1. China Century Itinerant Retrospective
Checklist for domestic “10 city tour” & Milan 2015
exhibitions.
Date Version Responsible/author
April 2002 1.0 Wine Food Tourism Strategies Pty. Ltd (Australia)
November
2011
2.0 Jan Hauters (jhauters@animasuri.com) (Beijing, P.R.
China)
2.1
Attributes/properties
 we have to understand the individual attributes/properties of a good exhibition series (in general) to ensure the
overall quality of our own specific exhibition series. So too do we have to define the sub-categories or
peripheral influences that can make or break the conceptualization (= from the point of view of those individuals
with the vision), execution (from the point of view of the working teams and individuals within it) and evaluation
(= from the sponsors and visitors' point of view) of a "good" exhibition.
 We must ask ourselves general and specific questions. The answer to this question must be deeper and more
detailed than "something that is shown in a space for a duration of time to a target group of people with the goal
to increase awareness leading to economic and cultural growth"
 So, there are some central question(s) we have to ask ourselves. These might look complex but in fact the answer
can very well be simple and obvious. In regards to attributes/properties:
 In general, what are the attributes / properties of an exhibition? What are specific attributes / properties for the
exhibition(s) we are planning?
 In general, what are the attributes / properties that connect a whole series of exhibitions? Any specific ones in
our case?
 I assume some important/dominant attributes / properties of the exhibition / series of exhibitions should be
different from any previous exhibitions. Why, and which attributes / properties should be different from previous
exhibitions? Which attributes / properties should be similar to previous exhibitions?
 What are the attributes / properties of an idealized/utopian exhibition in the far future/past? What would be
detrimental in not achieving this (besides "no money")?
 Which attributes / properties do we believe attract/repulse visitors and sponsors? Can we devise tools to
reduce our bias and gain hard data; perhaps a questionnaire to visitors /sponsors?
 What are the minimum requirements of vendors/service providers aiding in the construction of the exhibitions?
 please think of a few more pertinent questions that can provide a clear working space to develop our projects
more coherently and in a targeted manner.
 In regards to sub-categories or peripheral influences:
 Which external parties do we need to ensure the success of our exhibition series? (the answer must be beyond
"rich people." For instance, in general this would imply the contractual commitment from specific artists,
institutions, sponsors... The commitment requirements need to be specific/concrete.
 Which departments, their participating individuals and their processes do we need?
 which contact do we need? (i.e. city councils, commerce departments,
 etc
contact: jhauters@animasuri.com

2. Common Characteristics of Successful Exhibitions:
 Full commitment and support by all members of the all participating associations (DEVNET, CAFA, etc)
 Clear objectives and priorities established early in the planning process (for both domestic & Milan exhibitions)
 Strong leadership and clear management direction (what do we aim to achieve; besides “money”?)
 An efficient exhibition management committee (not only members to flatter but incl. those who can move
forward)
 Effective sub-committees / departments with clearly defined responsibilities (i.e. PR, admin, etc)
 A strong theme and image for each individual exhibit and an umbrella image for all) (i.e. combination of
traditional. with technological avant-garde/cutting-edge)
 Adequate exhibit planning time (we can not rush a good developed exhibit)
 A detailed week-by-week or month-by-month action plan setting out time targets and responsibilities
 The ability to effectively list tasks for completion
 delegate as required to appropriate teams & individuals (internally & externally)
 Ensure target completion times for each task are met and then move on (i.e. licenses, contracts, providers,
logistics, etc)
 Adequate budget and effective financial controls (i.e. accounting, short-, mid- and long-term planning)
 Market research and clear identification of target markets (i.e. which cities, why, what do they need. Which
sponsors, why, what do they need from a market?, etc)
 Preparation of a business and marketing plan for the exhibits (individual ones and an umbrella plan for all)
 Effective promotion and strong media support (organize a document listing all relevant media)
 Preparation of a sponsorship plan and professional approach to gain sponsorship (not only a contract but a
detailed plan)
 Good sponsorship support - credibility in the eyes of sponsor
o We should not think sponsors are gullible. Neither should we think we are the only ones asking them.
They do not have to come to us, they have many opportunities to spend their money. Everyone wants
their money and brand image.
 Adequate and enthusiastic employee and where possible internship or volunteer support.
 We should employ sufficiently paid secretariat assistants (full-time or part-time), at least before the larger
exhibitions
 Good attention to detail and quality
 Regular review of risk management issues
 Constant monitoring of progress in the action plan and of the exhibition itself
 Comprehensive, regular and post-exhibition feedback to sponsors .
o They have the right to know what the results have been from their investment. Again, we should never
be lazy and treat sponsors equal or better than how we would want to be treated. We must be careful
not to think they are gullible, beautiful smooching words shall not be enough.
 Effective communication between stakeholder organizations throughout the project (devnet, CAFA, etc)
 Awareness that things do go wrong, but the ability through good leadership to minimize impacts we must
develop scenarios in advance!)
 We must, at all times maintain a good sense of (self)humor whilst maintaining respect for our team members
and partners.
contact: jhauters@animasuri.com

3. Strategic Planning Process for Exhibitions – Guidelines and Examples
The following points provides a simple strategic approach to the exhibit management process and includes examples of
actions required. See also above under “attributes/properties:”
Exhibition Definition & Objectives
 What is the purpose of the exhibition (the one and the collection of exhibitions)?
o Artist development, promotion and recognition.
 Increase their domestic visibility,
 Increase their international visibility.
 Increase their work’s value by diversification, association and synergies (i.e. product
placement, co-branding, transcoding into various media content, media technologies, and
advertising vehicles, etc)
o Increase cultural standard of China’s second-tier cities closer towards that of first-tier cities. Provide
them tools to turn themselves and their citizens into culturally-sensitive and culture-value cities/city-
dwellers.
o Provide a platform for art to increase market value
o Provide a platform for various third-party media to use the arts for further exposure
o Provide a platform for business development in harmony with existing governmental and local market
strategies
o Provide a platform for a globalized image of a creative China
o Other?
Organizational Development / Work Breakdown / Task Analysis
 Committee formation
 Policies
 Priorities
 Business & Marketing plan
 Task analysis
 Sub-committee / departmental roles
 Secretaries & their tasks
 Exhibition / exhibition / project managers & their tasks
 Schedule & timeline
Market Research
 segmentation Beijing/local, domestic/second-tier, World Expo,/international
 culture and art “consumption” patterns and trends
 target market/audience/collector
 etc
Exhibition Development
 Timing (date, duration, etc)
 Action Plan
 Exhibition Program Development (who, what, how, why, where…/theme/scenography
 Support services (i.e. logistics for moving artworks, insurance, catering, MC, etc)
 Sponsorships
 Risk management
 Etc
contact: jhauters@animasuri.com

4. Marketing
 . Marketing Plan
 Media Strategy
 Packaging & Promotion
 Etc.
Exhibition Delivery
 Operational management / project management
 Human resources/internships/volunteers
 Set-up
 Break-down
 Move
 Etc
Evaluation
 evaluation criteria/methods
 exhibition timing and planning implication
 economic benefits (or lack thereof)
 relational benefits (or lack thereof)
 other benefits (or lack thereof)
 feedback to sponsors
 etc
Management Review
 Objectives
 Priorities
 Organizational performance
 Planning Process
 Marketing Strategies
contact: jhauters@animasuri.com

5.  The following table presents a comprehensive outline of key exhibition operational planning and management
tasks and should be used to verify that all areas of the planning process have been covered effectively.
Exhibition(s) Checklist One
Exhibitions Committee Planning and Management Tasks
Person
Responsible
Date
Finalized
Planning – Initial Considerations:
 Assess the idea or opportunity
 Ensure a clearly identified opportunity exists for the exhibition(s)
 Develop a Business and Marketing Plan
 Define the objectives the exhibition(s) wish(es) to achieve
 Ensure all members of the organization are aware of, and fully
understand the objectives
 Set the exhibition date – avoid clashes with other exhibitions ,
exhibition, happenings, holidays, etc. Also consider weather
conditions at that time of year
 Determine the required lead time for planning – allow sufficient time
 Develop an action plan/critical tasks timeline – a month-by month
schedule detailing responsibilities and target completion dates for
each task
 Plan to have all arrangements in place and tasks completed no
later than 2-4 weeks prior to the exhibition – (the timeline will
always blow out due to unexpected delays)
 Determine the need for specialist expertise – exhibition planner,
project manager, guest curator, media and PR, design, etc.
Exhibition Committee:
 Form the exhibition committee – [??? number] people maximum
 Appoint/elect the exhibition Coordinator and Convener
 Appoint positions (i.e. chairperson, secretary and accountant)
 Select committee members based on expertise and ability to
contribute to the exhibition management process – financial,
marketing, media, sponsorship, programming, etc
 Establish areas of responsibilities
 Establish clear line of communication – formal reporting
requirements
 Set meeting dates for lead up to exhibition
 Review records of previous exhibitions
 Form the appropriate sub-committees/departments if required
Typical areas of Committee Responsibilities:
Funding and Finance:
 fundraising
 establish a budget
 establish proper financial management and reporting
Sponsorship:
 develop a sponsorship plan
 identify opportunities for cash and in-kind sponsorship
 identify potential major and minor sponsors
 prepare sponsorship proposal for each target sponsor
 keep sponsors informed
Exhibition Program:
 develop the program for the exhibition
 obtain necessary equipment, audio-visuals, etc
 arrange necessary permits
 establish risk-management plan and safety requirements
contact: jhauters@animasuri.com

6.  arrange public liability/risk insurance
 arrange exhibition reservations - ticketing and passes
 select key-note / celebrity individuals
 appoint judges and officials if required
Transport and Support Services:
 public transportation to and from the exhibition
 vehicle parking
 liaison with council, police and other regulatory authorities and
medical facilities
 power, water supply and toilet facilities
 security
 volunteer groups and organizations
Marketing:
 prepare and implement a marketing plan
 media plan and media releases
 printed promotional material
 promotional activities
 public relations
Catering:
 arrange food and beverage services
 arrange and negotiate concessions
 seek support from local organizations or school programs
Accommodation (if required):
 liaise with accommodation providers
 arrange booking facilities for visitors and participants
Participant and Visitor Registration:
 arrange participant registration, liaison and coordination
 arrange visitor registration and ticketing
VIP Hosting:
 Hosting of invited dignitaries
 Arranging transportation and accommodation (if required)
Entertainment and Special Functions:
 Organizing entertainment components and additional/secondary art
forms
 Organizing special functions e.g. official openings, etc.
contact: jhauters@animasuri.com

7.  The following checklists have been developed to provide a comprehensive guide to the planning of exhibitions.
The first checklist (Exhibition Checklist One) details Exhibition Committee responsibilities and the second
(Exhibition Checklist Two) overviews key operational and management tasks that need to be completed for
successful exhibition coordination. The two lists should be used together, with individual responsibility and
completion dates identified. The lists should be modified as required, depending on the size and scope of the
exhibition.
Exhibition Checklist Two
Exhibition Operational and Management Tasks
Person
Responsible
Date
Finalized
Financial Management:
 Forms part of our Business and Marketing Plan
 Identify appropriate funding sources including: business,
sponsorship, member/business participation fees, estimated visitor
fees, concession fees, merchandising, program advertising
revenue, raffles, government grants – local, State and International
 Prepare grant funding submissions
 Establish an appropriate financial management system
 Establish budget guidelines
 Prepare a detailed budget – revenue and cost items
 Conduct a Break-Even analysis (know the limits)
 Ensure positive cash-flow in lead-up to the exhibition(s)
 Allow for post-exhibition costs e.g. Audited financial statements,
exhibition evaluation, reports to sponsors
 Monitor budget on a monthly (at least) basis —take corrective
action early
 Compile an asset register (to ensure items do not “disappear”)
Sponsorship:
 Allow sufficient time to secure sponsors —approach sponsors as
early as possible (the earlier they are locked in the greater the
marketing value for both the exhibition and the sponsor)
 Determine benefits for sponsors – tangible and intangible
 identify potential major and minor sponsors
 Prepare a sponsorship plan
 Identify both cash and in-kind (= by means of goods or services)
opportunities
 Prepare sponsorship proposals – understand the sponsors
 Request written confirmation of sponsorship commitments
 Attempt to get sponsorship dollars in early to cover cash flow in
lead-up to exhibition
 Keep sponsors involved and informed
 Acknowledge sponsors at every opportunity
 Under-sell and over deliver – exceed expectations
(NOT: over-sell= “brag” and under-delivery = “ change or not give
what we promise”)
Post-exhibition evaluation and report back to sponsors
Kind of sponsorships:
 Logistic Support
 Award Support:
 Communication Support
 Digital Support
 Research Support
 Tailored Support
 Rhizomic Support: connect the exhibition's sponsorships to
sponsorships at local museums or exhibitions. The sponsorships at
the local museums or exhibitions can be provided by providing one
or other support to these via us (i.e. their museum can be promoted
within our exhibition by means of brochures, shared ad space etc)
Degree of sponsorship:
 Gold
contact: jhauters@animasuri.com

8.  Silver
 Bronze
Exhibition Programming:
 Investigate ways to make the exhibition(s) unique, special and
better than other exhibitions
 Decide on the various components making up the exhibition(s)
 Establish the time required for each component – art auctions, art-
process demos, etc.
 Design the program to maintain interest, however avoid making the
overall program too tight/busy.
 Determine special function needs – official opening, official dinner,
presentations and establish timing
 For annual / larger exhibitions try to introduce something new or
different to the program to maintain interest
 Ensure the overall program schedule allows the exhibition(s) to
finish on time
Licenses, Permits and Approvals:
 Apply for necessary licenses, permits and approvals as early as
possible
 May be required from local government, police, government
statutory bodies and agencies
 Attempt to include local council in planning process to ensure
support and ease of administration
Volunteers/internships:
 Decide on the number and skill level of volunteers/ internships
required
 Recruit volunteer labor force e.g., students from universities,
academies, etc, members of local related (art) clubs and
associations
 Brief volunteers on the objectives of the exhibition
 Appoint volunteer team leaders – assist in communication process
& delegate responsibility
 Allocate tasks and advise volunteers when their services will be
required
 Draw up rosters for the exhibition days
 Identify ways that recognition can be given to volunteers for their
assistance
 Know the rights and responsibilities of volunteers and the exhibition
committee
Printing requirements:
 Decide the initial requirements e.g. letterhead, entry registrations,
submissions
 Identify the printed items required prior to the exhibition
e.g. Posters, brochures, fliers, postcards, invitations, information
kits
 Determine the items needed during the exhibition
e.g. Programs, tickets/passes, signage
 Develop a design and printing schedule / timeline
 Schedule completion of printing at least one week prior to the date
the items are needed
contact: jhauters@animasuri.com

9. Bookings / Reservations:
 Identify all the bookings / reservations required
 Make the necessary bookings as soon as possible
e.g. VIP’s (if a major politician / entertainer ensure many months
lead-time), venue, catering, equipment hire, entertainment, venues
for special functions (e.g. dinners), first-aid / ambulance, police,
support services (e.g. power, rubbish removal), judges, MC /
compare, PA system, flags / buntings / decorations, etc.
 Book the exhibition committee meeting venue for each meeting
leading up to the exhibition
Accommodation:
 Determine the accommodation needs
 Negotiate discounted tariffs and / or sponsorship arrangements
(consider as revenue opportunity)
 Compile an accommodation list giving details of tariffs and distance
from venue
 Book accommodation for VIP’s (if required)
 Consider establishing / contracting a central reservation booking
service for high volume visitor exhibition (if required)
 Confirm accommodation requirements with providers as the
exhibition draws near
 Determine cut-off date to release accommodation if not required
Special Equipment:
 Establish the needs for the exhibition(s)
 Determine whether equipment is to be hired or on loan
 Ensure both parties have a clear understanding of when items will
be delivered
 Establish who will be responsible for transport to and from the
exhibit location
 Determine who will be responsible for insurance during
transportation and during the exhibition
 Determine who will be responsible for setting up and taking down
equipment
e.g. marquee, staging, seating, sound, lighting, etc.
Information Kits:
 Prepare information kits for visitors / media:
 Exhibition details and exhibition functions
 Organizing committee names and emergency contacts
 Accommodation options
 Local transport services and taxi numbers
 Special transport arrangements (if any)
 Town and region map
 Public telephones
 Medical facilities
 Restaurants
 Nearest ATM locations
 Tourist information
 Things to do in town or region
 WIFI spots
contact: jhauters@animasuri.com

10. Exhibition Judges and Officials:
 Arrange judges well in advance
 Ensure judges are thoroughly briefed (in writing) of their
responsibilities and are familiar with specific exhibition rules
 Ensure a contingency judge is available in case of illness or last
minute “no-show”
 Arrange for identification of judges and officials during exhibition(s)
Traffic Management and Parking:
 Identify potential traffic problems and bottle-necks
 Arrange assistance from police if necessary
 Check requirements with local council and roads department
 Identify special signage needed for the exhibition and obtain
permission for placement of (outdoor) signage
 Ensure there is plenty of parking available – include the need for
coach parking (if necessary)
 Arrange sufficient car parking attendants to facilitate ease of
parking and traffic flow
 Designate special parking area for exhibitors/artists/performers,
VIP’s, judges, etc.
Venue:
 Check the venue well in advance
 Check cleanliness and condition of building, grounds, toilets,
catering areas
 Check electricity, lighting, water supply is adequate and able to
manage the expected load
 Check disabled access and toilet facilities
 Ensure sufficient rubbish disposal bins and recycling facilities are
available – arrange for removal if necessary
 Ensure sufficient toilet facilities will be available
 Arrange for regular cleaning of toilets during the exhibition
(recommend every 3-4 hrs)
 Determine venue decoration requirements
 Identify locations for sponsors banners and signage
 Arrange staging and special seating as required
Security:
 (if required) Establish ticketing arrangements to minimize cash at
the exhibition
 Arrange security for cash at key-points e.g. entry gate, bar and food
outlets
 Arrange after-hours secure storage, or banking of cash or other
(art) valuables if necessary
 Determine potential crowd control problems (alcohol abuse) and
have contingency arrangements in place to cope with any problems
quickly and efficiently
 Clearly designate restricted areas at the venue with barriers and/or
signage
 Ensure all exhibitors/artists/performance are properly briefed on
security arrangements
contact: jhauters@animasuri.com

11. Catering:
 Decide the type of catering best suited to the exhibition
 Select the catering providers e.g. organizing body, other
organization or concessionaires
 Ensure high standards in range and quality of catering
 Approach training organizations (schools) to provide catering
services (if appropriate)
 Keep prices reasonable
 Ensure catering outlets comply with Workplace Health and Safety
requirements
 Establish catering requirements for exhibitors/artists/performers,
volunteers,
 judges and VIP’s (i.e. vegan, vegetarian, hallal, kosher, food
allergies, etc)
Media Technology
PA / AV system:
 · Ensure spare microphones are supplied
 · Arrange to have back-up equipment available e.g.
 projector, computers, amplifier, etc.
 · Arrange installation of systems in ample time for exhibitions
 · Ensure speakers are placed in positions to avoid feedback
 · Know how to operate equipment
 · Thoroughly check all equipment including back-up system
 before the exhibition opens
 · Ensure all electrical leads and cabling are positioned in a
 way to prexhibition inadvertent disconnection and danger to
 individuals
 · If using background music, make sure music is appropriate
 and the volume kept at a reasonable level
 · Use quality images for AV program
Digital / Virtual environment system:
 tba
IT system
 tba
 WIFI services
Hosting VIP guests:
 Prepare the VIP guest list
 Send invitations as early as possible (perhaps twice. Once
very early and a second reminder)
 Allocate responsibility for VIP hosting (meet and greet)
 If necessary, arrange accommodation, transport, exhibition
 entry tickets (if required), functions, etc.
 For VIP speeches, advise the schedule and time allocated
 to each speaker (very short speeches are better than long
ones; i.e. 5 to 10 minutes maximum!!)
 Anticipate that VIP speeches may extend beyond the
 allocated time – build time into program scheduling
contact: jhauters@animasuri.com

12. Risk Management / Emergency Planning:
 Acknowledge that accidents do happen – be prepared
 Allocate responsibilities for risk management
 Conduct an audit and regular review of potential risk areas
 Take action to minimize hazards
 Develop an emergency plan to deal with crisis situations
 If necessary, seek professional advice
Insurance:
 Check public liability insurance (PLI) requirements – be
 aware of current liability costs and issues facing public
exhibitions such as exhibitions.
 Ensure insurance covers, visitors, exhibitors, performers, art
works, volunteers and officials, organizing committee and
organization
 Specific insurance for artwork transportation, storage and
exhibition will need to be considered.
 Use effective Risk Management plan to reduce premium
 Consider other insurance requirements e.g. Items of
equipment hired or on loan, expensive items to be awarded
as prizes, etc
Marketing the Exhibition:
 Prepare a Marketing plan
 Identify target markets both exhibitors / participants / artists /
performers and visitors / consumers
 Determine promotional methods and frequency e.g. press /
radio advertising / interviews/ internet blogs / emailed
newsletters / SMS/ outdoor advertising signage / (local) TV
cultural news /, leaflets / letter drops / posters / newsletters /
public noticeboards / direct mail / banners / internet (links to
other sites) / other compatible lead-up exhibitions, existing
local museums (at door), etc.
 Determine appropriate methods of distributing printed
material
 Arrange free publicity through regional exhibition calendars,
news releases, media interviews, public speaking, friends
and relatives, art mailing lists
 Establish media relationships
 Prepare news and media releases on the basis of Who?,
What?, Where?, When?, Why?
 Identify appropriate media for advertising
 Select print media for advertising on the basis of target
readership, timing, circulation and readership numbers,
deadlines for submitting advertising copy
 Arrange advertisements and aim to achieve the following
objectives – attract attention, develop interest, create desire
and induce action (i.e. visit the exhibition, buy the art, etc)
 If allowed – erect exhibition signs on entry roads into town
and erect banners in main street or shopping precincts
 For larger exhibitions endeavor to arrange outside radio
broadcasts, television coverage, feature articles in the print
media
 Consider using an advertising agency and/or PR media
contact: jhauters@animasuri.com

13. organization to boost awareness
Post-exhibition tasks:
 Arrange venue cleanup and rubbish removal
 Arrange dismantling and removal of loan/hire equipment
 Remove decorations
 Return display material to sponsors
 Send letters of appreciation to key organizations and
individuals who have provided support
 Conduct an evaluation of the exhibition
 Arrange audited financial statements (if required)
 Prepare sponsors report
 Update the asset register
Post- even Evaluation:
 Evaluation should be conducted in three ways:
 A de-briefing meeting / planning assessment
 Assessment of exhibition outcomes
 Assessment of impact on member and local businesses
activity during the exhibition
 Consider conducting a formal exit survey using university /
student support to measure success – sponsorship
awareness, branding success, level of spend, intention to re-
visit, etc,
Signs of Decline of interests in the Exhibition(s)
 Attempt to identify the reason/s for decline well in advance or
as soon as it arises.
Assess the following options to address the problem:
 verify the date/timing of the following exhibition to be a more
appropriate time in
 the year
 Expand the marketing effort
 Re-invent or re-brand the exhibition
 Boost the exhibition with new experiences / activities
 Combine with other compatible exhibitions or exhibitions to
create greater
 impact and wider interest
 Extend the timing of the exhibition out to every xx to yy a
month/a year
 Discontinue the domestic exhibition in that location / across
China.
contact: jhauters@animasuri.com

14.  A fundamental part to ensuring continuing success with exhibitions is to evaluate success and identify the
benefits generated for the association, members, sponsors and the community. This provides a foundation for
securing future sponsorship and ensuring support for the exhibition from the membership, industry and
community. The following guidelines should assist in the development of a simple, cost-effective evaluation
process
Exhibition Checklist Three
Post-Exhibition Evaluation
Person
Responsible
Date Finalized
Debriefing meeting / Planning Assessment
 The first step is to arrange a debriefing meeting with the
 Committee and exhibition organizers soon after the
completion of the exhibition
 Purpose is to review each aspect of the exhibition planning,
management and marketing, examine any problems and
identify ways future exhibitions can be improved exhibition
outcomes should be evaluated against the goals and
objectives set out in the Business Plan
Areas for discussion:
 · Committee structure and operation
 · Funding
 · Budget
 · Sponsorship
 · Marketing
 · Exhibition program
 · Venue
 · Equipment
 · Support services
 · Risk management
 · Transport and parking
 · Accommodation
 · Security
 · Volunteer resources
Exhibition Assessment:
The assessment should look at attendance and financial
performance:
 · Number of visitors
 · Visitors point of origin
 · Length of stay in the region
 · Sponsor recall
 · Number of exhibitors
 · Number of concessionaires
 · Gate takings
 · Exhibitors/stalls takings
 · Food and beverage outlet takings
 · F&B attendance estimate
 · Number of vehicles
 · Number of programs distributed
 Do not over-estimate attendance, try to be accurate, source
estimates from various people and locations
Business Activity Statement:
contact: jhauters@animasuri.com

15.  It is unlikely that the organization would conduct research to
identify the economic benefit to the region and local business
during the exhibition. However, if necessary this can be
achieved by simply contacting local tourism operators
(accommodation, restaurants, tour operators, attractions)
and other key businesses by telephone or personally to
obtain general trends. This will not provide a detailed
economic impact analysis but will provide some indicators of
success.
The sorts of questions that should be asked include:
 Did the operator experience an increase in patronage and
revenue during the exhibition?
 If so, by what percentage?
 How did this performance compare with any previous
exhibition?
 For the reoccurring exhibition, the comparison of evaluation
results with
 the previous year is critical.
 It is worth considering utilizing local resources such-as
universities (often a low cost option if students are involved
in the research project) to gain a more detailed analysis of
the exhibitions effect to the region
contact: jhauters@animasuri.com