It has generally been acknowledged that the music festival market in UK is remarkable in its size and breadth, with over 600 events held each year (Anderton, C). Meanwhile, the overall commercialization of these UK music festivals in resent years is considerable. Finkel (2010, p. 237) argues that the â€œdegree to which an arts festival is commercialized depends not only on the activities conducted by the festival, but also the ways in which the festival is constructed and utilized by its financial supportersâ€.
According to marketing analysis by IEG and Mintel, leastâ€™s figures show that brands spent Â£23m on live music sponsorship in 2008(IEG, 2010). In fact, only ...view middle of the document...
Similarly, Collett and Fenton (2011) point out that sponsorship is a corporation that invests cash or in kind in return for the right to associate its brand with a sponsored â€œpropertyâ€. Sleight (1989 cited in Copley, 2004, p. 289) expended the scope of sponsorship by specify the financial support to a broad region which include funds, resources and services. Bowdin states that sponsorship is one of the most powerful tools to establish relationships with the target market and all the stakeholders and Tripodi (2001, p. 96) argues that sponsorship has the potential to become â€œthe marketing communications tool for the 21st centuryâ€. It has been further advanced by Currie (2000) that sponsorship is a more dynamic component compared with those conventional promotional components.
It is clear that there are two vital components in sponsorship. The first important element is the supplies for the right to associate with an activity or event. The second element can be summarized as the use of the association for achieving organizational objectives (Srisiri, 2008). Only if both the festival property and the sponsor managed these two components effectively, can this sponsorship relationship be beneficial to both sides.
Corporate sponsorship of cultural events and other public events is becoming an increasing trend nowadays (DÃ¡vila, 1997). Collettand and Fenton (2011) state that an entity offered on the market for sponsorship, usually but not exclusively from the sports, cultural, entertainment sectors, for example, a music festival. Although sponsorship may not appropriate for all types of events, and there is still exist many other alternative ways, sponsorship is still widely considered by the events literature (Geldard and Sinclair, 1996). Regularly, open-air music festivals belong to the category of music events that are part of cultural events (Dshedshorov, 2000). In terms of UK arts festivals, most of them are now rely heavily on corporate sponsors and tie-in (Thompson, 2014). Because most of these festivals are not profit-driven, and many of them are regarded as commercial entities that can be used boost local economy (Finkel, 2010). Live music events and festival generate Â£2.2bn for UK economy, according to an Oxford Economics study for Visit Britain. These events attract 6.5 million people, boost local economies and support 24,000 jobs a year. So it is essential for organizers to carefully measure the sponsorship of music festivals, which is benefit to maintain the vigor and vitality of the festivals.
It is a dilemma for music festival to attract sponsorship, especially those non-commercial music festivals that insist an anti-commercial spirit (Dshedshorov, 2000). Similarly, Yeoman (2004) regards this dilemma as an ethical problem that to what extent organizers sell the festival off into the hands of sponsors. Festival organizers have to deal with the problematic choice, which will challenge organizersâ€™ original intention....