and navigate the course. The youth havekeen vision to seek and select new and effective ideas, which will ensure a successful
tomorrow. The Festival assures the protection of cultural heritage and supports theaspiration of our youth. And so shall the youth live in unison with and conserve the wealthof our aquatic continent, in stormy weather or in calm. We shall celebrate with the artsand through the arts to express the unity and respect among Pacific peoples.
10th Festival of Pacific Arts, Pago Pago, American Samoa, 20 July to 2 August 2008.
The theme selected by American Samoa for this Festival was "Su'iga'ula a le Atuvasa:
Threading the Oceania 'Ula". The 'Ula or necklace is an adornment that is always
representative of a celebration and/or festive occasion - what better way to describe thecoming together of the Pacific family than by preparing our 'Ula's for the festivities to
come.

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Appendix 13

Government Services Festival Coordination

The relationship between FOPAOC and the host country government is important and can provide
essential services that are needed for the Festival. The Government services Coordination Director andtaskforce’s key role is to be the liaison between FOPAOC and the relevant government agencies. This will
include:a) Government and VIP Protocol, which includes the coordination, support and contact point for all hostcountry government and VIP protocol, and Delegation VIPs.
b) Government facilities and personnel and ensuring the availability of government owned venues,
facilities and the coordination of all government personnel deployed to support the festivalc) Government support services which includes the coordination and provision of government services
such as Customs, Immigration, Quarantine, Transport authority, Army, navy, police, etc. needed toensure the health, safety and support for the Festivald) Host City Representative which includes liaising with the office of the mayor of the city to ensure thecoordination of all municipal services and facilities and to provide support for ensuring that the hostcity works together with the FOPAOC for the city image/ look
The technical committees/ task forces that fall under this Directors portfolio are the: Security, Police, Army and Navy
 Customs, Immigration and Quarantine Ports services
 Road and Public works

Security, Police, Army and Navy
Depending on the host countries political, economic and cultural structures and situations, these services
can provide assistance to the Festival particularly in terms of Security, crowd control, traffic management
and can assist in emergency situations.

Customs, Immigration, Quarantine and Port Services
These services will also be needed for the Festival and particularly customs and immigration assistanceand special allowances will make a difference in the efficient and effective movement of delegations as
they enter the country. This will be delegation and visitors first encounter of the Festival and therefore it
is ideal to have the cooperation of these agencies to ensure the experience is not a negative one. The
FOPAOC will need to work with the Customs and Immigration to establish formalities for the Festival:Accredited delegates
Non-accredited persons including media, tourists, students, etc.
Work and visitors permits
Goods and services



Products, costumes, exhibition and performance materials and equipment

Listed below are areas of consideration that need to be dealt with in the Planning and Development
stage, and communicated clearly through the HOD Dossier.
Entry considerations

Process of guaranteeing entry for Accredited Delegates

93Process of authorizing temporary work permits for Festival personnel,
consultants, contractors, international volunteers, etc.
Information for
Delegations

Regulations in force regarding immigration and entry visas
Health and vaccination recommendations/ regulations
Describe process and give timelines for applying for temporary entry andwork permits for Accredited delegates, contractors, consultants and otherFestival personnel

Quarantine andBiosecurity Guidelines

Specify a import regulations and restrictions on the import of special
products particularly those of plant and animal origin which will be used in
exhibition and performance products, costumes, material and equipment
Develop a questionnaire for delegations and Festival personnel that will
provide FOPAOC and Customs and Immigration with advance notice ofdelegations requirements so that the necessary clearances, permits andadvice may be given ahead of time.

Quarantine for many pacific events is problematic particularly with the large movement of marine,
mammal and plant products between island nations. The host country needs to make delegations wellaware in advance of quarantine regulations and restrictions to ensure that delegations are not travellingwith restricted items or items that will need permits, fumigation and other treatment. Information sent
to delegations in advance will aid their planning process particularly when their delegation members aredeveloping costumes, exhibition and demonstration items for the Festival.

Template 1: QUESTIONNAIRE FOR IMPORTED ITEMS FOR 11th FESTIVAL OF PACIFIC ARTS

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Please provide answers fully as much as possible on the items that you plan to bring into Solomon Islands
for the 11th Festival of Pacific Arts.
1. List all plant and/or plant products (flowers/leis, medicinal plants, wreaths, kava, carvings, traditional
costumes, handicrafts, thatching). For fresh plants, leaves and flowers, please state the local name and if
possible, the scientific name. Your ministry or department of agriculture can assist with the scientificnames.

Items
1
2
3
4
5
6
7
8
9
10

Quantity

Items
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12
13
14
15
16
17
18
19
20

Quantity

Items
21
22
23
24
25
26
27
28
29
30

Quantity

2. List all live animal or animal-based products that you wish to bring to the Arts Festival (feathers, animalskin/hide, shells, bones, etc.). Please also state which animal origin the products come from.

Live animal or animal based product
1
2
3
4
5
6
7
8
9
10

Animal origin

Quantity

3. List all food items/specialty foodstuffs, including spices. Please be specific and mention the plant
and/or animal source of the food item. Please also list any cooking utensils made of soil you plan to bring.

List of food items

Plant origin(tick)

Animalorigin(tick)

Quantity

12
3
4. Please tell us how your exhibition items will be packaged for transport overseas – in a container (air orsea), cartons/boxes, wooden cases, on their own, etc.
5. Will your exhibition items be shipped separately or transported together with your delegation? Provide
details of shipment

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6. Please attach your delegation's travel itinerary if it has already been confirmed. Provide name ofaircraft carrier.
7. Are you planning to visit any of the satellite centers while in Solomon Islands? If yes, provide details ofyour travel.
8. Are there plans to present or give away any of what you bring in to other participants, friends, relatives
in Solomon Islands? Provide details.
9. From the items you have listed for questions 1, 2 and 3, please tell us which items you will be taking
back to your country with your national delegation after the festival. (Indicate which)
10. Let us know if you are uncertain about bringing in any agricultural item (s) you are unsure of. We canbe contacted on fax: (677) 28365 or email akipu2003@yahoo.com

Thank you for providing answers to this questionnaire.
We sincerely look forward to welcoming you here in Solomon Islands for the 11th Festival of Pacific Arts.

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Template 2: Quarantine and Biosecurity Requirements by commodity
Is a template of manual inserts that can be developed by the host country with details of various commodities that are expected
to come with delegations to the Festival. A simple table type format as listed below with details about what is needed for entry
from products from the relevant countries. For example below shows details for delegations who would like to bring clam shell
products in for exhibition and sale at their country booth.
Giant clam
Tridacna gigas
General information:
Giant clam is commonly used throughout the Pacific forJewelry, adornment and costuming predominantly in Guam, Palau, FSM, Fiji, Solomon Islands, and Papua New Guinea
and also for decoration as a total shell in these countries as well as all other Pacific countries.
Biodiversity: CITES listed, IUCN Red list, Globally and regionally endangered. All import and export needs CITES permit.
Pacific countries vary in the additional import and export requirements and some countries allow export on specificquotas.

Country
exporting/travelling

Traditional
Name

Australia
Cook IsFiji

Guam
HawaiiMarshallIslands
Nauru
New
Caledonia
New
Zealand
Niue
Norfolk
Palau
Rapanui
Samoa

Vasua

Inspectionof goods
required

Import requirements into destination

Export requirements from countryof originZoosanitary/
Export
CITES
Phythosanitary
permitpermitcertification

ImportpermitZoosanitary/
Phythosanitarycertification

CITES
permit

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Other conditions

Export and CITES permit canbe issued if the clam shell isbeing taken to a country that
requires these permits. It isadvisable to check theserequirements before
travelling to a country
Must have Department of
Fisheries export license.
Exemption for export ismade if it is for personal use
or tourist souvenir: and amaximum of 1 intact shell or
2 matching halves perperson not exceeding 3 kgs ispermitted per individual.

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Media, Marketing and Sponsorship

The Media, Marketing and Sponsorship Committee will work very closely with the Artistic andCommunications team, as it is important that the Vision of the Festival, messages, themes and principles
are reflected throughout and across all Festival Sections. While both committees focus oncommunicating to their target audiences, their objectives differ. The Communication team is more
operational and their key objective is to ensure everyone within FOPAOC has the same information while
the Media; Marketing and Sponsorship team has an external focus.
The key role of the Marketing and Sponsorship Committee is to fund the festival through Sponsorship
campaign, income generating programs such as Merchandise, and providing other supplementary funding
to the host country government funding.
At its 18th meeting, the Council of Pacific Arts agreed that proposed targets for sponsorship and marketing
may include: Pacific tourism and national tourism agencies for general promotion and support; airlines
and transport companies for travel and freight; banks and financial institutions; local businesses;
philanthropic organisations; and international and regional organisations and companies.
The Marketing and Sponsorship Committee’s key objective is to secure finance for the Festival, create
community participation and bring an ‘audience’ to the Festival and essentially they are responsible for:Fundraising and SponsorshipMarketing and Merchandise
Community engagement
The Media, Marketing and sponsorship task force/ committee look after programs and activities that:
Bring in funding for the festival through its Sponsorship and funding campaign
Develop and maintain corporate and public relations through its marketing and public relations campaign
Document and create an awareness of the Festival through its Media and Broadcast plan
That create additional experiences and funding for the Festival through its Merchandising and Branding
strategy
The marketing of the Festival of Pacific Arts is the responsibility of the host country and the Sponsorshipand Marketing campaign is implemented both nationally, international and throughout the region inorder to promote public awareness and support for the event.
Once funding is in place this team also ensures corporate relations are maintained and that partners,
donors, sponsors agreements are being monitored and implemented.
Marketing and sponsorship is necessary because the Festival cannot be facilitated through government
funding alone. However the Council of Pacific Arts and Culture (CPAC) advises the host country ensurethat all marketing and sponsorship campaigns support the aims of the CPAC and the SPT. The key
principles put forward by the CPAC are to:

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Establish relevance between the Festival of Pacific Arts and the sponsor;
Draw attention to the sponsor as well as the Festival of Arts;
Avoid any damage to the identity, dignity, or reputation of the Festival of Pacific Arts, Festival
participants, or the sponsor.

The key objectives of the Marketing team will be: Marketing the Festival through a comprehensive Marketing Strategy.
 This team is also often responsible for mascots, signage at venues, public relations.
 Community engagement
This is achieved with the following outputs:
 Through a successful marketing campaign which will create awareness of the Festival in order tobringing audience/ patrons, buyers who pay for tickets, buy products and art work, purchase food,etc.
 Merchandise campaign that provides necessary cash flow for the Festival
 Sponsorship, investment, grants from both the public and private sector, which is essential to the hostcountry to be able to service the Festival
 Develop a strategy in order to capitalize on corporate hospitality and engagement, which will not only
provide funding and corporate support for the festival but also create a commitment in the corporate
community for arts and culture to facilitate their long-term commitment to the arts after the festival.
The Marketing and Sponsorship Committee often comprises of specialist teams, which include aMarketing Team, Sponsorship Team, and a Merchandise team. There may also be a specialist team oflegal advisors that these teams will regularly consultant with particularly in terms of TK, IPR and
Copyright, Trademark and Contract issues that will arise. This team will often be set up under the
Administration Director.
Local communities need to develop ownership of the Festival in order to ensure that the Festival is
supported by the nation. This can be facilitated through the provision of information to local
communities and the general public in the host country. Past Festivals have successfully implemented thisthrough:
Radio broadcasts
TV and radio features with music, interviews of delegation artists prior to the Festival
Features in both print, radio and TV on geographical and cultural information of participating countries
Theoretical discussions that may reflect the Festival program and symposiums
Regular updates involving Festival preparations.
Activities involving local schools
Selecting villages/ communities to be ‘country’ hosts so that they are actively a part of the preparations.
Regional and international tourism campaigns
A separate sub-committee or team may be set up to focus on Sponsorship. This would usually involve
Sponsorship team of experienced individuals who have worked extensively in the corporate sector be
employed or seconded into this team.
The key objective of this team will be: Facilitate a positive association between the sponsor's image, brands, products or services and theFestival of Pacific Arts.
 Focus on securing funding for the festival through grant making, developing sponsorship proposals forcorporate agencies
 Working with government to secure public funding.
 Investment for venues and infrastructure

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For large events such as the Festival, once this funding is secured, this is the team that then ensuresthroughout the event that their obligations to sponsors are fulfilled. For example working with theMarketing team to ensure signage, invitations to events, seats at the Opening and Closing ceremony
Ensure that sponsors also work within the guidelines of the Festival in terms of their mileage.
Advocating to government for the protection and necessary legislation to prevent ambush marketing,diminish street vending counter to the festival and to control advertising during the period of theFestival to protect festival sponsors, donors and the image of the Festival

All potential sponsorships must support the aims of the Council of Pacific Arts and the Organising
Committee, and commit to promoting the Festival of Pacific Arts and assisting with financing activities andother aspects of the Festival. The host country can detail this in their Sponsorship policy. The hostcountry will also develop a Sponsorship Strategy and the key principles of the host countries Sponsorship
Strategy will be to:

Identify and establish relevance between the Festival of Pacific Arts and the sponsor;
Draw attention to the sponsor as well as the Festival of Arts;
Ensure compliance with the Festival Charter and avoid any damage to the identity, dignity, or
reputation of the Festival of Pacific Arts, Festival participants, or the sponsor.

100Appendix 15

FOPA 2012 Sponsorship Policy Template

FESTIVAL OF PACIFIC ARTS 2012
SPONSORSHIP POLICY
Document Number:<<insert number>>
Date of Issue:<<insert date>>

Version: 1
Contact: <<contact details>>

Introduction
The Board of the 11th Festival of Pacific Arts (FOPA) is committed to ensuring that its financial
arrangements are carried out in an ethical manner.
PurposeThe purpose of this policy is to establish the framework and guidelines within FOPA for the creation of
productive partnerships between FOPA and the private sector, i.e. sponsorship alliances withcorporations, foundations, individuals and other non-government organisations.
A sponsorship is about relationship building and strengthening partnerships. It is recognised that suchalliances can provide important financial and marketing support to potential partners of FOPA while atthe same time generate additional revenues and marketing to support FOPA's mission and mandate.
Insert mission and mandate here.
Authorisation<<Position>>[name of organisation]
Principles
The following are the fundamental principles that shape our relationships with sponsors:
1. Sponsorship of FOPA will not entitle any sponsor to influence any decision of the National
Organising Committee.
2. FOPA will not enter into any alliance or partnership with any corporation or organisation
where the association with the prospective partner or acceptance of the sponsorship would
jeopardies the financial, legal or moral integrity of FOPA or adversely impact upon FOPA's
standing and reputation.
3. FOPA will accept sponsorships as an additional source of revenue generation provided thatall sponsorship alliances are developed and maintained within the regulations embodied inthis sponsorship policy.
4. All sponsorship alliances or partnerships must be consistent with existing FOPA policies.
5. FOPA will seek sponsorship by using the most broadly based, open process that is
appropriate for the particular sponsorship activity under consideration.

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6. Activities where sponsor involvement could compromise or be seen to compromise FOPA’s
ability to exercise its role impartially on behalf of the community or could diminish the public’s
confidence are not suitable for sponsorship.
7. FOPA will establish and maintain a register of sponsorships to help with reporting
responsibilities and requirements.
8. FOPA is no actual conflict between the objectives and/or mission of FOPA and those of thesponsor.
9. FOPA will accept sponsorships only if the objectives and missions of potential sponsors, theirparent companies or subsidiaries do not conflict with those of FOPA
10. The objectives and products of potential sponsors do not conflict with the values and theobjectives of FOPA.
11. Potential sponsors have an acceptable sponsorship record with FOPA or other agencies.
12. Goods or services provided would benefit FOPA and/or the general public and be of thetype and quality that FOPA require.
13. Potential sponsors are reputable individuals or bodies.
14. FOPA has the right to veto the content of any articles or advertising material developed by
the sponsor, for example, to ensure it does not imply endorsement or future bias by FOPA.
Policya) All event and project sponsorships must have significant financial commitment fromthe sponsor to help offset the costs associated with the activity.
b) All sponsorship relationships with FOPA must be identified and recorded.
c) Naming rights will not be given.
d) Sponsorship will be embodied in written contractual agreements between FOPA andthe sponsorship partner.
Responsibility
The Board is responsible for the implementation and review of this policy.

All Board members, casual, permanent and contract staff and volunteers are responsible
for adhering to this policy.

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Appendix 16
guidelines

Sample Sponsorship contracts/letters of agreement

Sponsorship contracts/letters of agreement guidelines
By Rhoda Roberts

Sponsorship contracts and letters of agreement must include the following clauses:a) Description of the Sponsorship Alliance: The contract will contain a comprehensive description of theitem, project or event around which the sponsorship alliance is constructed, including a list of obligations
for both parties. Obligations of the parties in market research or sponsorship analysis will be explicitly
itemised in the contract.
b) Terms of Agreement: The dates for commencement and conclusion of sponsorship alliances must be
included in the contract.
c) Key Personnel: The contract will include the names of the individuals from both parties primarily
responsible for the sponsorship, and to whom issues regarding the contract are to be referred.
d) Limitations on and Approval of the Use of the FOPA’s Name: The following clause limits the use of ourname by the sponsor in its own internal and external promotion and advertising as per the negotiatedarrangements: "Neither party, in any situation, whether within or outside the parameters of thesponsorship, shall be deemed to be the spokesperson for, or the representative, of the other party." Theuse of FOPA’s name and logo must be stipulated in all contracts and licensing agreements.
e) Exclusivity: FOPA may wish to offer outright or industry exclusivity to a sponsor or the sponsor may
request such exclusivity within the sponsorship alliance. Where relevant, the following statement
regarding exclusivity will be included in the contract: "FOPA agrees that [name of sponsor] shall be thesole and exclusive sponsor of [name of initiative] for the term of this agreement."f) Financial Terms and Schedule of Payments: The total value and the payment schedule of thesponsorship agreement between the parties will be clearly identified in the contract.
g) Obligations of the Parties to Each Other: The obligations of the parties are dependent upon the form of
the alliance and will be determined on an individual basis. Responsibility for any market research or
program or evaluation duties, reporting, and approvals will be specified in the contract, along withspecific criteria and methodologies for the evaluation of the sponsorship.
h) Breach of Contract: Prior to initiating formal notification of breach of contract, the parties will
undertake all appropriate and reasonable efforts to resolve the matter. Should these efforts not provesuccessful, either party may notify the other of breach of contract in writing, sent by mail or courier,return receipt requested. Such notification will request a written response by a specific date. Noncompliance will constitute cause for dissolution of the contract.
i) Right to Discontinue the Sponsored Program or Event: When circumstances beyond the control of FOPA
force the cancellation or substitution of a sponsored event or project, FOPA reserves the right to cancel
without finding itself financially liable or in breach of contract.

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Appendix 17

Merchandise

The key focus for the Merchandise team is to ensureDesign and produce the official festival product and ensure that products being sold at the festival
have the right representation of the Festival.
Create a retail campaign for the merchandise which includes ensuring the quality of the outlets,
and that detailed and accurate information about products is available
Coordinating the production and distribution of merchandise and ensuring good lead time for thedelivery of product to point of sale and management of its distribution
Oversee the selection of food stalls, products and services that will be available at the Festival andjudge products according to these standards and goals approved by the Festival Organisingcommittee

To manage these processes well, the host Country should consider developing a Merchandising Policy,
which will provide standards and goals for Festival merchandise, product selection, including food andbeverage. The merchandise policy should address:Festival Merchandise logo, trademark and the use of the Festival theme.
The set up and management of the festival Merchandise shop
How to display, sell and account for official festival merchandise in outlets in the host country andwho is eligible to sell the merchandise
Public liability insurance for stall holders, exhibitors and Food and Beverage outlets.

At a minimum there are three key sections to the Merchandising Policy:

1. Vendors, Exhibitors, Stall and crafts, Food and Beverage outlets.
The things that draw the most people to festival booths tend to be things that are unique to festivals andthings that they likely could not get anywhere else. This category can range anywhere from food, local
fashion and design products, arts and crafts, but should be unique to the Festival.

2. Festival Merchandise
Festival merchandise is a common type of booth for festivals. Festival-branded T-shirts, hats, programs,
sarongs, towels etc. and other various types of merchandise should be available at several booths and or
at least one outlet throughout the festival grounds.
For more details on developing a Merchandise Policy see Appendix 5.3 is a template for a Merchandise
Policy and template that was developed by Rhoda Roberts for the 11th Festival of Pacific Arts in the
Solomon Islands.

3. Brand protection
Delegations may wish to use the Festival logo in their uniforms, on equipment, etc. and so FOPAOC should
detail the policies and protocols for its use, as well as detail polices and protocols for the use of otherbrands that may conflict with the Festival partners and sponsors or that may conflict with the guidelinesof the Festival Charter.
a) Use of Festival logoa)b)Use of Festival assetsb)c) Mascotsc)d) Brand protection

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Formatted: List Paragraph, Numbered + Level: 1 +Numbering Style: a, b, c, … + Start at: 1 + Alignment:
Left + Aligned at: 0 cm + Indent at: 0.63 cm

Appendix 18

Festival of Pacific Art 2012 - Merchandise Guidelines

Contributors: Ali Buckley, Rhoda Roberts, Letila Mitchell
The Merchandise Guidelines propose the procedures and guidelines which will govern the development,
promotion and selling of merchandise for the Festival of Pacific Arts.
PurposeThe purpose of the Merchandise Guidelines is to govern the development and management of Festival ofPacific Arts (FOPA) Merchandise:which will act as a profitable revenue stream for the Festival of Pacific Arts Organising Committee(FOPAOC)
which will contribute to the visitor/ participant experience by facilitating the purchase of Festival
mementos

The Merchandise Guidelines should assist the FOPAOC in setting out guidelines and procedures to ensurethat the Merchandise is developed to a high quality and that production and distribution is well managed
to ensure maximum impact and benefit.
In addition to acting as a revenue stream, the FOPA is keen to extend each participant and visitor
experience of the Festival by adding value to their attendance and participation in the FOPA throughaccess to quality festival mementos.
This may also be an opportunity for the host country to allocate a percentage of sales to local arts
organisations, which will ensure a long-term legacy for the festival.
There should be two tiers to the Merchandising Guidelines:a) Official Festival Merchandise, which includes the Festival Logo, and incorporates the themeb) Vendors Exhibitors, Stall and crafts, Food and Beverage outlets.

1. Design and Development of Official FOPA merchandise
The key design elements of the product line could feature the Festival Logo and the Council of Pacific Arts
and Culture logo, and incorporate the theme of the Festival.
Products can range from sarongs, t-shirts, caps, postcards, CDs, DVDs, cups and pens.
The merchandise range can be developed internally amongst the FOPAOC such as with the Artistic
Directors team. A second option for design and development could be to involve the local arts
community.
As part of the festival build up, this could be a good opportunity to develop a sense of community
participation and ownership. By utilizing local artists the Festival Merchandise would create a sense of
pride and recognition for local artists.
A royalty fee can be incorporated and this would not only give recognition and remuneration to theparticipating artists, but would also ensure a long-term legacy for the Festival. A suggestion is to workwith the Solomon Islands Artist Association (SIAS) and a royalty to go to the artist whose designs arefeatured, as well as a percentage to SIAS.

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The FOPAOC can also work with the Solomon Islands Music Federation (SIMF) and the Country
delegations to develop a festival CD that can be sold throughout the festival. This was done during the2003 South Pacific Games in Fiji and was a huge success in creating a wider awareness of Pacific music.
The songs on these CDs became the Games theme songs and still today when people hear these songs
they connect it to the South Pacific Games. This could easily be achieved with each delegation submitting
a song from a famous band in their country, which can then be put together with the assistance of theSolomon Islands Music Federation. A royalty from CD sales could go back to SIMF, which will support its
development.

2. Trademark and protection for the Official Festival Merchandise
In order to ensure you benefit from and protect the Official Festival Merchandise, you should:
Trademark the Festival logo
Work with your IP office and legal counsel to ensure measures are in place to protect the trademark(legislation, licensing agreements)
Work with you national police force to ensure there is no unauthorized copy, production and selling of themerchandise
Select your producers of merchandise carefully and ensure you have licensing agreements with them

3. Use of Official Festival logo in Official Festival Merchandise
FOPAOC needs to insert here the logo with details on how it is to be used for example colors, sizes,
dimensions etc.
This should also be detailed in relation to the selected product line for example:a) T-shirts – detail on placement of logo, colors of logo, colors of designs, colors of background t-shirtsb) Sarongs - detail on placement of logo, color of background, can it be used with other designs and prints

4. Production/ Manufacture of the Official Festival merchandise
The FOPAOC could put out a tender for local Solomon Islands or regional Pacific manufacturing companies
to be appointed as an Official Supplier for the production of the merchandise.
The design and production aspects for the Official Festival Merchandise should be approved by the end of
May to allow for the ordering and distribution of merchandise to approved retailers/ vendors.
A consideration when appointing a manufacturer is to discuss a partnership deal where the manufacturer
also offers a discount on FOPAOC uniforms or VIP gift packs that can be used for Heads of Delegation andother VIPs.

5. Appointing the Official Festival Merchandise manufacturer
The following are suggestions and consideration when appointing a manufacturer:
Do a tender/ call for expression of interest from Production/ Printing companies
What will be your specifications? How will you decide who will become the Official Supplier?
Will there be submissions to FOPAOC Board or to a committee?
What products are they able to manufacturer/ diversity of their range?
What type of fabrics?
Recyclable material only?
Colors?
What is their ordering system?
What are the incentives to selecting the manufacturer – discounts?
Will they provide samples?

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6. Retailing and distribution of the Festival merchandise
The Official Festival merchandise can be distributed and retailed directly by the FOPAOC or it can belicensed for retail through a merchandise partner.

7. Internal retailing and distribution
A committee to focus on Merchandise will include: Staff/ Volunteers
 Venues and location of merchandise booth/ stalls/ shops
 Infrastructure – Booth/ Stall/Hut/Marquee, tables, chairs, power, cash register/cash pouch, credit
card/ eftpos facilities
 Promotion/ Marketing campaign
 Supplying distribution points and replenishing stock Daily reconciliation of sales/ financial management
 Distribution of profit

8. Merchandise partners
The merchandise partner can be an existing retail outlet or it can be individual vendor, or both.
An expression of interest should be developed and an agreement drafted to take into consideration the
responsibilities of official retailers.
A clear pricing structure with suggested retail prices must also be developed to ensure that no vendor orretailer is charging more or less than the other.
Clear guidelines must also be developed to ensure what products are Official Merchandise, how it should
be displayed and promoted. These details must be laid out in the agreement:This will include:








proposed venue of salethe volume of stock to be purchased from FOPAOC
proposed display and presentation of merchandisepromotional material
Reconciliation of sales
Payment of royalties to FOPAOC
Breach and termination of the agreement

9. Official Festival Merchandise partners
In order to effectively retail and control the sale of merchandise sold externally these are the guidelines toconsider:10.

The Merchandise Retailer

Must ensure that the Official Festival Merchandise is sold only by the designated staff and representativesof the retail outlet, or by the individual vendor who has been awarded the Official Merchandise Vendor
license; Must not offer to sell, or allow to be sold any Festival Merchandise other than in accordance with theconditions set out in this clause; Must obtain the written consent of the FOPAOC in relation to the list of products to be sold in
addition to the Official Festival Merchandise; Must obtain the written consent of the FOPAOC in relation to the manner and Location in which Merchandise are to be sold.

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

There should be no agreement with a third party for the sale of Merchandise, but only through the
Official licensed Retailer.

11.

Official Festival Merchandise Reconciliation and Royalty Settlement

All external merchandise retailers must adhere to the following procedures:a) Contact must be made prior to set-up with the FOPAOC Merchandise Manager to confirm thedesignated contact person at their allocated site, to arrange a site inspection and to detail infrastructure
requirements, signage, staffing, storage, and on-site arrival times.
b) On arrival at the venue the merchandise retailer must make contact with the designated FOPAOC
contact for the Festival venue to coordinate set- up and end-of-day reconciliation proceduresc) All merchandise arriving on-site at the beginning of the day will be counted and must be entered onto a
Merchandise Sales Record (to be developed and attached), signed by both the merchandise
representative and the FOPAOC designated) Any extra merchandise introduced during the day will be counted and the Merchandise Sales Record
will be updated with the new information and initially by both the merchandise representative and the
FOPAOC designatee) All merchandise remaining at the conclusion of the day will be counted and the quantities entered on
the Merchandise Sales Record, at which point royalties will be calculated on the sold merchandise as per
the license agreement and paid to the FOPAOC.
f) The Merchandise Sales Record will be signed by both the merchandise representative and the FOPAOC
designate on completion of the count and receipt of the royalty payment due. Royalty payment will bemade upon the completion of each day or as agreed to in writing with the FOPAOC
g) At the discretion of the Festival Director, a FOPAOC designate will cross check all counts.
h) A copy of the completed Merchandise Sales Record for each day’s sales must be sent by the FOPAOC
venue designate to the Festival Director.

12.

Vendors Exhibitors, Stall and crafts, Food and Beverage outlets.

Below FOPAOC should detail their required product/ Services list and at which venues for example:
What products will you require to be sold at the festival?
Water – how many stalls?
Fruit – how many stalls?
Coconuts?
Food stalls - Hot dogs and burgers? Sandwiches? – How many?

13.
14.
a)
b)
c)
d)
e)
f)

Example of a Product and services list
Main Festival village Products and Services
Hot Food – 2 burger stalls, 2 hot dog stalls
Water – 5 water stalls
Fruit – 2 coconut stalls, 2 mixed fruit stalls
Sunscreen and other sun protection products
Coffee – 2 coffee carts
Coca Cola – 2 Coca Cola stands

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g)
h)
i)
j)
k)
l)

15.

Bars/ Zones for alcohol which are well policed and licensed
Official festival merchandise stalls – 4 stands
Photo booth – official photographer who can then sell photos after each day
Internet café
Phone cards and phone booths
Banking

Venue services

A detailed list of necessary services at all other venues should be prepared.

16.

Selection considerations

After the list of products/ services has been detailed then an expression of interest may be sent out to the
public. These product lists must then match against the following criteria to select the right exhibitor,
retailer, and vendor. When making the selection these are some of the considerations that need to bemade:a) Business licenseb) High quality productsc) Solomon/ Pacific made (particularly in relation to arts and crafts – there should be absolutely noimported arts and crafts such as from Thailand, China, etc.)d) Complies with OHS and Food Safety and Hygiene Standards,e) Demonstrated experience in such eventsf) Public liability insuranceg) Other standards and criteria set by the committee

17.

Vendors, Exhibitors and Service Providers Fee

Will there be a fee for setting up at the festival? How much will this be and how will this be determined.
Size of the space they requireType of vendor i.e. fee for coconut stall will be difference from Banking stall?

18.

Promotion

All Official Festival Merchandise retailers, Festival vendors, exhibitors and service provider promotions,displays and signage must be approved by the FOPAOC prior to the commencement of the Festival. Suchapproval may be withheld if the FOPAOC determines that such promotional activity, display or signage:
will prejudice the interests of the FOPAOC;
will call into question or cause embarrassment or detriment to FOPAOC or Council of Pacific Arts;
does not comply in all respects with the terms and conditions of the Master License Agreement executedby the parties; or
The Official Retailer shall not be entitled to display any signage or conduct any promotional activity which:a) has not been approved in writing by the FOPAOC;b) does not comply in all respects with the material or activity approved by FOPAOC; orc) is not specifically connected with the Festival
The FOPAOC reserves the right to (at the Retailer’s cost):a) remove any authorised signage or advertising material;b) to order and effect an immediate stop to any unauthorised promotionalc) activity;d) remove any person conducting any unauthorised promotional activitye) from the FOPAOC
FOPAOC may want to detail in this section your policies on promotion or you can deal with it on a case by109

case with each application. This can tend to be risky.
Do note that the type of promotion, signage and displays will vary depending on the type of vendor andthis must be well detailed to ensure that the festival isn’t over powered with structures that don’t fit into
the festival theme. Since the festival is predominantly traditional structures it is important to specify thisto vendors to ensure that amongst your beautiful traditional architecture you don’t get a massive CocoCola tent.
For larger companies and corporations such as Coco Cola, Banks, etc. it important to be clear also about
the sizes of signage and displays at the village to again ensure the Festival village is not overpowered withcorporate logos and signage.

19.

Infrastructure

The designated merchandise retailer is responsible for the provision of, and the payment of costs for, allinfrastructure needs associated with the sale of Festival merchandise, including (but not restricted to):
a)
b)
c)
d)
e)
f)
g)

Marquee and table hire
EFTPOS provision at all venues
Cash floats at all venues
Signage in accordance with the clauses above
Selling staff
Shrinkage
Merchandise security

FOPAOC may want to detail in this section your policies on infrastructure or you can deal with it on a caseby case with each application. This can tend to be risky.
The type of infrastructure will vary depending on the type of vendor and this must be well detailed toensure that the festival isn’t over powered with structures that don’t fit into the festival theme. Since thefestival is predominantly traditional structures it is important to specify this to vendors to ensure thatamongst your beautiful traditional architecture you don’t get a massive Coco Cola tent.

20.

Supporting Documentation

Supporting Documentation needs to be developed after the above Guidelines have been finalized. These
documents include:
a)
b)
c)
d)

21.

Expression of Interest/ Application Forms
Merchandise Sales Record
Application Form for Vendors, exhibitors, service providers
Application Form for Official Merchandise Retailer

Related Material

Material, which assists or supports execution of this policy is as follows:
Location Namea) Master License Agreementb) Official Festival Merchandise Agreementc) Festival Vendors, Exhibitors and Service Provider agreementd) Accounts Payable – how does payment get made to FOPAOC

22.

Governance

Who is responsible? Lines of communication and authorisation (name of person responsible)

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Appendix 19

Merchandise Policy Solomon Islands 2012

Theme: Culture in Harmony with Nature”.
Venue: Festival Village precincts at Panatina and Kukum fields.
Background:
The Merchandising Policy provides standards and goals for Festival product selection, including
food and beverage. It is the responsibility of all staff that makes merchandising decisions, under
the direction of the Festival Director, to judge products according to these standards and goals
approved by the Solomon Islands Festival committee.
From designing the official festival product to sourcing merchandise at the best value, It issuggested that Ali Buckley could create a successful retail campaign designed to maximize thevalue, managing retail operations to capitalize on sales revenue, brand awareness, and crosspromotion tailored to address the mix of communities across the Pacific and indeed Honiara as
well as the festival theme.
The design and elements for official festival products and Logo should be approved this year
which will allow the ordering and then distribution of merchandise to commence January 2012by generating the brand awareness and getting the word out. Assisting with the right
representation and outlets, information and good lead time for the delivery of product to point ofsale as well as securing applications for the right exhibitors, stall holders and food & beverageoutlets etc.
The Planning and executing of merchandise product or services through stalls requires creative
oversight, brand integration, and detailed planning awareness of the event.
Perpetual Licensing has a useful website with a good description of merchandise licensing andhow it works, as well as definitions of the major terms.
Considerations:
There are two tiers to the Merchandising Policy
1.
Festival Merchandise trademark, the use of theme: Culture in Harmony with Nature”.
The festival precinct Merchandise shop and the terms of use regarding official festival
merchandise pertaining to the product and outlets across the region in the city of Honiara need to
be determined (see attachment information on Trademark etc.)

Public liability insurance for stallholders, exhibitors and Food and Beverageoutlets.
Events are expensive to stage, they require long and careful planning and they can carrya high level of risk. Even in the best planned event, accidents can happen, which makes
public liability insurance absolutely essential to protect the organisation’s assets.
Insurance is a means of transferring the risks that are not foreseen. Basically the
insurance provides cover where a third party i.e. a member of the public or service user
(but not an employee or volunteer), is killed or physically injured or their property isdamaged due to the negligence of the insured. E.g. a public liability policy is likely tocover the case of a person who trips over a peg of the refreshment tent and breaks theirankle. The policy may be used to pay out the claim or to provide legal costs andexpenses to defend the claim.
Hiring of Marquees and Tents etc.

Are the festival organisers charging a fee for provision of venue and furniture etc. for the
event or will the applicants provide their own marquees etc.?

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In many cases taking out public liability insurance is a condition for hiring the venue. The
venue hirer and the NGO are separate legal entities; an action can be taken against
either or both. The property owner’s public liability insurance covers their activities andresponsibilities e.g. maintenance of the grounds. The hiring NGO is advised to take out
insurance to cover its activities.
2: Vendors Exhibitors, Stall and crafts, Food and Beverage outlets.
An initial guide and registration application below has been drafted for interested
vendors, exhibitors and food and beverage stalls across the festival precincts. There
should also be a consideration for locally produced and cooperatively or collectively
produced products enabling a focus on ownership of the event and inclusion across theSolomon Islands. This would highlight the diverse cultures of the country.
The things that draw the most people to festival booths tend to be things that are uniqueto festivals and things that they likely could not get anywhere else. This category can
range anywhere from food to clothes, arts and crafts and tattooing (Moko) etc., but it has
to be unique to work. These ideas are ones that will attract many people looking forsomething they cannot find anywhere else.
Food and Beverage

Consideration should be given to the type of food and beverage sold at the event andfestival precincts. Will guests and registered patrons receive food coupons? Will othervisiting locals buy food form outlets? Products made or sold by businesses that are
known to demonstrate concern and fairness for workers, consumers, and the larger
community, including "Fair Trade."At festivals, it is tiring to walk around all day in the sun, there needs to be opportunities torefill water bottles, ice and fruit and coffee outlets. As there will be quiet a bit of walking
some patrons regard the idea of a food hall area that has the capacity seating as
welcome relieve, this could double as a great networking and meeting place. Would there
be the ability of Internet café for international guests etc.
Food that is easily made with little waiting time, affordable and can be carried and eat
while walking is another consideration such as foods with Carbs like Pizza pieces, local
fish and rice produce, popcorn and hot dogs etc.
Foods that meet the needs of special diets such as wheat-free, sugar-free, dairy-free,salt-free, vegan, and medically prescribed should also be available,
Response to Product Safety and Other Consumer Concerns need to be addressed andthe food handling standards of the Government requirements will need to be added to theapplication form drafted.
The Environmental Impact should also be outlined with the festival m organizers
employing a sustainable business practices that promote both the economic well-being of
the business and the environmental health of the Solomon’s.
An emphasis on minimize packaging usage and disposable plates and utensils areorganic by-products and that breakdown easily when disposed of
Festival Merchandise

Festival merchandise is a common type of vending booth for festivals. Festival-branded
T-shirts, hats, programs, sarongs, towels and mosquito nets etc. and other various typesof merchandise should be available at several booths and or at least one outlet
throughout the festival grounds,
This can become a reasonable income line and consideration should be given within theoverall budget as to the expenditure and income made.

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Appendix 20
Vendor’s exhibitors and Food and Beverage
Stallholders Draft Application Template
General Information

I.
II.

All exhibitors and stall holders must be registered attendees of the Pacific Festivalof the Arts
According to our terms and conditions, only one person is required to register astall site. Should your corporation require additional staff to manage the stall overthe Festival period, it is essential that they register in accordance with the Festivalof Pacific arts host individual ticketing rate.

Please email the application form below, including a description of your:a. Trade, Information of food and Beverage stall to ( Insert Festival email) to ensurethat your stand is included in our Festival guide and layout map
b. Do think of ways of enticing the audience at the event to come to your stand –promotional give-aways, use of celebrities, interactive displays etc.
c. You may bring your own equipment, however the Festival of Pacific Arts takes noresponsibility for loss or damage. NB. The site is not secure – Your display tent
and or if you have ordered tiwi top tents that may have no walls unless specificallyordered.

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Booking Form

July 2012
Please register at (insert web page) before completing this form. Return thisForm by email to: email insert and or fax insert number with proof
Of payment.

1. Applications
Each application is reviewed and assessed by the Festival of Pacific Arts Festival teamAll applications will be assessed fairly and determined by the information that you supply
and the overall product mix. The Festival reserves the right to accept or reject any
application. Unsuccessful or late applications will be considered if sites are available.

2. Site Allocation
Each exhibitor and vendor will be pre-allocated a site and you will be informed of yoursite number prior to the event.

3. Registration
Stallholders must be registered attendees for the festival. According to our terms andconditions, only one person is required to register a stall site. Should your organisation
require additional staff to manage the stall over the festival period, it is essential that theyregister.

4. Accommodation and Meals
The cost of a stall includes onsite tent accommodation and 3 meals per day for one
person from the ---July until the --- July 2012

5. Vehicle Access and Parking
Exhibitors will have vehicle access with their vehicle access pass to the Stall holder/
EXPO area whilst they are setting up on insert date (earlier access is available on
request) and before 2pm on the insert date
Exhibitors have a limit of two vehicle access passes per site. There will be a parking area
allocated for all exhibitors within the festival grounds.

6. Set up, Trading & Breakdown
Times
Exhibitor’s access to designated site from 8.00am on insert date

Exhibitors will need to be set up and be ready to trade and all vehicles removed from the
EXPO area by 2pm insert dateThis is essential for OH&S reasons.
• Pack down of stalls commences at midday on insert date not before.
• All exhibitors will need to be packed up and out of their site by insert dateTrading Hours

EXPO stallholders must display for the full festival period.
For Occupational Health and Safety reasons all exhibits need to be completely set up
onsite from insert date through to midday on insert date115

All Exhibitors will be required to trade from:• Insert times and dates for each day of the event
Exhibitor Briefing Session

A compulsory OH&S briefing and introduction to the festival site will be conducted on
insert date at 1.00pm

7. Power
Because of the nature of the event and where it is being held, sites are powered bygenerator. Please Complete your power requirements on the Application form.
All power leads and equipment must be tested and tagged before being plugged in. An
onsite electrician will be available for testing and tagging on insert date for a fee of (TBD)$5 cash per item. However it is better to have appliances tested and tagged prior toarrival, as appliances that do not pass the test will not be plugged in.

8. Telephone and Internet
Telephone lines and Internet access will not be available so if you would like to have
eftpos facilities at your stall it will need to be a manual system. (Solomon Telco TBA)
mobile reception is available in some areas of the festival grounds.

9. Product List and Sales
Please include your product and or service list in your application.
The Festival of Pacific Arts committee and management reserve the right to prohibit
offensive goods from being sold or displayed on site.

10.

Waste

There will be scheduled rubbish and waste collection, the details of this will be provided
to you at the compulsory Exhibitor Briefing Session.

11.

Security

There will be onsite security roaming the festival from insert date and time until 8.00am
daily. The Festival of Pacific Arts will take all care, but no responsibility for lost or
damaged equipment on site. The stalls area is not secure, so please lock valuables inyour car.

12.

Insurance

It is compulsory that all commercial exhibitors hold public liability insurance for aminimum of $10 million for their stall. Successful applicants must provide a copy of their
public liability insurance policy and it will need to be valid for the duration of the festival.

13.

Terms & Conditions

14.

Occupational Health and Safety

All exhibitor sites and staff will be expected to abide by the festivals OH&S policies andprocedures relevant to the exhibitor site. The Operations manager will brief you at the
Exhibitors Briefing Session and the Site Manager will inspect Stalls to ensure they
comply.

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15.

On Site Demonstrations

Exhibitors are encouraged to demonstrate their products within their allocated display
area. Specific times and areas for demonstrations can be arranged upon request andincluded in the program booklet.

16.

In case of Emergency

All exhibitors will receive the emergency evacuation plan. The Fire Brigade, Police andAmbulance will be notified of the event and First Aid officers will be available on site.

17.

Release and Indemnities

To the extent permitted by law, the exhibitor excludes, releases and forever discharges
the Festival of Pacific Arts and its personnel from all liability for claims, loss, damage,
costs or expenses (whether arising under statute, from negligence, personal injury,
death, property damage, infringement of third party rights or otherwise) arising from orconnected with the festival.
The Festival of Pacific Arts and its personnel shall not be responsible for acts, omissions
or defaults of the exhibitor or its personnel and shall not be liable for any claim, loss,
damage, cost or expense (whether arising from negligence, personal injury, death,property damage or infringement of third party rights or otherwise) arising from any act,
matter or thing done, or permitted or omitted to be done, by the exhibitor or its personnel
pursuant to or in connection with this agreement. The exhibitor hereby indemnifies andshall keep indemnified the Festival of Pacific arts and its personnel against all such claim,
loss, liability, damage, cost or expense which may be incurred or sustained by theFestival of Pacific Arts or its personnel arising from the exhibitor’s acts and omissions.

18.

Damage to Property

The exhibitor shall be solely liable for any loss or damage caused by or during theconstruction, establishment, operation, dismantling, removal or transportation to, from,about or within the site of any materials, plant, equipment or motor vehicles by or on
behalf of the exhibitor. The exhibitor shall notify the Festival of Pacific Arts management
immediately of any loss or damage to property within the site and caused by the exhibitor
or its personnel and the exhibitor shall, unless otherwise notified by the promoter, repair,rectify or reinstate any such loss or damage immediately upon its occurrence so that thedamage property is repaired, rectified or reinstated to its pre-existing condition. All repair,rectification or restitution work shall be carried out by the stallholder in strict accordancewith the direction of the Festival of Pacific Arts Management.

19.

Payment

On notification of your application being successful you will be issued with an invoice thatwill need to be paid to secure your stall.
Bookings and Payment must be finalised by insert date to ensure equipment availability
and meet freight deadlines.

20.

Cancellation

If the Exhibitor gives the Festival of Pacific Arts written notice that it wishes to cancel its
application before insert date the organisers will refund 50% of the fee and the balance
will be held. The full Exhibitor fee will be held if cancellation is given on or after the insert
date

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Cancellation and Termination by The Festival of Pacific Arts cancels or postpones theFestival the Festival organisers may terminate this contract by giving the Exhibitor written
or verbal notice. If The Festival of Pacific Arts cancels the festival, management shallrefund fees paid to The Festival within one month of the decision to cancel the festival.
The Festival of Pacific Arts will not be liable to the Exhibitor for any compensation
whether on the grounds of loss or profits or otherwise in respect of such cancellation or
postponement.

21.

GeneralIf The Festival of Pacific Arts considers that the Exhibitor is in breach of any of theseterms and conditions (including where the Exhibitor has provided misleading informationin its application form or does not occupy the Site during the full period of the event or
negotiated dates) The Festival of Pacific Arts may terminate this contract by giving the
Exhibitor written or verbal notice, and without limiting the rights of the festival
management or the Exhibitor’s liability, The festival of Pacific Arts may re-allocate theSite and retain any money paid by the Exhibitor in relation to the22.

Event.

The Exhibitor agrees to abide by any reasonable directions given by The Festival ofPacific Arts representatives or legal authority during the festival.
If you have any further questions, please contact insert contact details
We look forward to seeing you at the event.
Name

Email

Organisation

MobileService and Product Description

Phone

Onsite contact Mobile

Fax

Please attach a copy of your Public Liability Insurance ($10,000,000)
The Department of Fair Trading(this is relevant in Australia and so you may need to look at whatworks in the Solomon’s)
Please let us know your stall requirements
Stall Size – Industry and Government Organisations
3m x 3m $2,150(Price needs to be determined)
Inclusive of limited electrical supply
Stall Size – Community and Not for Profit Organisations
3m x 3m $1,085 inclusive of limited electrical supply
Electricity
tick if you require electricity to be supplied to your stall
Please list appliances you will need power for and include the numberof watts per appliance. Kettles and toasters are not permitted, power

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Watts:
Description:

boards are supplied. Each electrical item will need to be tested andtagged by a qualified electrician

Watts:
Description:
Watts:
Description:
Watts:
Description

I will supply my stall/equipment
or I will require the following to be supplied
Tiwi Top $770.00 per 3m x 3m. Tiwi’s x $770 =Walls (Shadecloth) $80.00 per side (fully enclosed = 4 sides) Sides x $80=
Trestle Table/s $77.00 per 1800mmx720mm table. Tables x $77 =Plastic Chairs $5.00 per chair Chairs x $5 =Bookings and Payment must be finalised by ----------------to ensure equipment availability
and meet freight deadlines

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120

Appendix 21

Media and Broadcasting

Generally it is the Media, Marketing and Sponsorship Committee/ Taskforce of the host country thatwould develop their procedures and policy for dealing with Media, Broadcasting, etc. However this isdependent on the host country and in the past most Festivals have had a committee/ task force that has
worked with the SPC Regional Media Centre to develop this program. However it is advisable to developa Host Country Media and Broadcasting Guidelines and Protocols to aid in the effective and efficientmanagement of this area for the Festival. It is an area that is important for the legacy of the Festival andalso for future generations to have record of this important event, however media, broadcasting anddocumenting of the Festival also brings with it many IPR, TK and Copyright issues and therefore the
Guidelines will be important to effectively manage these issues and ensure the correct cultural protocols
and taken into consideration.
Media management is also an important aspect of the Festival and it is necessary to develop Policies andproduces for managing the media, determining what media can be present at the Festival, their accesslevels to delegations, activities and programs and issues that arise with Media at the Festival of Pacific
Arts.
These guidelines have been developed in reference to ‘Developing broadcasting and media protocols for
the Festival of Pacific Arts 2012: Report on meetings with Regional Media Centre, Secretariat of the PacificCommunity, Suva’ written by Terri Janke, as well as guidelines from the Pacific Games Charter,
Commonwealth Games Candidate City Manual and from reports of the Festival of Pacific Arts in Palau,
American Samoa and the Solomon Islands.
The Host Country Broadcasting Policy should include:a) Recognition of the Council of Pacific Arts rightsb) Collaboration with the host country governmentc) The host country’s right to broadcast the event and provide local contentd) Process for securing clearance for Heads of Delegationse) Broadcast plan including the opening and closing ceremony, and daily contentf) DVDs and availability to participating countriesg) Archival of material and safeguarding future use of footageh) Consultation with HOD’s to ensure facts in broadcastingi) MOU between all participating countries which also set out exclusivity rights to the Host Broadcasterj) Future access of footage for participating countriesk) Technical training and knowledge transferl) Coordination of equipment and human resourcem) Venue Management
These Guidelines should also map out specific sections to address the:

Host country Broadcaster
Attending countries
Performers and artists
Audience

The guidelines should detail processes and protocols in all areas of Media and Broadcasting which will
include:A. Festival of Pacific Arts, background of FOPA and Pacific
B. Cultural Protocol at the Festival
C. Media

121

i.
ii.
i.
ii.

Delegation media
Media management, accreditation, Media agreements and permits
Enforcement of media rights in legislation
The Media Centre

D. Broadcasting Policyi.
Broadcasting licensed rights
ii.
Coordination of artistic productioniii.
Host Broadcaster Scope of services
iv.
Clearance processes and forms
E. Documenting of the eventi.
Personal filmingii.
Commercial filmingiii.
Photography
i. Photography of people
ii. Photography of villages and private propertyiii. Photography of tattoo and other sacred imagery
iv. Photography of art and cultural expressioniv.
Music recording
F. IPR, Traditional Knowledge, Rights and agreementsi.
Broadcast and copyright ownershipii.
Performers’ rights, clearance processes and agreementsiii.
Cultural protocols
iv.
Intellectual propertyv.
Traditional knowledge
G. Venue Managementi.
Enforcement and Controlling venuesii.
Communication, consultation and consent process for media
H. Reportingi.
Publishing Guidelinesii.
Communication and reporting to SPC
i.
Communication and report to the Council of Pacific Arts
ii.
Festival Evaluation and Report to SPC and Pacific Council of the Arts
iii.
Internal reports and debriefing
iv.
Reports, publications, and other official communication documents
I.

Post Festivali.
Archival managementii.
Use of footage, photography etc. after the Festival
iii.
Government and host country use after the Festival

At its 16th meeting, the Council of Pacific Arts agreed that film images were sensitive, and that assigning
exclusive rights to a company or pool of companies should be done with caution. The Council also agreed
that:
artists should receive equitable financial returns from the use of their images;
use and exploitation of images should be limited in time, not be used out of context (such as foradvertising purposes), and mention should be made of the country of origin;delegations should be given access to all footage/rushes shot by a company in a format that they can edit
and use;122

delegations that so wish should be given free right to film, video or tape their own performances and thatof others for documentation purposes;
national television networks and media representatives from member countries and territories should be
authorised to film and cover performances should they so wish;
delegations themselves ultimately can reserve the right to decide which performances can and cannot be
filmed or recorded, but should make their wishes clear to the host country prior to the start of theFestival.
The Council also agreed that the host country must inform delegations and attending media
representatives of the relevant laws governing copyright and contracts in the country.

1. Delegation media
Most delegation media travel with their delegation for the purpose of recording their delegations
activities, however they must also be subject to the same protocols, accreditation process and policies formedia that have been put in place by the FOPAOC. An agreement should be in place with non-broadcast
film crew to ensure observance with protocols and the correct clearance is obtained. Delegation media
should also be subjected to a fee, and their participation needs to be considered in line with the
Broadcasting Policy.

2. Media management, accreditation, Media agreements and permits
Media participation should be subject to an accreditation process that is managed by the host country.
All media should be required to register prior to the Festival with the appropriate fees designateddepending on their role during the Festival and the purpose of their participation i.e. whether forcommercial purposes, news, education, etc.
A media accreditation policy should be developed to cover a range of media including journalists, writers,
filmmakers, photographers, and internet reporters, etc. This policy should include a detailed
accreditation process and a policy on access to the host country and the enforcement of any restrictions.
The policy should also detail all cultural protocols that need to be followed and a clear process of accessand protection of artists.

3. Photography and filming in venues
Detail where the public and delegations are able to obtain copies of the coverage of the Festival activities.
Set a policy about public and delegations personal filming. For example state if a delegation wishes to do
its own filming, it may do so as a participant or spectator using non-professional cameras. However
request that participants be aware of activities or venues that may not allow filming. Participants should
be advised to check for signage or ask Festival volunteers in advance of filming and photographing
activities. All such photography and film material shall be used solely for internal viewing purposes.

4. Media services and facilities
Some of the key services and facilities that should be developed for the Festival are:a) Media operations – provider of media services and facilitiesb) Media accreditationc) Main media centerd) Delegation media briefing

5. Enforcement of media rights in legislation
The host country should consider developing a special legislation to protect media rights and associated
IPR, TK and Copyright issues. This legislation provides police with special powers to seize documents,
footage, photographs, etc. that infringe upon the media rights of the FOPAOC. It also empowers police toseize recording equipment and material if requested in writing by the FOPAOC. This legislation also helps

123to enforce the accreditation and registration process of all media to the Festival and allows police andFestival security to ban / remove any non-accredited media.

6. Broadcasting
There should be a license agreement between the host broadcast and each country that will be licensed
to use the footage for broadcast in their own countries. Some key considerations for the coordination of
the Broadcast must be given to: Ample lead time for planning and development of the Broadcast policy
 Production costs
 Live and pre-recorded events
 Event coordination between venues and content diversity
 Equipment and human resource to facilitate the broadcast
 Satellite link arrangements
Each country that wishes to broadcast the festival in their own country will pay a license fee to secure thebroadcast right. The commercial terms and usage should be set out clearly in a sub-license agreement.
The payment of fees and procedures for securing rights should be well detailed in advance to countries.

7. Broadcast and copyright ownership
It is important to ascertain who has the Broadcast and copyright ownership for the Festival. Currently it
is SPC who owns the copyright as the ‘maker’ of the film, and the rights to use the footage are subject toany other contractual arrangements that are set in place by the host country, CPAC and SPC.
However it is important to ensure prior informed consent by those who will be filmed. Simple principles
can be outlined for media to obtain this consent before filming people some of these principles are:






Detailing who they are and who they work for
Copyright ownership
How and where it will be used
Attribution for inclusion in the program
How they can access this footage and who will be responsible for storing the footage, as well as theirrights to access these images and recordings

Host countries should also details very clearly how to deal with:
i.
ii.
iii.

Performers’ rights
Cultural protocols which include the recording of sacred and sensitive content, respecting cultural
practices and practitioners rights not to be recorded
Sensitive issues such as nudity, animal preparation for the culinary program, etc.

Generally in past festivals there have been standard clearance forms.
It is also important for the Broadcaster to ensure that performers and countries are properly identified
and attributed in all media including the broadcast, films, sound recording and photographs.

8. Production
The artistic production and coordination must be well thought through to ensure that the coverage of theFestival is diverse and captures the Festival in its entirety. Key considerations: Time management particularly when there are long speeches and waiting time between
performances, etc. particularly in the case of the Opening and Closing Ceremony and other live
broadcasts.

124








Multiple venues to allow for cross overs during live broadcasts
Multiple cameras to allow for mixing in one location
Pre-recording interviews, etc. for use during broadcast
Catering for both French and English speaking countries in the region
Artistic direction and cultural protocols to be considered
Access to select footage for news reporting with guidelines to determine time limits on use, how itwill be accessed and the credits to the Broadcaster

The Host Country in consultation with SPC and the CPAC should also develop a Host Broadcaster Scope ofservices. This should outline:
 How all footage will be used
 Host country usage
 Delegation access Non – commercial use of footage
 Commercial use of footage
 Use of footage for news
 Fees, licenses, sub-licenses

9. Documenting of the event
The host country should also develop and policy and procedures for the management of the following
areas:a) Personal filming and photography by delegations and audience at the Festival particularly withtechnology such as iPhones, smart phones, tablets and ipads, personal cameras etc.
b) Commercial filmingc) Filming, Photography and sound recording at the Festival and outside the Festival
a. Documenting of people (non-Festival participants)
b. Documenting of villages and private propertyc. Documenting of tattoo and other sacred imagery
d. Documenting of art and cultural expression including a visual arts media policy where
there should be no filming or photography or work without consent of the artist
e. Documenting and Recording of music at venues which poses a lot of issues for musiciansin terms of having their music recorded and distributed without their consent and/ or
their knowledge
f. Documenting of land, parks, landscape, etc. many of which are subject to national andlocal legislation and regulations

10.

IPR, Traditional Knowledge, Rights and agreements

Intellectual property, Traditional Knowledge and Copyright is necessary to consider and each host country
will have different laws, protocols and regulations. It is advisable for the host country to detail clearly todelegations what their country’s legislation and regulations are, and the expectations of delegations,media and other participants in the Festival. This can be detailed in the Head of Delegation Dossier. It isalso recommended to detail for delegations what they need to do if their rights have been infringed.
Traditional knowledge particularly for the Festival is a very sensitive area. Many delegations come to theFestival with a focus on reviving, preserving and sharing sacred practices and knowledge with their own
indigenous Pacific cultural practitioners. The purpose of sharing is to deepen their knowledge of thesepractices and knowledge systems, as often many practices or knowledge systems that have died out intheir own country, have been retained in other countries. It is therefore essential that delegations
members involved in these exchanges are able to do so freely without fear of this knowledge being
broadcast or shared with others who may take advantage or exploit this knowledge. Therefore special
consideration must be made when documenting and recording traditional knowledge.

125

11.

Venue Management

It is possible for the host country to also consider having venues that don’t allow any filming andphotography. In these venues only specific designated FOPA media personnel should document these
programs and activities. This can cover programs and activities that have sacred content, or in venues
that hold art collections, etc.
Other open and large venues such as the Festival village may be more difficult to monitor and therefore
procedures need to be put in place for managing media in these venues.
Consideration also needs to be given to the Host Broadcaster and crew to ensure that they havemaximum coverage, access and positioning at each venue. Other accredited media should be given
specific platforms, areas in which they are allowed to film to ensure there is no obstruction to performers,audience and to the host broadcaster.
It is the responsibility of the host country to enforce this control and to manage different levels of accessby media to performance, and to control and restrict unauthorized filming, photography and recording ofsound.
Public notices at all venues are also extremely important to make the public aware of the procedures tobe followed at each venue. Media personnel should be designated at each venue to police this as well as
to monitor all media. Each delegation may also be designated a media liaison to assist in the regularbriefings of media broadcasting plans, facilitating interviews, documenting of delegation activities, etc.

126Appendix 22

Support Services

The Support Services sub-committee/ team look after:a) Accreditationb) Cateringc) Health and Safety Security/ Medicald) Transporte) Technologyf) Volunteers

1. Accreditation
Includes the coordination of accreditation for delegations, media, VIP and FOPAOC. The purpose of
Accreditation is to:a) Enable FOPAOC and the necessary workforces, security etc. to identify people and their role at thefestivalb) Help determine what access each individual needs them to perform their role. For example ensuringthat the HOD has access to all areas so that they are able to manage their delegationsc) Help FOPAOC to manage large numbers of people by facilitating movement and ensuring access ismonitored for security purposes, particularly in venues and residential areasd) Designate what benefits/ privileges for each individual has, and their access to transport, catering,accommodation and other services.
e) Ensure that appropriate qualified and eligible people only are entitled to perform/ participationf) Limit access and keeps unauthorized people from entering secure areas. For example a performer
will need Venue access as well as backstage and dressing room access but would not need access to
the Media Centre or VIP lounge, etc.

2. Types of accreditation
There should be several different types of accreditation, which are dependent on levels of access, benefits
such as eligibility for meals and transport and their role in the festival. Each will have different accessrights/ levels and privileges to services.
National Delegates, HOD and officials
FOPAOC members, staff and volunteers
Media
VIP
Trade
Research
Guests – which could include non-country delegates such as special arts groups, etc.

3. Rights
Currently the host country grants the right to accreditation to all people who have a recognized official
function to participate at the Festival. This is granted once the national representative has sent tin theirofficial list with participation forms. Host countries may further wish to develop an ‘Entry form’ for therespective programs and activities i.e. an entry form for Visual Artists participating in the Country
exhibition, etc. So that specific information for that activity is passed directly onto the coordinator forthat area.
It is then the host country responsibility to produce and deliver the accreditation cards to the delegations
and individuals who are entitled to it.

127

4. Timelines
Task

Deadline

External organization/ body to beconsidered or to liaise with

Discussions with host country government authorities suchas Immigration, body responsible for national security, etc.
to develop Accreditation specification and procedures

4-3years

Government
SPC

Finalise detailed specifications and procedures foraccreditation for SPC/ CPAC approval

3-2 years

SPC/ CPAC

FOPAOC liaises with HOD to established delegation sizes
Determine plans for access/ zones, reserved seating atvenues for accredited delegates and tickets seats for public(if applicable)
Determine quote for media, trade, guests – regional andinternational arts/ cultural organisations, etc.
Submit Accreditation packs a including Accreditation
Instruction Guide and accreditation application forms,
participation/ entry forms

2 years
2-1months

SPC/ CPAC
SPC and HOD (VIPs, SPC officials, etc.)
Sponsors, government and partners

18months

SPC, CPAC, HOD

12months

National Delegations/ HOD

Approval of accreditation design and layout

10months

SPC

Deadline for ‘Application by Delegations, Media, VIP and
Guests8 months

HOD – Finalise delegations applications
SPC – approve and finalise media andFestival guests with FOPAOC

Finalise reserved seating

6months

SPC and HOD (VIPs, SPC officials, etc.)
Sponsors, government and partners

Final deadline for return of Applications for Accreditation

4 months

SPC and HOD (VIPs, SPC officials, etc.)
Sponsors, government and partners

Hold briefing with all committees/ taskforces and Venue
Managers to advise on control and accreditation processes,
procedures, etc.
Final meetings with government for immigration, security,
etc. to advise on accreditation protocols
Start production of Accreditation cards
Begin establishment of Main Welcome Centre/ Accreditation
Centre (ideally at the airport, Residential and Festival
Secretariat/ Main Operation Centre)
Festival Residential opens for arrival of first delegations andstart implementing access control at all venues
Receive all unused/ spoilt Accreditation Cards

3months

Internal

2monthGovernment authorities, FOPA support
services
Internal/ Contractor
Internal/ Contractor

Produce report, statistics and participant lists

128

7weeks
4weeks1 weekBeforeOpening
Ceremony
After theGames

FOPAOC to SPC

5. Considerations for the host country
Each host country will have differing system that they put in place and this often depends on the level ofresources and access to technology. Listed below are some of the additional issues that the host country
may consider addressing through their Accreditation system.

6. Seatinga) Designated seating for accredited personsb) Official stands or areas within venues – i.e. VIP area, Corporate/ Sponsors area, Delegation area, etc.
c) Designated seating and protocol for Ceremoniesd) Official Broadcaster and official media arease) Accredited media areas

7. Venue limitations
In certain venues there may be limitations to accredited persons to allow for public/ ticketed access.

8. Accreditation Process
Each host country will develop their own processes and procedures depending on the type ofaccreditation they put in place. Generally the process will be:
Electronic Application for Accreditation forms and instruction guide sent to HOD and other organisations
such as media, sponsors, etc.
Responsible HOD or Organisation distributes and collates Application for Accreditation forms/ and or dateand photo images for electronic forms
Responsible HOD or Organisation submits completed applications by deadline
FOPAOC confirms all data through a list sent to Responsible HOD or Organisation to verify
FOPAOC inserts data and prints Accreditation card
Delegates given Accreditation card by liaison officers on arrival to the Festival
Processes need to also be in place to address:
Lost, damaged or stolen accreditation cards
Guest passes particularly for Residential areas

9. Application for Accreditation Forms
Currently host countries utilise the Participation Form to obtain data for developing Accreditation Cards,
however host countries may chose to develop a form specifically for Accreditation. See Appendix ..forform used by the 11th Festival of Pacific Arts in Solomon Islands

10.

Instruction Booklet

An instruction booklet or guide can be submitted in the HOD Dossier. This guide should include:a) Deadline dates for returning formsb) Date that cards will be issued and how delegates will receive/ pick up these cardsc) Conditions of entry into the host country and whether the accreditation card will be needed for entryvisasd) Procedure for lost or stolen cardse) Procedure for transferable cardsf) Access and rights for each category and function area

129

11.

Glossary

Access Control: The type of system of monitoring and controlling access with accreditation cards,
accreditation devices such as scanners, and/or the codes that define movement of people into and within
Festival venues.
Accreditation: Process of identifying participants for the Festival
Accreditation Card: Card that is worn by participants to identify them at the Festival and to show theiraccess levels and their eligibility for Festival services such as transport, residential access, catering, etc.
Accreditation Centres: the area/ facility that is designated to provide accreditation, correct/ replace lostaccreditation cards
Application for Accreditation Forms: is distributed by the host country to the delegations, media, etc.
This form is completed with all the details of the participant to be accredited. This form is then sent backto the host country so that they can process these details and develop the accreditation card if/ when theparticipant has been approved for participation.
Category: Grouping depending on the participants role and responsibility at the Festival
Code: system of letters, numbers, colors, symbols that are used to identify what level of access theaccredited person has, what eligibility they have in terms of seating, residential, catering, transport, etc.
Entries: provides for the official entry of artists/ delegates to participate in the arts/ cultural programs
and activities of the Festival
Function: The role/ job to which privileges/ benefits and access entitlements are accorded.
Zones: Designated areas within a venue.

130Appendix 23

Catering

1. Catering systems
Each host country has developed their own systems for catering for delegations and VIPS. Generally
these have been successful with the following systems:
SystemCentralised
dining area

Considerations
Caterers should be licensed by local authorities
Sensibly positioned – away from events, activity areas
Near water supply
Adequate space between facilities to prevent risk of fire
Food hygiene certification
Menus to cater for a variety of diets including vegetarians.

Food packs

Packaged meals and beverages delivered to accommodation and venues. Disposal of
packaging and keeping food fresh can be a challenge. To alleviate this delivery must be wellcoordinated, and a process for disposal must be made clear to all delegations. Rubbish bins
must be strategically place and these bins must be regularly emptied to avoid pollution andinfection.

VouchersystemDistribution and Allocation of vouchers per meal to delegations, etc.
Selection of vendors, restaurants, shopping outlets, etc. to receive vouchers
Redeeming processes

2. Task areas
Key tasks and areas to be developed are detailed in the table below:
Activity
Meal planning

Considerations
Unusual hours for catering as groups may be performing or at
exhibition areas.
Breakfast is typically easier to plan for than evening meals.

Develop communication protocols
between kitchens and delegations

It is essential that there be good communication between the Heads ofDelegations, liaison officers and caterers as to the activities of thedelegations. This will help avoid problems with spoiled or unpalatable
food, or food that is not ready when needed. It is important to decide
early in the preparatory stage where the food service points will be;
the fewer the better, for logistical reasons.

Develop system for non-accrediteddelegate catering/ guests

In some cases delegates may invite guests to places where food isfreely available. This can be monitored and controlled by means of theidentification badges provided to delegates. Delegations and the hostcountry must inform the catering committee well in advance if they
intend to host feasts or parties, so that food can be purchased orordered in advance.
The cost of feasts of parties is the responsibility of the delegation.

Special event catering

Host country may consider having meal tickets available for sale for
non-accredited guests.

131

3. Service areas
Health and Safety is always a key factor in the development of catering systems. Outlined in the tablebelow are some of the key considerations:
Tasks
Preparation,
Health andHygieneConsiderations
Preparation areas should be sensibly positioned – away from events, activity areas
Access to cold and hot water;
Keeping food hot or cool
Sanitation, including clearing tables and washing dishes
Loss and breakage of tableware
Staffing needs, capacity, management
Quality control
Health and hygiene
Adequate space between facilities to prevent risk of fire
Food hygiene certification
Menus to cater for a variety of diets including vegetarians.
Waste Disposal

Distribution

Coordination of transport to and from performing and exhibition venues
Planning and scheduling delivery around performing times

Additional
services

Coffee and tea
After hour ordering menus which could be a paid service or facilitated through a 24 hour café/
convenience store, etc

132

Appendix 24

Health and Safety

1. Medical
It is important for the Health and Safety of all delegations to make them well aware of what is available
for the Festival. It is also equally important to engage with the Ministry of Health and all other medical
agencies to make them aware of the Festival as there will be various impacts on the country’s medical
resources with such a substantial increase of people.
The Medical committee will take care of all medical services for the Festival as well as liaison between
public and private medical services and ensure that they are able to get a commitment from the local
authorities of medical support for the Festival. Some of the key information that can be developed for
the Festival:
Graphical
summary of
the host
country

Enable delegations and stakeholders to have an understanding of the medical
capacities, risks and facilities available to enable delegations to plan for any additional
support that they may require.
Birth rate
Death rate
Infant mortality rate
Morbidity rate
Age distribution
Hospitalisation rate
Epidemiological problems

Detaillegislations inforce in thehost country
in relation to:Practice of medicine
Describe the health service and general outline of health care system
General practice
Hospitals
Paramedical
Describe social system to managing medical expenses and explain arrangement forforeign nationals visiting the country

Detail private
and public
services
available

Name and number of hospitals
Distance of hospitals from Festival village and Accommodation Village
Number of beds
List departments by specialty
Contact details of general practitioners, physio therapists, private medical services
Detail operations procedure of emergency services for Festival delegations
Detail first aid, medical centers for the Festival, their locations and contact numbers
Detail plans for emergency evacuation in the case of accidents, natural disasters, etc.
Details the epidemiological risks and the measures in place to control the issue
Detail requirements for delegations in terms of vaccinations, etc.

2. Health and Safety guidelines
The host country alongside the main national authorities such as police, medical services, fire, etc. should
develop the Health and Safety guidelines. These guidelines can be developed by a special task force andimplemented during the festival by each committee/ team. All sections of the festival management
should be well trained and understand clear the Health and Safety Guidelines. These guidelines must
include plans, policies and procedures for:

133

a.
b.
c.
d.
a.

b.

c.
d.
e.

Crowd control
Disability access
Emergency Plan
Attendants/ stewards/ health and safety volunteers
Traffic managementi.
On site trafficii.
Off site trafficiii.
Parkingiv.
Contractors
Securityi.
Delegation
ii.
VIPs
iii.
Venuesiv.
PublicInsurancei.
Public liability insuranceContingency Plan
Cleaning up

3. Risk Management Plan
A Risk Management Plan is necessary to manage any components, issues, activities and events of theFestival that could pose a risk. In order to develop a Risk Management Plan a risk assessment on the
different components should be conducted.
A risk assessment is the process of identifying risks, analysing and evaluating the risks and putting inplaces the necessary processes and structure to manage and/ or avoid such risks.
Different types of risk:
Health, Injury, or disease
Drug alcohol affected persons
Fire caused by electrical installations
Fire caused by cultural activities such as in Culinary Arts, Fire dancing or fire walking
Fire risk caused by gas bottles
Tents, marquee or traditional structure collapses
Broken glass
Food poisoning
Power failure
Water shortage
Manual handling
Working at heights
Allergic reaction to tattooing
Criminal activity
Disorderly conduct
Consumption of alcohol and or drug use
Environmental risk
Noise
Excessive litter
Biosecurity risks134

Legal or contractual
Unclean toilets
Loss of main contractors
Copyright, trademark and IPR issues
Operational and Crowd safety
Overcrowding
Trip/ Fall hazards
Weather
Inadequate toilet facilitates
Lack of access to waterCommunications failure
Collapse of stage
Sound and lighting failure
Flooding
Promotion/ PR
Inadequate funding
Loss of personnel
Sponsorship conflict
Branding issues
Stolen merchandise
Counterfeit merchandise
Unlicensed vendors
Once your risks are identified they can be analysed into a table detailing their likelihood of occurring andthe level of risk and consequence. By undergoing this process it is possible to decide how serious the risk
is for a particular activity and whether it should be undertaken at the Festival, or whether the risk is at alevel that can be managed or rectified, and if measures can be put in place to counter its occurrence.
This would then be developed into a Risk Management Plan.
Once the Festival Build up begins all activities being carried out by Contractors should ensure that they
provide the Logistics Director with a Safe Work Statement.
Prior to Festival all staff, volunteers, contractors, committee members, etc. are to be briefed about therisks that have been identified before commencing any activities. The Logistics Director should ensurethat each site/ activity briefing is completed and that the Venue Manager is well aware of these risks andconducts regular audits to ensure compliance with the Risk Management Plan.
See the following sites for examples and templates for Risk Assessments and Risk Management Plans.
http://www.elliston.sa.gov.au/webdata/resources/files/DC_Elliston_Event_Risk_Management_Booklet__Final.pdf
http://www.moreland.vic.gov.au/arts-and-festivals/community-events-guide/events-guide-contents/eventspermits-risk-management.html

http://www.cqu.edu.au/__data/assets/word_doc/0016/22570/events-risk-assessment-templatev1-021211.docx.

135Appendix 25

Transport

The Organising Committee is responsible for the transportation of delegations and hosted VIPs for theduration of the festival. The host country may also chose to facilitate and assist with transporting ofdelegations to the festival such as charters. It is however the delegations responsibilities to fund thiscomponent of transport. These are the areas that the Transport sub committee will need to address:
Safe, efficient and reliabletransport and taking

Consider the added capacity needed apart from normal day to
day public transport.

Planning and additionaltransport infrastructure

Planned improvements at your airport
Transport and traffic management control

As part of the planning youneed to map out:

Existing transport infrastructure within the host city, out to venues
and accommodation and rural links
Development plans, construction timelines and financing
Additional transport needed to host the Festival

Air Transport

Detail the airports intended to be used for the Festival and what
improvements and extra services will be in place for the Festival.

Capacity

Number of terminals
Number of international departure gates
Number of national departure gates
Passenger/ hour
Runway movements/ hour
Night flight ban

Types of transport links

Between airports and Accommodation Village, official hotels andother festival accommodation providers.
Roads and parking
Public transport system

Flight network
Workforce

List out for delegations the scheduled flights that link countries
into the host country
Outline the number of personnel needed for the Festival transport
functions – staff, volunteers, contractors

Strategic Transport Plana) Develop a list of key objects and strategies to deal with areas regarding traffic management andperformance.
b) It is also important to understand the constraints and the contingency plans that will be put in placein case of accidents, unexpected demand, events and adverse weather.
c) Detail the transport arrangement for:i.
Delegations and their officials
ii.
SPC, CPAC
iii.
VIPs
iv.
Technical staff, volunteers, contractors
v.
Media

136

vi.

Government officials, sponsors, donorsd) Distinguish arrival, departure, and Festival time transport logistics, routes to be taken and thedemand at each point of the Festival. Some points are high demand such as the Opening and Closing
Ceremony when all the delegations, officials, etc. all need to be moved at the same time to one
venue.
e)

Develop plans to facilitate:i.
Traffic flowii.
Punctuality and reliability
iii.
Breakdown response units
iv.
Special traffic lanes137Appendix 26

Venues and Facilities

1. Arts venues and facilities
Give as much detail as possible about the arts venues that are being proposed for the festival including
the capacity, which often determine the types of performances that the delegations bring with them.
With this information well in advance delegations can pre-plan and select the appropriate artists.
It is the responsibility of the Organising Committee to inform delegations well in advance regarding thetypes of venues, and stage dimensions and structures, as this will impact on the type of performancesthat can be given. The staging requirements for music, traditional dance, modern dance andtheatre/drama differ, and in the past some delegations have refused to perform when performance areas
were not suitable, or their expectations regarding the performance areas were not met.
The key areas to consider in the first stages of planning:







Concept
Location
Design and Layout
Construction
Financing
Post Festival use

The post festival legacy should be carefully considered. Designs can include new residential housing
projects, campus style village for colleges or universities and privately owned housing schemes. Localarchitecture and design should be engaged to be a part of the designing to promote local culture and to
revive local architectural features and
The Director of Venues will lead the Venues and Facilities Section and Facilities who key responsibilities
are:
a)





Venue Development and Management which includes:
Venue identification, location, layouts
Venue financing and works - the selection, development, upgrading, construction of all venues
Venue set up, procurement, management and maintenance including Utilities – power, water
Venue responsibilitiesb) Venue Security, which includes selection, training and management of venue security during build up,
and Festival time.
These decisions may also depend on access, affordability, location and the availability of the necessary
expertise and contractors. The key is to ensure that contractors and suppliers are reliable and have agood reputation. It is also important to ensure that they have a strong background of working in arts andcultural events to ensure that infrastructure meets the needs of exhibiting and performing artists.
Each host country will differ in their approach to the types of Venues and Facilities that they develop but
they will each need to develop venues and facilities to a reasonable level of quality to ensure thatdelegations are able to exhibit and perform with the appropriate facilities in place. Some of the key
venues that will need to be developed are for:a. Infrastructure needed per art form/ activity
i.
Visual Artsii.
Performing Arts

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iii.
iv.
v.
vi.
vii.

Heritage/ Craft Arts
Canoe program
Film Festival
FashionConference and symposiums

b. The Festival Villagec. Special events and ceremonies
d. Accommodationi.
Delegation accommodationii.
VIP accommodatione. Catering and amenities
i.
Venuesii.
Delegations
iii.
VIPs
iv.
Public2. Rehearsal venues
For many countries delegations comprise of smaller groups representing various communities within theircountry so it is likely that they will have come together as a nation for the first time when they arrive at
the Festival. In order to ensure that Residential Venues are a place of rest, it is ideal to allocate rehearsal
venues where delegations may request time slots for meetings and rehearsals. Detail the availability ofrehearsal spaces for delegations plus a contact point to coordinate a schedule and allocate time slots todelegations.

3. Venue and zones codes
The number and type of venues will determine how you code and distinguish your zones. Also determineand outline accessibility to venues. Detailed below is an example of how these codes can be used.

4. Performance and Exhibition venues
Zone code

Description

Blue (color)
Red
Orange2
3
4

Performance/ exhibition areas
Administration and operational areas
Technical only – lighting, sound, stage management
Participant preparation area – dressing rooms, rehearsal areas, etc.
Media
VIP lounges

5. Accommodation
Zone code
R
VR

Description
Delegation accommodation/ residential
VIP accommodation/ residential

6. Delegation members
Zone
code
HOD

Function

Venue access

Zone access

HOD

All, R, VR

DHOD

Deputy HOD

All venues, Delegation residential, VIP residential,
media, technical zones
All venues, Delegation residential, VIP residential,
media, technical zones

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All, R

A
Aa
AM
VIP

Team officials
Participants
Media
Ministers,
Dignitaries, etc.

Own venue (s), delegation residential
Own venue (s), delegation residential
Own venue (s), media and broadcast areas
All venues, VIP residential, VIP lounges

Blue, Red, 2
Blue, Red, 2
Blue, 3
All, Blue, 4, VR

For certain events such as the Opening and Closing Ceremony, and limited capacity events it may benecessary to issue tickets as often the demand is greater than the number of seats available. The hostcountry should determine how to ensure public as well as delegations are able to view events. Therefore
it will be advisable to detail those events in this section. So that delegations are advised in advance

7. Venue Works
The first task for the Venue team will be to list out all venues according to their state of construction:
a)
b)
c)
d)

Existing venues, no permanent works required
Existing venues, permanent works required
Venues to be built as new permanent structure
Venues to be built as totally temporary venues.

Then for each venue detail financing:a) Estimate cost of all permanent workb) Estimate cost of temporary workc) Identify which areas government will financed) Identify which areas other organisations, donors, investors will fund and identify potential donors(this may be done in consultation with the Sponsorship team)Once these are have been identified and planned out, the Venues team will be responsible for:
a.
b.
c.
d.

Developing a Venue Works Schedule
Liaise with other committees for venue requirements
Secure contractors for all works
Coordinating all works at each of the Festival Venues

8. Venue Use
For those venues that already exist and that will be rented and utilized during the festival it is importantdevelop agreements well ahead of the Festival to guarantee that these venues are available prior andduring the Festival. Considerations for these agreements:a) Secure use of venuesb) Control of all commercial rights: signage, catering and concessions, venue naming rights, etc.)c) Details of intended upgrading permanent and temporary worksd) Details of fit out, equipment and materialse) Detail ownership and future use of performance works, equipment, etc.
9.

Venue Responsibilities

Indicate for each venue which organization/ contractor or task force team is responsible for the various
phases of development for each venue.

10.

Tendering Process

For permanent construction the FOPAOC will need to develop a policy and procedure for the tendering
process in order to: Manage tender for construction of permanent and temporary venues
 Explain tendering process including:

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o
o

11.

Major phases, timelines, environmental impact assessments and whether foreign companies
can submit tenders
What standing laws, codes and regulations are in place

Venue Schedule

For each venue develop a table detailing the days of use of the venue according to the program schedule
for that venue. (This will be done in consultation with the Artistic Programming team)If the venue is used for several art and cultural genres, then the table will need to specify the days andtimes of use for each of these activities.
This schedule will assist the Venues team to understand what equipment, materials and preparationneeds to be put in place for each venue.

12.

Utilities

Develop a comprehensive plan that details:
Existing local and regional utility grid and availability and capacity of generators what their respective
status and capacity is.
It will need to be determined if the existing distribution system supply will be able to supply the
anticipated Festival demands in terms of load and reliability, if not what improvements need to be made.

13.

Festival Village

The Festival village is one of the major focal points of the Festival. Detailed below is an example of achecklist that can be developed for each venue.
Festival Village checklist
Activity
Considerations
Securing the
Ensure that the site chosen for the Delegation Accommodation village is secured wellvenue
ahead of time with written guarantees of its availability prior and during the Festival
Commitment from government to finance these works
Commitment from government to fund/ or subsidise rental costs if any
If the Accommodation Village is not centralised in one area then a plan, timeline andworks schedule needs to be done for each accommodation site
Works
Environmental
impactassessment
Venue master
plan

Venues andInfrastructure

Develop a schedule of works and financing with the various stages from design toconstruction to fit out
This should be done for any major permanent. Temporary construction

Location of other facilities including transport, catering, administration, recreation,
medical and other important areas with the accommodation area
Provide layout for accommodation spaces showing how rooms will be organised,details of equipment and furnishingSpecify allowances for disabled participants
Consider the type of infrastructure that will be put in place for the Festival as well asother considerations as listed below
Tents, traditional architecture, caravans, etc. (need to be safe and solid)
Access to Electricity outlets, 3 phase power
Access to Lighting and to water141

Country booths
anddemonstration
areas

Flooring/ roofing
Capacity limits for stages, and venues
Waste and rubbish disposal for participants, vendors and for the public, and for its
daily clearance from the site
Venues must be broadcast standard, equipped for live and recorded coverage
Security
Accessibility for public
Access roads for pedestrians and Vehicles to have security
Drainage and water systems
Demonstration areas: platforms, table, chairs
Sales area for country merchandiseElectricity outlets, lighting and access to water
Walls to determine separate areas
Flooring
Audience: consider how the audience will interact with artists and watch/ participate
in demonstrations
Access to toilets
Storage and lock up areas
Cleaning
Security

Main Stage

Loading capacity for stages
Construction by reputable contractors
Regular safety checks on stages
Stage Cleaning
Lock up and storage areas

Dressing Rooms

Schedule for dressing rooms
Cleaning
Lock and storage areas
Lighting
Security

Amenities

Food and beverage
Banking – ATMs
First Aid
Lost property
Fire and disaster management
Public toilets/portable

Festival
Information Booth at main entrance
information and Electricity for all lighting and display items
merchandiseboothsParking/ Pick up
and drop off
zones

Parking for participants, committee members and staff
Parking for public
Pick up and drop off zones for Festival Vehicles for participants
Pick up and drop off zones for Festival vehicles for VIPs
Public transport/ Festival shuttle parking/ pick up/ drop off zones

142Security

Crowd control
Police/ Security
Lost children
Delegation security
VIP security

Other forms that need to be developed for each venue:a) Venue checklistb) Daily venue reportc) Incident reportd) Festival Village Site Plane) Site Regulations

Appendix 27

Residential/ Accomodation

It is the responsibility of the Host Country to organise accommodation for delegations and VIPs for theduration of the Festival. However the host country should determine in advance the level, type andquality of accommodation and advise delegations of the maximum number of delegates and VIPs that will
be hosted. Delegations then have the choice to fund additional delegates and VIPs such as traditional,
cultural or government leaders.
The key areas for the Residential Section which will be led by the Residential Director are:Accommodation which includes the development and maintenance of accommodation areas including
procurement of beds, bedding, and other infrastructure, partnering with hotels for VIP and FOPAOC
accommodation, public accommodation
Building and Grounds, which includes the upgrading, and construction of all accommodation buildings,
ground works and facilities
Residential support services including security, medical, technology
When deciding on the venues for Residential, the FOPAOC can considerPermanent structures
Upgrading and renovating existing structures such as schools, colleges, etc
Developing new venues and facilities for accommodation

In past Festivals schools, colleges, university and church facilities have been utilized for Delegation
Residential which hotels have been used for VIPs.
Delegations and VIPs can be housed in:
Hotels, motels
Village – collective of houses, villas, dormitories, halls, etc such as in colleges, university campuses,
schools, etc
Alternative accommodation – tent cities, traditional houses, cruise ships, mobile homes etc
At all residential site, the following services and how these are going to be facilitated and managed must
be considered:
Area

Requirements

Considerations:

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Bathrooms

Adequate showers and toilets
Private changing spaces

These may be temporary or permanent fixtures.
Consider number of showers and toilets per delegation

Beds,
Mattress,
Bedding

One mattress per person,
bedding

Number of bedding changes needed during festival
Last minute increase in delegation numbers
Transportation of bedding to each venue and collection of dirty
bedding
If bedding is not being provided delegations should be advisedin advanceHousekeeping

Cleaning services for:Accommodation Bathrooms
and toilets
Recreation areas, and otherfacilities
Rubbish clearance from venue
Delegation services
Laundering bedding and othervenue materials

Community groups to host and take care of different
delegations which can include cleaning crews

Water is needed forshowering, toilets as well as
clean water for drinking andcooking

Demand of water supply neededElectricity – ensuring old wiring systems are checked

Laundry

Water and
electricity

Plumbing

Outsourcing to professional companies

Contracted services
Facilities provided for delegations to use themselves
Funding allocation must be sufficient to consider the number ofbuilding, bedrooms, bathrooms and number of occupants perroom and building
Access to laundering and ironing facilities (if not available
delegations should be advised in advance)

Outsourcing to professional companies who need to be vetted
and checked for reliability and professionalism

Consider how these services will be implemented and managed and by whom:
Contracted services
Volunteers
Community groups
Each of these services will need proper administration and monitoring of contracted services to ensure
delivery of service and quality of works

1. Delegation Accomodation
Accommodation for delegations should ideally be centralised to provide opportunities for participants tomix and meet informally and to centralise transport, catering, etc. Centralised accommodation makes it
easier for HOD’s to meet regularly and to be called upon in times of emergency.
If this is not possible consideration can then be given to have a special artists meeting/ recreational areaor venue and to centralised administrative spaces.
Accommodation should consider appropriate sleeping spaces for both males and females. It is important
to be aware that some delegations may include married couples, children and minors. Consideration
should be made on how to house families. There have also been situations where delegations have artists
who a transsexual and while it is traditional to separate genders, it is important to consider their wellbeing and safety.

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Some delegations prefer to house their entire team together, which helps with management, security,
discipline and coordination particularly when delegations comprise of many youth.
All these details and request should be gathered from the HOD well ahead of time to enable the planningand development committees to properly access and allocate accommodation for each delegation.

2. Delegation health and safety
It is necessary to have security assigned to remain at the accommodation site during the day, and during
the evening. These personnel can oversee any trouble, illness or problems arising with the delegations or
the site itself. These staff members must be informed of building electrical points and security points, fireevacuation methods, etc. They should also have information about:
a)
b)
c)
d)
e)

First Aid and Medical Centre
Provision and access to drinking water
Lost children and missing persons facility
Baby changing and resting places for family’s
Lost property

3. Pre-Festival accommodation
Due to flight scheduling, etc. some delegations may arrive several days before the Festival. It is important
to consider this and to make the necessary arrangements for early check in to accommodation, or
alternate accommodation.

4. Disabled participants
The host country should consider appropriate accommodation for disabled delegates. Advance
information must be sought from delegations about their care, welfare and needs.
Some considerations are:Wheel chair access
Safety rails for climbing stairs
Bathroom and showers that are accessible

5. VIP accommodation
Work in consultation with the national tourist board or hotel association to select the Official Hotels for
the Festival. The FOPAOC in consultation with the CPAC and SPC will need to make allowance for thenumber of VIPs that they are able to host. It is a possibility to also consider that these VIPs may want totravel with family, but the host country will need to stipulate very clearly what they will pay for. To
facilitate additional needs for delegations, media, etc an accommodation inventory should be preparedand submitted to delegations, media, etc

6. Audience/ Participant accommodation
Work in consultation with the national tourist board or hotel association to set up accommodation
outside the Accommodation Village. Accommodation will be at the cost of the participant or organisation
not the host country but the host country should facilitate this. Accommodation may be needed for:






SPC and their family’s
Council of Pacific Arts and Culture family’s
National Arts Council board members, Ministry officials, etc.
International, regional artists, arts and cultural organisations
Researchers and students

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



Media
Delegations family’s
Tourists

Develop an inventory of accommodation with a rating system: Hotels Motels Backpackers
 Homestay
 Community halls, schools, etc.
 Camping grounds
List total capacity, room availability, room rates, minimum stay/ room blocks, price control and contracts.
It may be wise to get guarantees from selected accommodation providers about the Room availability
 Room rate Minimum stay
 Price control for services
As part of the Operations and logistics, ensuring adequate amenities are available is essential. With thehigh number of delegates, VIPs, and visitors there needs to be:
Toilets
First aid
Provision and access to drinking water
Lost children and missing persons facility
Baby changing and resting places for families
Lost property
Host countries may also decide to offer other services such as ATMs and Money exchange, as well asother amenities that make the festival experience enjoyable and safe

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Appendix 28

Venue Based Management

1. Venues
The Arts and Cultural venues of the Festival are the main hub of activity and become the Technical zonesof the Festival requiring specialist skills for each specific venue. Each venue operates like a silo with its
own team of contractors, staff and volunteers. Each venue is responsible for delivering a component of
the Festival program. Generally the Festival venues are:

2. Artistic Venues
Festival Village
Heritage/ Craft Arts Program
Culinary Program
Country booths
Main performance stage
Performing Arts/ Multipurpose Venues
Tattoo Village
Traditional Navigation and Canoe Building Village
Carving village
Visual Arts Gallery – Fine Arts, photography, sculpture
Traditional/ Heritage Arts Gallery
Film Festival
Culinary Arts Village
Multipurpose venue:
Fashion
TheatreContemporary danceMusic and Jam stage

3. Non Artistic Venues
Festival Secretariat and Main Operation Centre
Media and Broadcasting Centre
Workshops and symposium
Council of Pacific Arts and Culture and Ministers of Culture meetings
HOD Administration and Information Centre

4. Residential
Delegation Accommodation Village
VIP Accommodation
Media Accommodation
FOPAOC Accommodation

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Main Operations
Centre/ Festival
Secretariat
Venues
Venue
ManagerSite Manager

Programing and Production
Manager/ Curator
Construction/
Maintenance
Ceremonies
Environmental
ProtocolVenue image
Stage Manager/
Gallery

Administration
Finance/ HR

Operations
Manager
Technology
Logistics
Accreditati
on
Health,SafetySound and Lighting

House Manager
Sponsorliasion,brand
protection
Merchandise
Transport
MedicalCatering
Spectator
services
Media andBroadcast

Figure 5: Venue management structure
The FOPAOC members are most active during the planning stages of the Festival. Once the Festival begins
its Operational Phase the FOPAOC members will become part of the MOC team and are often assigned
the responsibility of a different venue. The FOPAOC member who has been tasked with the responsibilityof a venue will oversee and provide support to their designated venue. They don’t get involved in the dayto-day operations but rather provide support and advice particularly in problematic situations.
Each venue operates as a silo, but consults regularly with the Main Operations Centre with ongoingissues. The operations of the Festival are managed by Venue Managers. An operational manual isessential to ensure that all components of the festival are effectively established; working and that there
are policies and protocols in place when things go wrong. Having clear policies and processes will help toensure that all teams are working under the same guidelines and within the same perimeters.

148

Festival Director

Venue Manager• Artistic Director• Administration
Director• Director Venues/
Facilities• Director Marketingand Sponsorship• Director Support
services• Programmes/
Production Manager• Administration
Manager• Operations Manager/
Site manager• Communications
Coordinator• Marketing andSponsorship
Coordinator• House manager

Figure 8: Example of reporting lines between MOC and Venues
Throughout the Festival certain issues and problems will occur across all venues and some areas such as
Programming may have scheduling issues that have a roll on effect where one venues late programming
may affect the programmes of another venue. Therefore the Section Director in charge of that area may
call regular meeting to work out these issues.

Programmes
and Production Festival Village

Artistic Director

Programmes
and Production Jam House
Programmes
and Production Film Festival
Programmes
and Production Ceremonies

Figure 8: Example of the Artistic Director (Section) and their Section coordinators based in each
venue

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Appendix 29

Tools for keeping it all together

With so much activity and things that need to be actioned regularly tools such as Scheduling, Production
Sheets, Run Sheets etc. are extremely important to keep everyone focused and communicating with eachother. Listed below are templates from past Festivals and also links to international festival templates.
http://www.festivalsystems.net

1.

Programming Templates

2.

Programming guidelines and templates

3.

Program Planners and Production sheets

4.

Timing Guide

5.

Festival Stage Schedules

6.

Delegation programming and tracking

7.

Audio, Sound and Lighting Specifications template

8.

Workshop and symposium templates, model questionnaire and planning sheet

150