Thesis (DPhil (History))—University of Stellenbosch, 2005. / Funding for the Afrikaans arts before 1994 was greatly controlled by the National Party government through the four former provincial arts councils. With the political change in South Africa after 1994, the dismantling of the provincial arts councils and the perceived uncertainty of the future of Afrikaans in a post-apartheid South Africa, Afrikaans cultural festivals were conceived to serve as a refuge for the Afrikaans language. The first of these was the Klein Karoo Nasionale Kunstefees (KKNK), piloted in April 1995 in Oudtshoorn. The KKNK has since changed every aspect of the Afrikaans arts. It has stimulated the establishment of other, similar festivals throughout the country, while becoming the bread and butter for aspiring and established artists alike. The festival lures thousands of visitors annually, providing Oudtshoorn with an indispensable economic injection. Despite the festival’s success, it has come under critique over the past 11 years for its perceived cultural exclusivity, and has been labelled as a mere “boerebasaar”. In addition, several interest groups vie for direct and indirect control of the festival, each staking their specific claim on the KKNK. This thesis provides a historical analysis of the origin and dynamics of the KKNK from 1995 to the present, while simultaneously comparing it to other so-called arts festivals. In addition, the nature of the festival is explored against the backdrop of various interest groups. The discussion concludes with a reflection on the significance of the festival.

Thesis (DPhil (History))—University of Stellenbosch, 2009. / The study analyzes the reconfiguration of Afrikaans identities in post-apartheid South Africa as mediated by two prominent Afrikaans-orientated arts festivals, namely the Klein Karoo National Arts Festival and Aardklop. Fieldwork was conducted in the two host towns – Oudtshoorn and Potchefstroom. A variety of research methods such as archival research, participant observation, semi-structured interviews and informal conversations were employed. The arts festivals emerged during a time of perceived crisis for particularly Afrikaans communities in the 1990s, when Afrikaans and the arts were in need of being renewed. The study compares and contrasts the Afrikaans-oriented arts festivals to the former Afrikaner volksfeeste in order to illustrate the marked contrasts between them. Whereas the volksfeeste were designed to advance Afrikaner nationalism in a narrow sense, the newly established Afrikaans-oriented arts festivals were envisioned as inclusive celebrations. Both festivals were established to advance the arts in Afrikaans, to redeem Afrikaans, given its tainted reputation as the language of apartheid, and to help bring about national reconciliation. The study traces the historical development of the two festivals in relation to these aims. The literature indicates that festivals as liminal events facilitate conditions during which festivalgoers are united in celebration and experience a sense of community or social communitas. The study utilizes the notion of liminality – the process by which the ordinary is rendered extraordinary during festivals. Six conditions of liminality are distinguished: extensive planning and preparation, different senses of time, the alteration of everyday routines, re-discovery and reappropriation of private and public spaces, the activation of festival spaces and the reworking of rules. It shows how liminality, rather than being self-evident, was carefully constructed. The study assesses the festivals’ potential ‘to bring people together’ against this background by looking at three possible means of social transformation: through the experience of the arts, through the use of public space and through encountering Afrikaans. The assessment reveals the discrepancy between official festival policy and practice. The tensions that existed – between ‘high culture’ and ‘popular culture’, centre and periphery, and inclusion and exclusion – hindered social transformation. The festivals nevertheless contributed to the establishment of a temporary sense of belonging or communitas amongst some festival-goers. Although Afrikaans was central to most manifestations of social communitas, festival-goers celebrated ‘being Afrikaans’ in diverse ways. The study concludes that these festivals were characterized just as much by the presence as the absence of social communitas.

M. Tech. Tourism and Hospitality Management / Events, specifically festivals, have experienced significant growth in South Africa over the past ten years in size, numbers, diversity and popularity. There is a growing need in the broader social circles to embrace various forms of art and to create the opportunity to celebrate culture. For this reason Arts festivals have become a feature in the South African cultural landscape. The long term success and sustainability of these events rely on aggressive marketing and emphasis on service quality, thereby highlighting sustainability of festivals and events through service quality. The questionnaire, based on the SERVQUAL model and an adaption of Grönroos was used to identify service perceptions and expectations of service quality at Innibos National Arts Festival in Mbombela, South Africa. This study aimed at quantifying the gap between attendee's expectations and perceptions of service quality and overall customer satisfaction. This study aims to assist the Management of Innibos and other arts festivals to improve the service quality and meet the expectations of their customers.

The purpose of the study was to develop an optimum market-positioning model for the special interest tourism market to support arts festivals in South Africa (SA). Three subareas were deemed essential for the model, namely determining which attributes contribute to the success of three arts festival scenarios, comparing the different arts festival packages as a tourism attraction and then combining these subareas to develop a model enabling future researchers and marketers to present a successful arts festival in South Africa. The three main arts festivals in South Africa, at Potchefstroom, Grahamstown and Oudtshoorn, were studied. Screening questions followed by judgmental and quota sampling were used to select only like-minded respondents from festival attendees on a scenario basis. In personal interviews the data were collected and then analysed using conjoint analysis and game theory. Conjoint analysis was used in a linear regression model with individual ratings for each product. The average of the r-squares in this study was 0,83, indicating a good fit between data and model developed. Then these results were used in the game theory, comparing the three arts festival scenarios to identify the most successful tourism attraction. A different combination of attributes gave each of the three festival scenarios an optimum market position in its own niche market. The study contributes to the existing body of positioning knowledge, specifically in the festivals and events domain. It also adds value as this model can be applied to other festivals in South Africa and also to other business sectors. / Transport Economy, Logistics & Tourism / D. Com. (Tourism Management)

The purpose of the study was to develop an optimum market-positioning model for the special interest tourism market to support arts festivals in South Africa (SA). Three subareas were deemed essential for the model, namely determining which attributes contribute to the success of three arts festival scenarios, comparing the different arts festival packages as a tourism attraction and then combining these subareas to develop a model enabling future researchers and marketers to present a successful arts festival in South Africa. The three main arts festivals in South Africa, at Potchefstroom, Grahamstown and Oudtshoorn, were studied. Screening questions followed by judgmental and quota sampling were used to select only like-minded respondents from festival attendees on a scenario basis. In personal interviews the data were collected and then analysed using conjoint analysis and game theory. Conjoint analysis was used in a linear regression model with individual ratings for each product. The average of the r-squares in this study was 0,83, indicating a good fit between data and model developed. Then these results were used in the game theory, comparing the three arts festival scenarios to identify the most successful tourism attraction. A different combination of attributes gave each of the three festival scenarios an optimum market position in its own niche market. The study contributes to the existing body of positioning knowledge, specifically in the festivals and events domain. It also adds value as this model can be applied to other festivals in South Africa and also to other business sectors. / Transport Economy, Logistics and Tourism / D. Com. (Tourism Management)

This study examines carnival and ritual in Breyten Breytenbach's dramatic oeuvre and focuses on his Afrikaans drama texts Boklied (1998) and Die toneelstuk (2001). Seeing that these dramas had their debut performances at the Afrikaans national arts festival, the Afrikaans festival phenomenon, as well as Breytenbach's texts will be discussed as framed Events, within a carnival environment, as defined and described by Russian philosopher Bakhtin. The study evolves around three critical questions: 1. How does Bakhtin define the term "carnival" and could Afrikaans national arts festvals be seen as platforms for carnavalesque expression? 2. How does Professor Temple Hauptfleisch define an Event and why can the Afrikaans national arts festivals, as well as the drama texts under discussion, be seen as such Events? 3. How does Breyten Breytenbach's texts link up with Bakhtin's carnival theory and the ritual nature of the Dionysos festivals? / Afrikaans & Theory of Literature / M.A. (Afrikaans)

This study examines carnival and ritual in Breyten Breytenbach's dramatic oeuvre and focuses on his Afrikaans drama texts Boklied (1998) and Die toneelstuk (2001). Seeing that these dramas had their debut performances at the Afrikaans national arts festival, the Afrikaans festival phenomenon, as well as Breytenbach's texts will be discussed as framed Events, within a carnival environment, as defined and described by Russian philosopher Bakhtin. The study evolves around three critical questions: 1. How does Bakhtin define the term "carnival" and could Afrikaans national arts festvals be seen as platforms for carnavalesque expression? 2. How does Professor Temple Hauptfleisch define an Event and why can the Afrikaans national arts festivals, as well as the drama texts under discussion, be seen as such Events? 3. How does Breyten Breytenbach's texts link up with Bakhtin's carnival theory and the ritual nature of the Dionysos festivals? / Afrikaans and Theory of Literature / M.A. (Afrikaans)