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Festivals and the creative region 02

Festivals andthe creativeregionThe economic and social benefits ofcultural festivals in the East Midlands:key findings from a study byDe Montfort University, Leicester


Contents

Welcome 02Findings at a glance 08Background 11The festivals involved 12The findings 14The way forward 24Views 26Contacts 28

Northamptonshire Open Studios


I am pleased to introduce theFestivals and the creativeregion report to you. This isthe first comprehensive studyof festivals in the EastMidlands and reflects onthe economic and socialimpact of 11festivals in theregion during 2002.

It is encouraging to read howsuccessful festivals are, not justin terms of the economy, butalso in making people proudof where they live and thecommunity-based feelings,which are rekindled throughsuch events.

This research shows howfar we, as a region, havecome and gives us anindication of how we canbuild on this success to trulymake the East Midlands thehome of festivals.

The success of any researchproject depends on the effortsof many people. I would liketo thank the researchersFranco Bianchini, ChristopherMaughan and Paola Merli ofDe Montfort University,

Leicester, together with the11festivals that took part.

Our other partners on thisproject were East MidlandsDevelopment Agency (emda)and Regional Economic andArts Partnership (REAP),which comprised of localauthority officers fromacross the region.

Most importantly, I would liketo thank those members ofthe public who willingly gavetheir time and cooperation,helping to make the researcha success.

Laura DyerExecutive Director,Arts Council England,East Midlands

Arts at the heart of festival successWelcome and views from the partners


almost 70% ofthe audiencewould bemore likely toattend otherevents in thefuture

Buxton Festival


The East Midlands festivalsare vital ‘creative hubs’ forcultural energy, celebratingour vibrant and diverse region.Bringing significant benefits,festivals enable positive socialand economic change.

By achieving a ‘sense ofplace,’ engaging communitiesand enhancing local imageand identity, festivals bringvaluable experiences toboth those participatingand those attending. Theyhelp to create an environmentthat is attractive to investorsand contribute to oureconomic wealth.

Cultural activity in the EastMidlands plays an importantrole in our vision to be one ofEurope’s Top 20 regions by2010, achieving a qualityenvironment for all.

I hope this research will act asa springboard, advocating theever-growing benefits festivalscan bring to our region andensuring they continue to bea source of innovation,creativity and enjoyment.

These are exciting times forthe East Midlands and I lookforward to my next visit to afestival in the region.

Martin BriggsChief Executive,East MidlandsDevelopment Agency

Springboard for developmentWelcome and views from the partners


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REAP was delighted to be partof the commissioning processfor the study of the economicand social impact of festivalsin the East Midlands. We area regional group of localauthorities who believe thatthe economic benefits ofcreative activities are notalways recognised and thatthere was a lack of researchinto these issues.

Happily, times have changed.The impact on skillsdevelopment and economicspend around festivals, andthe major contribution madeby local volunteers to theevents have come to beunderstood and valued.

This is a growth area for theregion. This can be seenthrough investment in thearts, from Arts CouncilEngland, European sourcesand from local authorities.

The East Midlands is rightlyproud of the range of festivalsthat have sprung up aroundthe region. As this study byDe Montfort University,

Leicester makes clear; thesefestivals are often notinstigated as arts events.However the arts add vibrancy,an excitement, different skills,and often physical risks (instreet arts, for example) findinga natural home in thecelebratory festival context.

Now, as illustrated by thisstudy, we also recognise thateach event contributes muchmore. They bring peopletogether, give volunteers anopportunity to make thingshappen, increase local pride,introduce new artsexperiences, and provide ahealthy boost to thebusinesses that contribute toa festival. These are all factorsthat local authorities wish tosupport and nurture.

Tim HarrisHead of Arts,NottinghamshireCounty Council,on behalf of the RegionalEconomic and ArtsPartnership (REAP)

Reaping the benefitsWelcome and views from the partners


£7millionwas spent byaudiencesatlocal shops andbusinesses inthe festivals’host areas

Wirksworth Festival


Findings at a glance

Arts festivals are:Generating substantial wealthand employment; this isillustrated by• the total income of all 11festivals

was almost £1million• more than 40% of the income

generated was earned income(ticket sales)

• total spent was £990,000contributing a further £570,000 tothe East Midland’s economy –equivalent to 28 full time jobs

• artists’ fees were the largestexpense at 50%, with considerablenew work opportunities beingcreated for local artists

• £7 million spent by audiences atlocal shops and other businesses inthe festivals’ host areas. Theeconomic impact of this spendinggenerated a further £4 million tothe region – equivalent to 209 fulltime jobs

• 33% of local businesses thoughtfestivals brought new business

• 93% of businesses saw festivals asgood for local communities and84% saw them as making a goodcontribution to the developmentof tourism

Arts festivals are:Enhancing local image andidentity; this is illustrated by• more than 64% of festival

attenders said they felt morepositive about the place where thefestival was held. This demonstratesthat festivals can be an importantfactor in improving perceptions ofplaces and people

• an estimated 33,000 hours of helpby volunteers (equivalent to 375days work for each of the festivals)demonstrates that many festivalsare rooted in the social and culturallife of the host community

Arts festivals are:Generating and sustainingaudiences; this is illustrated by• the Leicester Belgrave Mela

attracted the largest overallaudience with approximately100,000 people attending

• the average attendance for theother 10 festivals was 15,000,ranging from 3,000 to 31,000


The research shows thatarts festivals in the EastMidlands create:• a very high level of satisfaction with

the event• a very high level of participation by

the public• return visits – almost 70% of the

audience would be more likely toattend other events in the future

– 55% of people who attended, hadbeen to the festival before

• increased interest in artsactivities – more than 44% saidthey had become more interestedin the arts as a result of attendinga festival

• varied audience profile – almost90% of people attending were in agroup or couple

– 65% of attendees were over45 years old

– young people under 25represented the greatest potentialfor growth. They make up 30.9%of the region’s population but forthese festivals only make up 13.5%of audiences

– 58.1% of the audiences were in fullor part-time employment, 10.3%were students and 25.2% retired.

• local commitment – audienceswere mostly local or from withinthe region and travelled less than50 miles return. 50% travelled lessthan five miles and 16.2% less thana mile

– More than 17% of audiencestravelled on foot. The majority ofthose who attended travelled bycar (71.9%). Buses, trains and taxisaccounted for 8.3% of journeys

– 44% of people found out aboutthe event by word of mouth with17% finding out from thelocal newspaper

– volunteer support equates to£15,000 per festival

I liked the mix of opera and literarycontributions – something for all tastes.Buxton benefits from the festival andI congratulate the organisers. A lot ofhappy people left the event‘Buxton International Festival

A very important community event‘Tideswell Well Dressing‘

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Lovely to see so many familiesenjoying a day out in Newark’Newark on Water

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During 2001De Montfort University,Leicester was commissioned toresearch the social and economicimpact of cultural festivals in theEast Midlands by Arts CouncilEngland, East Midlands, EastMidlands Development Agency(emda) and Regional Economicand Arts Partnership (REAP).

The team of researchers, ChristopherMaughan, Franco Bianchini andPaola Merli travelled the length andbreadth of the region, from the spatown of Buxton, Derbyshire to theinner city suburbs of Leicester, whereeach play host to unique andextremely successful festivals.

The research centred on 11festivalsand reflected the range of eventsthat take place throughout theregion including the location, culturaldiversity and cultural form.

The study started with theassumption that a festival was atits best participatory and inclusive.It can be:

• an opportunity for reflection andfor imagining alternative futures forboth individuals and communities

• a source of creativity and innovation• a way of developing audiences for

different types of cultural activity• a tool for exploring different points

of view about places and the useof space

• an effective way of nurturing skillsand social involvement

• a way of attracting visitors andenhancing the image of a placefor local people

• a forum for public, private andvoluntary sector collaboration orthe regeneration of a town or area

BackgroundThe people involved




• an opportunity for socialising and acommunity celebration, developinglocal distinctiveness and pride

• a contributing factor to thesocial and economic well beingof local people

The festivals were:

• Leicester Comedy Festival(150 events in 35 venues)

• Art on the Map in Lincolnshire(73 visual artists and craftspeopleexhibiting in over 60 venues overfour weekends)

• Newark on Water Festival(45 free events in a single openair venue on the river Trent byNewark Castle)

• Tideswell Well Dressing,Derbyshire

• Buxton Fringe Festival (350events in more than 12 venues)

• Buxton Festival (70 events insix venues)

• Leicester Belgrave Mela(an Asian cultural and social eventheld in Abbey Park, Leicester)

• Derby Caribbean Carnival(a parade through the streets ofthe city and an event inOsmaston Park)

• Northamptonshire OpenStudios (125 visual artists andcraftspeople exhibiting in about80 venues)

• Wirksworth Festival(performing arts events, and visualarts and architecture trails)

• NOW (30 contemporary artsevents in several non-traditionalvenues, such as warehouses, nightclubs and shop windows, as wellas other established venuesin Nottingham)

A brilliant use of ratepayers’money. Congratulations toall who organised it’Newark on Water

‘

Northamptonshire Open Studios Northamptonshire Open Studios

44% said theyhad becomemore interestedin the arts asa result ofattending afestival


NOW


The total income of the 11festivalswas just under £1million. More than40% (over £415,000) was earnedincome, including membership fees.

The largest source of earned incomewas box office takings at just over£300,000. Public funding accountedfor more than 40% of income(about £417,500). Arts CouncilEngland was the largest singlefunder providing 24% of thecombined total income of the11festivals. This contribution was£239,000 (including just less than£79,000 provided by various lotteryschemes and by the Arts Council’snational touring programme).

Local authorities contributed£162,000 in total (16% of totalincome), with 89% of this providedby city and district councils.Sponsorship, in cash and kind,amounted to £85,000 (about 9%of total income), while just over£63,000 and £26,000 came fromcharitable trusts and individualdonations respectively.

Volunteer help, calculated at £5 perhour, is estimated at £165,000. This isvery similar to the scale of localauthority contribution anddemonstrates the crucial role localsupport, both public and voluntary,played in the staging of the 11festivals. Volunteer support equatesto £15,000 per festival. This figure

may be an underestimate, as servicesprovided by volunteers are oftenspecialised and, if charged at acommercial rate, would cost morethan £5 per hour.

• The festivals’ direct expenditureand its economic impact

Ten of the 11festivals providedbudget information, on whichcalculations are based.

Artists’ fees were the largest item ofexpenditure (just over £492,000,corresponding to 50% of totalexpenditure), followed by staff costs(about £170,000, or 17% of totalexpenditure), marketing and publicity(about £120,000, or 12%) andproduction costs (about £113,000, or11%). Education and outreachprogrammes accounted for justunder £36,000 (3%).

The total spent by the festivals wasjust under £990,000. By using amultiplier tailored to the economiccharacteristics of the East Midlands,it is possible to estimate that thismade a further contribution of upto £570,000 to the regionaleconomy. Similarly, by utilising anEast Midlands average weekly wagefigure it is possible to conclude thatdirect expenditure by the festivalscould support 28.75 full-timeequivalent (FTE) additional jobsin the region.

The findingsThe economic impact


• The customer effect;expenditure by audiencesand its economic impact

Money spent by audiencescontributed almost £7 million to theeconomies of the places hosting the11festivals.

By applying the same multiplier andaverage weekly wage used for thefestivals’ expenditure, the authors ofthis study concluded that the amountspent by audiences generated up to£4.16 million additional income forthe regional economy, which couldsupport 209.7 additional FTE jobs.

Generally people who travelledfurther spent more. The averagemoney spent by those who travelled20 miles or less was £21, rising to£81for those who travelled morethan 20 miles.

The most extreme example of thiswas the Buxton International Festival,where the average spent by thosewho travelled less than 20 miles was£30, as opposed to £161spent bythose travelling more than 20 miles.

• Impact on local businesses

The study gathered the views of aselection of local businesses fromseven of the 11festivals. Some of thecompanies surveyed said that festivalsprovide economic benefits to them,

as expressed in increases in thenumber of customers (30%) andin turnover (30%).

However, similar numbers indicatedthat festivals were not important(28%) and were even disruptive(20%), as shown in reduced numberof customers during the time of thefestival. A similar result was proved bythe fact that the percentage of thosewho replied did not think of festivalsas a source of new business (45%)was substantially higher than thepercentage of those who did (33%).

Nonetheless, at a more general levelthe local businesses surveyed had avery positive attitude towardsfestivals. They saw them as: • good for local communities (93%)• making a good contribution to the

development of tourism (85%) • enhancing the image of an area as

a place to live (84%)

Of the companies in the sample,52% had attended a festival local tothem, and only 33% had attendedother festivals. Interestingly, 67% oflocal businesses had not beenformally approached by a festivalwith requests for support. Thereforethis is a key area for development forfestivals across the region.


Catch your breath performance –a very magical use of lights;inspiring and educational’NOW

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64% of festivalattenders saidthey felt morepositiveaboutthe place wherethe festivalwas held


Wirksworth Festival


What people thought ofthe festivals

High levels of satisfaction wereexpressed with the festivals’ brochuresand actual event programmes.

More than 80% of the audiencesrated the festivals’ brochures goodto excellent.

90.3% of audience members thoughtthe events they attended were alsogood to excellent, with 43% ratingthem excellent and 47.3% good. Only1.4% considered the events attendeddisappointing to poor.

There is evidence that festivalsmake a significant contribution topromoting the place where theyhappen and to developing audiencesfor cultural events.

As a result of attending festivalevents, 64.4% of audiencemembers felt more positive aboutthe place where the festivalshappened. 67.3% felt more inclinedto attend other festivals, and 44.3%said they had become moreinterested in the arts.

Frequency of attendance andawareness of the festivals

55.7% of festival goers had attendedthe event the year before.

Only 31.3% had attended anotherfestival during the previous year, anda significant percentage, 15.8% werenot aware that the event they hadattended was part of a festival. Justover a third of those attending,35.4%, were aware of the fundersand sponsors for the festival.

I find it the most stimulating local eventcomparable to the best at national level’Wirksworth International Festival

‘

The findingsStatistics


Festival going as a social activity

Only 10.7% of audience membersattended alone, 89.3% came withone or more other people, and10.3% came as part of groups offive to seven people.

How people found out aboutthe festivals

More than 17% heard about thefestival from a newspaper, 5.8%from a Tourism Information Centre(TIC), and 8.4% and 7.4% fromradio and television respectively.Word of mouth was by far the mostimportant source of information,rating at 44.4%, while only 2%heard about the festival throughinternet sources, suggesting a need

for development in this area. However, when generally lookingfor arts or festival information,newspapers were by a long way themost frequently consulted source(47.1%), followed by TICs (12.7%)and word of mouth (9.8%). Locallybased audiences made greater use ofnewspapers (mentioned by 24%)and of word of mouth (34%) thanfestival goers travelling from morethan 10 miles away (8% and 29%respectively). For the latter group,brochures (mentioned by 50%) weremore important than for locallybased audiences (41%) as sources ofinformation. This seems to illustratethat newspapers are a vital localresource and brochures should beused to attract audiences from thewider geographic area.

For Derby this is brilliant. It achieves agood mix of age groups, and anyonewho wants to be involved can do’Derby Caribbean Carnival

‘


Leicester Belgrave Mela Leicester Belgrave Mela


A profile of the audience

• Gender, disability and ethnicity

More than 42% of festival goerswere male, and 57.3% female, theregional percentages being 49.11%male and 50.89% female.

More women than men completingresearch questionnaires may haveinfluenced this. The questionnaires forthe Buxton International Festival weresent to the home addresses of peoplewho had attended performances.This was the only time more men(51.3%) replied than women.

Seven per cent of audience memberscompleting questionnaires had adisability, which is slightly higher thanthe percentage of people withdisabilities in the region (6%).

More than 86% were WhiteEuropean. By comparing data onattendance to the 11festivals withEast Midlands data drawn from the2001Census, we can see that thepercentage of the audiencebelonging to the Black or Black Britishethnic groups (2.6%) was more thantwice as high as the regionalpercentage (0.95%). The same applies to Asian or AsianBritish ethnic groups. This groupmade up 9.6% of audiences, whilethey represent about 4% of theregion's population. However, most

non-white festival goers onlyattended the Leicester Belgrave Melaand the Derby Caribbean Carnival. Ifthese two festivals are excluded fromthe sample, the White Europeanpercentage of the audience rises to96.7%, while the Asian and Blackpercentages decline to 1.6% and0.8% respectively. This isapproximately three times lower thanthe actual weight of these two ethnicgroups in the region’s socialcomposition. This suggests there is areal need for festivals to broaden theirappeal to Asian and Black audiences.

• Age: many shades of grey

The majority of festival goers (65.3%)were aged 45+. According to the2001Census, the percentage of 45+in the East Midlands is 40.6%.

The percentages of audiences aged25-44 (31.2%), 45-54 (20.5%),55-64 (17.7%) and 65+ (17.1%)were all higher than the regionalpercentages for these age groups,by 2.75%, 6.9%, 6.7% and 1%respectively. The difference betweenthe age profile of festival goers andthat of the region was especiallysignificant for the 45-64 age group.They represented 38.2% ofaudiences, but constituted only24.6% of the region’s population.Those under the age of 25accounted for 13.5% of audiences,a very low figure compared with the

A new experience; I’m most impressed‘Buxton Fringe Festival‘


regional percentage (30.9%). This, assuggested earlier, highlights the needfor further developing the festivals'appeal to young people.

• Occupational profile: a class divide?

58.1% of audiences were in full orpart-time employment, 10.3% werestudents and 25.2% were retired.

In terms of employment by sector,festival goers were underrepresentedin the manual and less skilledoccupations. For example, only 6.4%worked in manufacturing, 1.1% inconstruction, 1.5% in transport,storage and communications and5.1% in elementary occupations(the regional figures being 19.9%,6.9%, 6.2% and 13.7% respectively).On the other hand, the percentagesof festival goers in professionaloccupations (25%), real estate(23.5%), public administration(10%) and education (20%) weresignificantly higher than the regionalpercentages (9.8%, 10.4%, 4.9%and 7.8% respectively.) This illustrateshow festivals could again broadentheir appeal across occupational lines.

• Distance travelled and mode oftransport: local roots

Audiences for the 11festivals weremostly local or within the region,and generally travelled less than50 miles return journey.

The exceptions to this were theBuxton International Festival, theBuxton Fringe Festival and TideswellWell Dressing, which attracted40%, 31.5% and 54% respectivelyof their audiences from more than25 miles away.

Fifty per cent of audience memberstravelled less than five miles, and16.2% less than a mile. Eight festivalsdrew more than 60% of theiraudiences from less than 10 milesaway. More than 17% travelled onfoot. The most popular form oftransport was the car (71.9%).Buses, trains and taxis accountedfor 8.3% of attenders.

Good value for money;it creates a good feeling’Leicester Comedy Festival

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I want a day like this everyday’Derby Caribbean Carnival‘

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Young peopleunder 25representedthe greatestpotential forgrowth.Theymake up 30.9%of the region’spopulation


Urban Flava, Derby Dance Centre


Working together

Cultural festivals in the East Midlandswould benefit from being promotedjointly with other tourism attractionsaimed at people of different ages,to sustain the interests of visitors.

These attractions could vary and bespecific to the festival tone. Fromwalks in the countryside to tours ofhistoric houses and gardens, fromsports links to include football, cricketor rugby matches to connecting withshops, markets, restaurants andpubs. Many areas have localspecialisms and traditions in crafts,food and folklore and these couldall be exploited. Extending theopening hours in a host town’spubs, bars, cafés and restaurants forthe duration of the festival could alsoadd benefit to businesses andaudience members.

There should be greater regionalnetworking by festivals. There is noregional marketing agency andstrategy in the East Midlands,which could aim at developingopportunities for greater cross-regional cooperation. There is alsoan absence of centralised bookingfacilities for most festivals that mustbe addressed. However, the recentpublication by emda of the Festivityguide and the appointment by ArtsCouncil England, East Midlands of aFestivals Development Programme

Manager are importantdevelopments that will help toaddress a variety of managementand marketing issues.

A more coordinated festival calendarwould be helpful, in order to avoidan over-concentration of events atcertain times of the year, and a verylimited offer at other times.

The festivals would also benefit fromjoint publicity, through differentmedia, ranging from the internet tobrochures and press and possiblyeven broadcasting campaigns iffunds allowed. The study has alsonoted that, due to the nature of thelocal press, there is very limitedcoverage of regional events or ofevents outside their readershipcatchments area. Local newspapersin the East Midlands should beencouraged to develop theirregional coverage of festivals andother cultural events, by illustratingtheir readers are prepared to travelto them.

Venue-based arts organisations, suchas art galleries, tend to programmetheir activities far in advance offestivals – a fact which limitsopportunities for collaboration. Thissuggests that better planning andcommunication would be required.

The way forwardConcluding thoughts


Increasing investmentMore research is required to measurethe social and environmental impactsof festivals in the region. This researchshould be used as part of a sustainedadvocacy strategy, aimed especially atlocal authorities, to illustrate thebenefits of festivals and increaselevels of funding. Public and privatefunders need to be shown thebenefits of festivals and encouragedto increase levels of investment tomaximise these benefits. In particular,there is ample scope for developingthe dialogue between festivals andlocal businesses. Organisations suchas Arts & Business and the Chambersof Commerce could play animportant role in brokering increasedcontact between festival organisersand local enterprises.

Volunteers should be offeredopportunities for training and otherforms of support.

Attracting new audiences

Festival organisers should beencouraged to programme morefree events aimed at the under-25soffering more opportunities forparticipation in festivals.

Festival organisers need to exploreways of developing a wider audienceprofile for their events, includingimplementing new approaches toprogramming and marketing thatwill bridge race, age and class divides.

The possibility of developingcalendars of open artists’ studiosevents for each county of the EastMidlands should also be explored.

Nurturing local distinctiveness

The grassroots-based character of the11festivals is clearly a great strength.These are not artificial festivals,manufactured by tourism or placemarketing authorities.

It is important to nurture initiativesthat display a high level of originality.

Specific packages of activities aimedat tourists have to be developed toraise the variety of the offer, but thishas to be done subtly, to avoidcompromising the originality of theinitiative and alienating existingaudiences.

The event is excellent; I appreciatethe opportunity to meet the artists’Art on the Map, Lincolnshire

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Here are just a few example opinionsfrom local authority officers in theEast Midlands.

‘On the ground, festival developmentis really important to localcommunities.’Tessa Massey, North WestLeicestershire District Council

‘Success is breeding success –particularly through elected members.The success of Newark on Water hasgenerated a deeper understanding,appreciation and commitment todevelop cultural programmes inNewark & Sherwood.’Mark Stephens, Newark &Sherwood District Council

‘Arts Fresco – an exciting street artsfestival – day took place in MarketHarborough and was a great success.The event was a partnershipbetween Harborough DistrictCouncil, Market HarboroughDrama Society and CaterinaLoriggio (ex-Winchester Hat Fair).It is hoped that this will become theonly event of its kind in the Midlandsand that other partnerships canbe developed to commission largescale outdoor events.’Sophy Wright, HarboroughDistrict Council

Views fromLocal authority officers

A great way to bring differentcultures together in an act of unity’Leicester Belgrave Mela

‘Wirksworth Festival


Although carried out in a separatesurvey, comments on therelationships between festivals and avariety of venue-based artsorganisations were also collected.The following selection highlightsimportant issues:

‘It’s good occasionally to be part ofsomething bigger, with a widerscope than that of your own venue.A festival provides an opportunity tocollaborate on events and marketing(maximising the potential of yourown efforts) and to attract newaudiences to your venue. Workingwith NOW over a number of yearshas always been very positive fromthis point of view. However, oneproblem with festivals is that theindividual identity/message of avenue can be drowned out by thebigger event. Everything thathappens is programmed and can beperceived as being because of thefestival (or actually assumed to beorganised by the festival); credits forfunders etc. can get lost.’Deborah Dean and CathrynRowley, Angel Row Gallery,Nottingham

‘Metro helps to put on one or twofilms screenings within theWirksworth festival programme,which are always a sell-out. Becauseof this festival’s diversity of artforms,film sits well within the wholeprogramme, and in turn increasedcustomer awareness throughmarketing Metro at the festival hasencouraged increased attendances atthe cinema’.Kathy Wilson, Metro Cinema, Derby

‘Art on the Map is the only festivallisted that really has any impact onthe Usher Gallery and on the Countyof Lincolnshire. It addresses the ruralnature of the county in a way thatother festivals do not’.Jeremy Webster, Usher Gallery,Lincoln

‘Northamptonshire Open Studiosis an excellent showcase forpractitioners of fine and applied artsand never fails to surprise myself andfellow professionals with regard tothe quality and range of often‘hidden’ talent in the county’.Alison Cowling, NorthamptonMuseum and Art Gallery

Views fromvenue-based arts organisations

A very important community event’Tideswell Well Dressing‘


Marcus HammondArt on the Mapc/o Bend in the River56 Bridge StreetGainsboroughLincolnshireDN211LSTel: 01427 617 [email protected]

Glyn FoleyBuxton Festival5 The SquareBuxtonDerbyshireSK17 6AZTel: 01298 70395Fax: 01298 [email protected]

Peter LowBuxton Fringe FestivalTel: 01298 [email protected]

George MightyDerby Caribbean CarnivalWest Indian CommunityAssociationTel: 01332 [email protected]

Pravin MistryLeicester Belgrave MelaBelgrave NeighbourhoodCentreRothley StreetLeicesterLE4 6LFTel: 0116 222 [email protected]

Geoff RoweLeicester Comedy Festival16 New StreetLeicesterLE15AWTel: 0116 2915511Fax: 0116 [email protected]

Newark on Water FestivalNewark & SherwoodDistrict CouncilKelham HallNewarkNottinghamshireNG23 5QXTel: 01636 [email protected]/newarkonwater

Gabriella SmithNorthamptonshireOpen StudiosBarton Seagrave HallBarton RoadKetteringNN15 6SGTel: 01536 485 [email protected]

Mark DeyNOWCommunity & LeisureServices2nd FloorIsabella StreetNottinghamNG16ATTel: 0115 915 [email protected]

Paul FletcherTideswell Well DressingTel: 01298 [email protected]

David GrattidgeWirksworth FestivalTel: 01629 825926/[email protected]

ContactsThe11festivals researched


For a copy of the full report,including details about the researchmethodology or for further copiesof this executive summaryplease contact:

Tina BrowneArts Council England East Midlands25-27 Castle GateNottinghamNG17ARTel: 0115 989 7554Email: [email protected]

This executive summary will also beavailable on www.artscouncil.org.ukafter 15 September 2003.

The contact for the authors ofthe study are:

Christopher MaughanTel: 0116 [email protected]

Dr Franco BianchiniTel: 0116 [email protected]

This is just one example of researchinto the arts. For further examplesvisit the Arts Council EnglandNew Audiences website atwww.newaudiences.org.uk

Leicester Belgrave Mela


Designed byCubic0115 9106060

Commissioned photography byKate BellisWirksworth FestivalJonathan CascianiNOWFaye ChamberlainBuxton Festival andBuxton Fringe FestivalZoe ChilderleyLeicester Comedy FestivalMichael ForbesDerby Caribbean Carnival andLeicester Belgrave MelaJames SmithNorthamptonshire Open StudiosChris WebbUrban Flava, Derby Dance Centre

This publication’s research was funded by

Regional Economicand Arts Partnership,East Midlands

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