Event Portfolio Management

Antchak, Vladimir; Ziakas, Vassilios; Getz, Donald

doi:10.23912/978-1-911396-91-8-4260

Cited by 16 publications

(5 citation statements)

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“…Portfolio planning and management for planned events will require its own theory or at least a number of particular theory modifications. Emergent portfolio theory shifts the focus from individual events to networks of events and their interrelationships and to the potential for leveraging and synergies (Antchak et al , 2019; Ziakas, 2014). Portfolios are essential in creating the “eventful city” within the context of the networked society, serving to establish and reinforce both local and global linkages (Richards and Palmer, 2010).…”

Section: Discussionmentioning

confidence: 99%

“…A growing number of researchers have reported on cities and destinations engaging in event portfolio management (Clark and Misener, 2015; Pereira et al , 2015; Gration et al , 2016; Antchak, 2017; Antchak and Pernecky, 2017; Dickson et al , 2018; Kelly and Fairley, 2018; Ziakas, 2019; Antchak et al , 2019), so there is ample support for the belief that it has been accepted as a legitimate and possibly essential form of public-sector intervention. Antchak (2017, p. 292), for example, examined the event portfolio of Auckland, New Zealand, and concluded: “Although event portfolios have become an integrated part of destination development, a lack of empirical research into the nature of portfolio design exists… The findings indicate that Auckland employs an outcomes-driven approach which is characterized by the orientation on economic outcomes, an ‘agnostic’ attitude to the compositional structure of the portfolio, an intensive bidding campaign and leveraging strategies.”…”

Section: Theoretical Backgroundmentioning

confidence: 99%

“…Ample documentation exists (e.g. Getz, 2013; Ziakas, 2014; 2019; Kelly and Fairley, 2018; Antchak et al , 2019) on how numerous city governments around the world manage multiple events within social, cultural and economic policy fields and how tourism organizations and destination marketing organizations (DMOs) employ events strategically. There is an increasing emphasis on achieving synergistic benefits, leveraging events and advancing sustainability in the events sector.…”

Section: Introductionmentioning

confidence: 99%

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Balancing value and risk within a city's event portfolio: an explorative study of DMO professionals' assessments

Andersson

Getz

Jutbring

2020

IJEFM

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PurposeThis study aims to advance both theory and praxis for event portfolio management in cities and destinations. An experiment has been conducted with professional event practitioners in a city to determine their opinions and strategies for balancing value and risk within their event portfolio. The first objective is to rank 14 of the city's recurring events in terms of both value and risk. Second, the events are plotted in a two-dimensional chart of value versus risk with the objective to differentiate between the 14 events. The third objective is to describe the event characteristics that event professionals associate with value and risk.Design/methodology/approachResults derive from an experiment involving the forced Q-sort procedure and professional event managers from a city renowned as an “event capital”. Empirical evidence is analysed by the constant comparative method of how events are being evaluated by ten professionals working for a DMO.FindingsEconomic impact and image effects are characteristics of high-value events as is an opportunity to create relations with event owners for future collaboration. Local community involvement is important for all events. The issue of portfolio fit was a common argument for weak-value events.Research limitations/implicationsResults are based on the opinions of ten DMO employees in one large city. Conclusions help build event portfolio theory.Practical implicationsThe results and methods are useful for event strategists and evaluators. In particular, the management of event portfolios and policies covering events in cities and destinations can benefit from the documented method for explicitly balancing risks with perceived value.Social implicationsA portfolio perspective is also suggested as an approach to analyse the total tourist attractions portfolio of a destination.Originality/valueOpinions regarding public value and risk by civil servants who work with events have not been studied before. The constant comparative method produces results that can be applied to policies governing events. In terms of theory development, concepts from financial portfolio management, product portfolio management and risk management are used to develop event portfolio design and management, and insights are gained on trade-offs in the process. The plot of the events in a two-dimensional chart of value versus risk clearly differentiated the 14 events and is an original contribution.

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Section: Discussionmentioning

confidence: 99%

Section: Theoretical Backgroundmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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Balancing value and risk within a city's event portfolio: an explorative study of DMO professionals' assessments

Andersson

Getz

Jutbring

2020

IJEFM

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“…To enable synergy, a paradigm shift has occurred making necessary a holistic approach (Ziakas, 2014) to leveraging event portfolios (Antchak et al, 2019). In this regard, a host destination needs to create an annual program of multiple periodic events if it is to optimally leverage tourism benefits (Gibson et al, 2012;Pereira et al, 2015;Salgado-Barandela et al, 2021;Ziakas, 2020).…”

Section: Event Sport Tourismmentioning

confidence: 99%

Popular Culture Tourism: Conceptual Foundations and State of Play

Lexhagen

Ziakas

Lundberg

2022

Journal of Travel Research

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Popular culture tourism encompasses a range of expressive practices that attract fans traveling to destinations associated with their fandom pursuit. However, scholarship on this multifaceted phenomenon is today over-fragmented and obscured by separate disciplinary agendas and priorities. We argue that the scope and breadth of popular culture tourism calls for its interdisciplinary treatment as a distinct field. Through a scoping literature review, this paper identifies the foundational elements of its conceptual and ontological roots, extracting key insights and discursive themes that can help establish a comprehensive perspective on the study and management of popular culture tourism. Our inquiry builds common ground that can shed light on the complexity of popular culture expressions and enable their strategic role as a destination placemaking tool. Thematic areas of convergence resulting in the emergent configuration of the field are delineated, and primary research questions for the comprehensive study of popular culture tourism are outlined.

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“…The anticipated resilience of the events sector as a whole will become evident as the pandemic subsides, but not without many bankruptcies and perhaps major structural changes to event populations. As advocated by Antchak, Ziakas and Getz (2019), the impacts of the pandemic will accelerate the need for event portfolio management, replacing the almost-universal emphasis of practitioners, researchers and teachers on single-event management and marketing. Getz (2013, p. 18), has developed a framework for understanding and researching event tourism by identifying the core phenomena as 'events as attractions, the event-tourist experience and meanings attached'.…”

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confidence: 99%

Event Tourism

Getz¹

2022

Encyclopedia of Tourism Management and Marketing

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Although numerous prefixes can be attached to 'tourism' to describe special-interest markets, one of the most important is that of 'event tourism'. It is both an applied field of study and a globally significant sector of the economy. Subdivisions relate to either the form of event (e.g., festival or sport, entertainment or exhibition), industry-related classifications (e.g., the meetings, incentives, conferences and exhibitions [MICE] or business-events sector, leisure and cultural events) or functions (e.g., employing modifiers like mega, major, hallmark, iconic, destination, signature). Events of all kinds have grown to be substantial components in destination and country attractiveness, so much so that it is normal for cities and tourism organizations to have professionals assigned to event bidding, production and servicing events, and increasingly to strategic event portfolio management (Getz, 2008(Getz, , 2013.Event tourism can be defined and studied by reference to supply, demand and context. At the destination level, specific to tourism marketing, the focus is on the various roles that events can play: as attractions (i.e., destination events), catalysts (a role normally associated with mega events and their related infrastructure investments), animators of public spaces, central areas and redevelopment precincts, image

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Event Portfolio Management

Cited by 16 publications

References 0 publications

Balancing value and risk within a city's event portfolio: an explorative study of DMO professionals' assessments

Balancing value and risk within a city's event portfolio: an explorative study of DMO professionals' assessments

Popular Culture Tourism: Conceptual Foundations and State of Play

Event Tourism

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