Published Article / The contribution of tourism to the development of local regions is prolific, as it creates jobs and stimulates the economy (Lopez-Bonilla & Sanz-Altmira 2010; O'Sullivan & Jackson 2010; Saayman & Rossow 2011; Visser 2005). Events are an important motivation for tourists to travel. In this sense, there are three types of events: business events, sport events and festivals (Getz 2007). Festivals and festival tourism is a booming form of event tourism and the importance of festivals are recognized in both national and international spheres (Yang, Gu & Cen 2011). With this in mind, it is imperative that festival organisers have adequate information pertaining to the demographics and service delivery expectations of festival goers. The data for this investigation was collected during the 2013 Bloemfontien Vryfees and the findings report on the demographic composition of the festival goers and their service delivery expectations.

The primary goal of the study was to standardise and validate a scale to measure the arts’ contribution of arts festivals. To achieve this goal, four objectives were formulated. First, to study arts’ contribution of arts festivals by defining, analysing and exploring related concepts through the provision of a detailed background and discussion on the topic by means of a literature review. Second, to study and select applicable explanatory theory that can be used to develop a standardised scale that measures the arts’ contribution of arts festivals by means of a second literature review. Third to determine the validity and reliability of the scale measuring the arts festival’s contribution to the performing arts and to the visual arts through an exploratory factor analysis and a confirmatory factor analysis. Lastly, to draw conclusions based on the research and make recommendations with regard to the standardisation and validation of the scale to measure the arts’ contribution of arts festivals. The first objective was achieved by conducting a literature study. The literature study on arts festivals and their contribution to the arts was explored by defining the term festival tourism; discussing aspects related to a festival (by defining a festival, explaining the festival’s relationship with culture and events, identifying the characteristics, types, benefits and potential problems associated with a festival, and identifying visitor motives for attending a festival); discussing aspects related to the term arts festival (by providing an overview of arts tourism, defining an arts festival, listing reasons for the establishment of an arts festival and discussing the arts present at arts festivals – through defining and classifying the arts); and identifying the contributions of an arts festival to the arts (by listing the types of contribution – educational, emotional, economic, quality, marketing, and growth and development – , discussing the purpose of contributing to the arts, listing perceptual differences of festival visitors regarding the contributions of an arts festival to the arts and discussing limitations of an arts festival to contribute to the arts). Achieving the second objective, the second literature study discussed the term survey (by defining a survey, identifying the types, characteristics, advantages, disadvantages and merits of a survey and discussing the survey process); discussed the term standardisation (by defining standardisation and stating the purpose for the standardisation of a measurement scale); discussed the standardisation process (by outlining the different stages in the standardisation process – the planning phase, where the aim of the measure is specified, the content is defined and the test plan is developed; the item writing phase, includes the writing and review of items; assembling and pre-testing the experimental version of the measure, which includes the arrangements of the items, finalisation of the length, protocols for answering, development of administration instructions and pre-test of the experimental version of the measure; the item and data analysis phase consists of the determination of discriminating power, preliminary investigation into item bias and the establishment of validity and reliability; and revising the final version of the measure, which encompasses the revision of the items and test, the selection of items for the final version of the test, the refinement of administration instructions and score procedures and the administration of the final version of the test); and identified and discussed ethical considerations, foreseen problems, limitations and recommendations associated with conducting a survey and the standardisation of a measurement scale. The third objective was to determine the validity and reliability of the measurement scale. This objective was achieved by discussing the implementation phase of the measurement scale where attention was given to the survey design and sampling. A stratified random sampling method was used at three selected arts festivals in South Africa, the KKNK, Innibos and Vryfees, where a descriptive survey design was administered in the form of a measurement scale, such as a questionnaire. Research assistants were trained and the scale was administered in a consistent fashion which supports internal reliability. The same survey procedures were undertaken at all three arts festivals, supporting face validity and internal validity. Representative samples were collected at the three arts festivals, also supporting external validity. Attention was also given to the measurement scale design (where respondents could give their perceptions concerning the contributions made by the arts festival to the arts through the completion of the questionnaire – which was based on literature and contained the relevant information to collect problem specific information, supporting content validity and construct validity. The scale had also undergone the delphi-technique for expert advice, supporting face validity. Providing a summary of the data analysis procedure contributed to the achievement of this objective. The data collected from the measurement scale have been captured in Microsoft™ Excel™ and analysed using the statistical software program, SPSS. The data of the arts festivals contributing to the performing arts were analysed separately from the data of the festivals where they contribute to the visual arts. This was done to get a detailed data analysis for the standardisation of the measurement scale. The split of the data also contributed to the measurement scale being divided in two separate standardised scales in determining the arts festival’s contribution to a specific form of the arts; both the data of the performing arts and the data of the visual arts had undergone the same statistical procedure for data analysis in determining the validity and reliability thereof. The results indicated that the measurement scale is a valid and reliable measure in determining the arts festival’s contribution to both the arts forms. To determine the validity of the measurement scale pertaining to the performing arts and to the visual arts, an exploratory principal axis factor analysis with Oblimin rotation was conducted on the combined data of Innibos and Vryfees (n = 982). Bartlett's Test of Sphericity was p < 0.001 and the Kaiser-Meyer- Olkin test of sample adequacy rendered a value between 0 and 1, indicating that the sample sizes were adequate to conduct an exploratory factor analysis on the data of the performing arts (KMO = 0.958) and on the data of the visual arts (KMO = 0.972); all items of the performing arts (22 items) and of the visual arts (22 items) loaded on a factor with loadings greater than 0.2. The factor analysis on the performing arts data extracted five factors. Factor 1 (Quality and Education Contribution) was defined by 5 items with a Cronbach’s α-value of 0.867 and an interitem correlation mean of 0.568. Factor 2 (Growth and Development Contribution) was defined by 6 items (Cronbach’s α = 0.896; inter-item correlation = 0.594). Factor 3 (Emotional Contribution) was defined by 3 items (Cronbach’s α = 0.706; inter-item correlation = 0.440). Factor 4 (Economic Contribution) was defined by 4 items (Cronbach’s α = 0.824; inter-item correlation = 0.540). Factor 5 (Marketing Contribution) was defined by 4 items (Cronbach’s α = 0.866; inter-item correlation = 0.617). The factor analysis on the visual arts data extracted four factors. Factor 1 (Education and Growth and Development Contribution) was defined by 8 items (Cronbach’s α = 0.947; inter-item correlation = 0.690). Factor 2 (Economic and Quality Contribution) was defined by 7 items (Cronbach’s α = 0.920; inter-item correlation = 0.622). Factor 3 (Emotional Contribution) was defined by 3 items (Cronbach’s α = 0.828; inter-item correlation = 0.616). Factor 4 (Marketing Contribution) was defined by 4 items (Cronbach’s α = 0.905; inter-item correlation of 0.704). There were correlations between factors of the performing arts and between the factors of the visual arts, where all correlations were 0.3 and larger, supporting construct validity. Further validity of the measurement scale was determined by a confirmatory factor analysis (CFA) on the performing arts data and on the visual arts data of KKNK (n = 602), where the path diagram confirmed the factor structures of both the performing arts and visual arts exploratory factor analyses, supporting criterion validity. CFA goodness-of-fit indexes were also used to determine whether the models fit with the data. The performing arts model and the visual arts model were found to have an adequate to good fit with the data of KKNK. The chi-square test of Independence (X2) for the performing arts rendered a value of p < 0.001 and for the visual arts was p < 0.001. The chi-square divided by the degrees of freedom (X2 / df) for the performing arts was 4.284 and for the visual arts was 4.9, the Comparative Fit Index (CFI) for the performing arts was 0.914 and for the visual arts was 0.931, and the Root Mean Square Error of Approximation (RMSEA) for the performing arts was 0.074 and for the visual arts was 0.079. To determine the reliability of the measurement scale, the Cronbach’s Alpha values and inter-item correlations between the factors were determined. All the factors of the performing arts rendered a high Cronbach’s Alpha value (greater than 0.7) and for the visual arts a value of 0.8. All the factors of the performing arts rendered a high interitem correlation value (greater than 0.4) and for the visual arts a value greater than 0.6. The final objective, to draw conclusions and make recommendations based on the results of the study, indicated that this study made a significant contribution to the literature and methodology of standardising a measurement scale and to the planning of arts festivals as it would lead to the development of arts festivals contributing to the arts more effectively and more efficiently. Future research on this topic should be conducted at other arts festivals, including Englishlanguage arts festivals, to enable comparative studies to be made and supporting the test-retest reliability theory on the standardised measurement scale. It is also recommended that the study should measure contribution to the arts by other arts-related organisations, for example, at museums, theatres, and galleries, by administering the standardised scale to measure the contribution they make to their specific arts form. It is important to standardise a measurement scale for arts contribution to better understand the contributing factors of the arts festival to the arts which will assist festival managers in implementing strategies that ensure the livelihood and ongoing contribution of arts festivals to the arts. / PhD (Tourism Management), North-West University, Potchefstroom Campus, 2015

The primary goal of the study was to standardise and validate a scale to measure the arts’ contribution of arts festivals. To achieve this goal, four objectives were formulated. First, to study arts’ contribution of arts festivals by defining, analysing and exploring related concepts through the provision of a detailed background and discussion on the topic by means of a literature review. Second, to study and select applicable explanatory theory that can be used to develop a standardised scale that measures the arts’ contribution of arts festivals by means of a second literature review. Third to determine the validity and reliability of the scale measuring the arts festival’s contribution to the performing arts and to the visual arts through an exploratory factor analysis and a confirmatory factor analysis. Lastly, to draw conclusions based on the research and make recommendations with regard to the standardisation and validation of the scale to measure the arts’ contribution of arts festivals. The first objective was achieved by conducting a literature study. The literature study on arts festivals and their contribution to the arts was explored by defining the term festival tourism; discussing aspects related to a festival (by defining a festival, explaining the festival’s relationship with culture and events, identifying the characteristics, types, benefits and potential problems associated with a festival, and identifying visitor motives for attending a festival); discussing aspects related to the term arts festival (by providing an overview of arts tourism, defining an arts festival, listing reasons for the establishment of an arts festival and discussing the arts present at arts festivals – through defining and classifying the arts); and identifying the contributions of an arts festival to the arts (by listing the types of contribution – educational, emotional, economic, quality, marketing, and growth and development – , discussing the purpose of contributing to the arts, listing perceptual differences of festival visitors regarding the contributions of an arts festival to the arts and discussing limitations of an arts festival to contribute to the arts). Achieving the second objective, the second literature study discussed the term survey (by defining a survey, identifying the types, characteristics, advantages, disadvantages and merits of a survey and discussing the survey process); discussed the term standardisation (by defining standardisation and stating the purpose for the standardisation of a measurement scale); discussed the standardisation process (by outlining the different stages in the standardisation process – the planning phase, where the aim of the measure is specified, the content is defined and the test plan is developed; the item writing phase, includes the writing and review of items; assembling and pre-testing the experimental version of the measure, which includes the arrangements of the items, finalisation of the length, protocols for answering, development of administration instructions and pre-test of the experimental version of the measure; the item and data analysis phase consists of the determination of discriminating power, preliminary investigation into item bias and the establishment of validity and reliability; and revising the final version of the measure, which encompasses the revision of the items and test, the selection of items for the final version of the test, the refinement of administration instructions and score procedures and the administration of the final version of the test); and identified and discussed ethical considerations, foreseen problems, limitations and recommendations associated with conducting a survey and the standardisation of a measurement scale. The third objective was to determine the validity and reliability of the measurement scale. This objective was achieved by discussing the implementation phase of the measurement scale where attention was given to the survey design and sampling. A stratified random sampling method was used at three selected arts festivals in South Africa, the KKNK, Innibos and Vryfees, where a descriptive survey design was administered in the form of a measurement scale, such as a questionnaire. Research assistants were trained and the scale was administered in a consistent fashion which supports internal reliability. The same survey procedures were undertaken at all three arts festivals, supporting face validity and internal validity. Representative samples were collected at the three arts festivals, also supporting external validity. Attention was also given to the measurement scale design (where respondents could give their perceptions concerning the contributions made by the arts festival to the arts through the completion of the questionnaire – which was based on literature and contained the relevant information to collect problem specific information, supporting content validity and construct validity. The scale had also undergone the delphi-technique for expert advice, supporting face validity. Providing a summary of the data analysis procedure contributed to the achievement of this objective. The data collected from the measurement scale have been captured in Microsoft™ Excel™ and analysed using the statistical software program, SPSS. The data of the arts festivals contributing to the performing arts were analysed separately from the data of the festivals where they contribute to the visual arts. This was done to get a detailed data analysis for the standardisation of the measurement scale. The split of the data also contributed to the measurement scale being divided in two separate standardised scales in determining the arts festival’s contribution to a specific form of the arts; both the data of the performing arts and the data of the visual arts had undergone the same statistical procedure for data analysis in determining the validity and reliability thereof. The results indicated that the measurement scale is a valid and reliable measure in determining the arts festival’s contribution to both the arts forms. To determine the validity of the measurement scale pertaining to the performing arts and to the visual arts, an exploratory principal axis factor analysis with Oblimin rotation was conducted on the combined data of Innibos and Vryfees (n = 982). Bartlett's Test of Sphericity was p < 0.001 and the Kaiser-Meyer- Olkin test of sample adequacy rendered a value between 0 and 1, indicating that the sample sizes were adequate to conduct an exploratory factor analysis on the data of the performing arts (KMO = 0.958) and on the data of the visual arts (KMO = 0.972); all items of the performing arts (22 items) and of the visual arts (22 items) loaded on a factor with loadings greater than 0.2. The factor analysis on the performing arts data extracted five factors. Factor 1 (Quality and Education Contribution) was defined by 5 items with a Cronbach’s α-value of 0.867 and an interitem correlation mean of 0.568. Factor 2 (Growth and Development Contribution) was defined by 6 items (Cronbach’s α = 0.896; inter-item correlation = 0.594). Factor 3 (Emotional Contribution) was defined by 3 items (Cronbach’s α = 0.706; inter-item correlation = 0.440). Factor 4 (Economic Contribution) was defined by 4 items (Cronbach’s α = 0.824; inter-item correlation = 0.540). Factor 5 (Marketing Contribution) was defined by 4 items (Cronbach’s α = 0.866; inter-item correlation = 0.617). The factor analysis on the visual arts data extracted four factors. Factor 1 (Education and Growth and Development Contribution) was defined by 8 items (Cronbach’s α = 0.947; inter-item correlation = 0.690). Factor 2 (Economic and Quality Contribution) was defined by 7 items (Cronbach’s α = 0.920; inter-item correlation = 0.622). Factor 3 (Emotional Contribution) was defined by 3 items (Cronbach’s α = 0.828; inter-item correlation = 0.616). Factor 4 (Marketing Contribution) was defined by 4 items (Cronbach’s α = 0.905; inter-item correlation of 0.704). There were correlations between factors of the performing arts and between the factors of the visual arts, where all correlations were 0.3 and larger, supporting construct validity. Further validity of the measurement scale was determined by a confirmatory factor analysis (CFA) on the performing arts data and on the visual arts data of KKNK (n = 602), where the path diagram confirmed the factor structures of both the performing arts and visual arts exploratory factor analyses, supporting criterion validity. CFA goodness-of-fit indexes were also used to determine whether the models fit with the data. The performing arts model and the visual arts model were found to have an adequate to good fit with the data of KKNK. The chi-square test of Independence (X2) for the performing arts rendered a value of p < 0.001 and for the visual arts was p < 0.001. The chi-square divided by the degrees of freedom (X2 / df) for the performing arts was 4.284 and for the visual arts was 4.9, the Comparative Fit Index (CFI) for the performing arts was 0.914 and for the visual arts was 0.931, and the Root Mean Square Error of Approximation (RMSEA) for the performing arts was 0.074 and for the visual arts was 0.079. To determine the reliability of the measurement scale, the Cronbach’s Alpha values and inter-item correlations between the factors were determined. All the factors of the performing arts rendered a high Cronbach’s Alpha value (greater than 0.7) and for the visual arts a value of 0.8. All the factors of the performing arts rendered a high interitem correlation value (greater than 0.4) and for the visual arts a value greater than 0.6. The final objective, to draw conclusions and make recommendations based on the results of the study, indicated that this study made a significant contribution to the literature and methodology of standardising a measurement scale and to the planning of arts festivals as it would lead to the development of arts festivals contributing to the arts more effectively and more efficiently. Future research on this topic should be conducted at other arts festivals, including Englishlanguage arts festivals, to enable comparative studies to be made and supporting the test-retest reliability theory on the standardised measurement scale. It is also recommended that the study should measure contribution to the arts by other arts-related organisations, for example, at museums, theatres, and galleries, by administering the standardised scale to measure the contribution they make to their specific arts form. It is important to standardise a measurement scale for arts contribution to better understand the contributing factors of the arts festival to the arts which will assist festival managers in implementing strategies that ensure the livelihood and ongoing contribution of arts festivals to the arts. / PhD (Tourism Management), North-West University, Potchefstroom Campus, 2015

The primary goal of the study was to determine the contribution of three distinct South African arts festivals to the arts, namely Klein Karoo National Arts Festival (KKNK), Innibos and Vryfees arts festivals as perceived by visitors to the festivals. To achieve this goal, five objectives were formulated. Firstly, to provide a literature overview of the arts phenomena, by exploring the relationship between arts and culture, the arts context, the arts-related tourism product and then the perceived contributions of arts festivals to the arts; secondly, to determine the perceptions that the visitors to Klein Karoo National Arts Festival (KKNK) have regarding the festival’s contribution to the arts and whether the perceived contributions differs according to the sociodemographic characteristics of the visitors to KKNK; thirdly, to determine the perceived contribution of Innibos Low Veld National Arts Festival (Innibos) and Vryfees Arts Festival (Vryfees) to the arts and, here, to analyse possible differences regarding festival visitors’ involvement in the arts according to their arts preferences; fourthly, to determine the perceived contribution of arts festivals in South Africa to the arts at three arts festivals, namely the KKNK, Innibos and Vryfees festivals, and then to analyse whether or not the festivals differ in terms of their contribution to the arts; and lastly, to draw conclusions from the research and to make recommendations regarding the contributions that these selected South African arts festivals make to the arts. The first objective was achieved by conducting a literature study. Literature was analysed to dentify the relationship between arts and culture when defining the arts. The arts were then placed in the arts festival context; explaining and identifying different art forms that can be present at these events, where after the arts related tourism products were explored with a particular focus on arts festivals. Six contributing factors that arts festivals have for the arts were identified from the literature and each was discussed separately. The contributing factors discovered include the emotional contribution, educational contribution, economic contribution, quality contribution, marketing contribution and the growth and development contribution. Achieving the second objective entailed using a destination-based survey administered at KKNK in Oudtshoorn, Western Cape. An exploratory factor analysis was subsequently conducted and five factors revealed themselves, being Visual arts enhancement, Performing arts enhancement, Emotional inspiration, Visual arts involvement and Performing arts exposure. The factor analysis indicated that KKNK is perceived to contribute to the arts. ANOVAs and ttests were undertaken for further statistical analysis to determine differences in perception between socio-demographic characteristics, such as age, previous arts exposure, arts preference and geographic location of the visitors to KKNK. As the festival is perceived to contribute to the arts, implications were structured for the festival to ensure its continuing contribution to all forms of the arts equally. The third objective was to determine the contributing factors to the arts of two arts festivals, the Innibos and Vryfees festivals, and to determine whether or not preference for a particular type of art might influence personal arts involvement at the festivals. Surveys were conducted at both Innibos in Mbombela, Mpumalanga and at Vryfees in Bloemfontein, Free State. Separate exploratory factor analyses and two-way frequency tables were subsequently conducted to determine the contributing factors of the festivals. This process was followed by independent ttests that were used to investigate any statistically significant differences between visitors who preferred the performing arts and those who leaned towards the visual arts and to their personal involvement to the arts. The results show some moderate differences between arts preference and personal arts involvement concerning the purchase of performing and visual arts products and activities. The results are relevant when the marketing and planning of arts festivals is considered in order to achieve both better arts contribution and personal arts involvement. The fourth objective sought to determine the perceived contribution of three Afrikaans arts festivals, the KKNK, Innibos and Vryfees festivals, to the arts. Differences in contributions amongst the festivals were analysed and those areas that seemed to lack contribution were identified. Questionnaire surveys were conducted, whereafter an exploratory factor analysis was performed to determine by means of factors the perceived contribution at these arts festivals. ANOVAs were done to determine any statistically significant differences in the contributions of the three festivals to the performing arts and to the visual arts in terms of each contribution as identified in literature. The results of this study indicated that the extent of their contribution varied in terms of both the type and the level of their contribution to the arts they presented. The results confirm that the visitors to Afrikaans arts festivals in South Africa perceive them as contributing to the arts. Marketing, programming and planning proposals to effectively increase the arts contribution at these three festivals were also made. The final objective, to draw conclusions and make recommendations founded on the results of the study, indicated that this study made a significant contribution to arts festival planning as it would lead to the development of arts festivals contributing to the arts more effectively and more efficiently. This research made a significant contribution to arts festival research and the contribution that arts festivals have to the arts, since this is the first of its kind. It was recommended that the actual contribution of arts festivals to the arts be measured and not merely the contributions these festivals may appear to have according to the perceptions of festival visitors. It was also evident that the personal involvement of visitors to the arts festivals must be considered when evaluating the contribution of the festivals to the arts. Future research on this topic should be conducted at other arts festivals in order to enable comparative studies. A better understanding of the contributing factors of the arts festival to the arts will assist festival managers in implementing strategies that ensures the livelihood and on-going contribution of arts festivals to the arts. Examining arts festivals based on their perceived contributions has, therefore, proved useful to comprehensively evaluate the festivals under review and particularly as they seek to increase their contribution to all types of arts. / Thesis (MCom (Tourism Management))--North-West University, Potchefstroom Campus, 2013.

The primary goal of the study was to determine the contribution of three distinct South African arts festivals to the arts, namely Klein Karoo National Arts Festival (KKNK), Innibos and Vryfees arts festivals as perceived by visitors to the festivals. To achieve this goal, five objectives were formulated. Firstly, to provide a literature overview of the arts phenomena, by exploring the relationship between arts and culture, the arts context, the arts-related tourism product and then the perceived contributions of arts festivals to the arts; secondly, to determine the perceptions that the visitors to Klein Karoo National Arts Festival (KKNK) have regarding the festival’s contribution to the arts and whether the perceived contributions differs according to the sociodemographic characteristics of the visitors to KKNK; thirdly, to determine the perceived contribution of Innibos Low Veld National Arts Festival (Innibos) and Vryfees Arts Festival (Vryfees) to the arts and, here, to analyse possible differences regarding festival visitors’ involvement in the arts according to their arts preferences; fourthly, to determine the perceived contribution of arts festivals in South Africa to the arts at three arts festivals, namely the KKNK, Innibos and Vryfees festivals, and then to analyse whether or not the festivals differ in terms of their contribution to the arts; and lastly, to draw conclusions from the research and to make recommendations regarding the contributions that these selected South African arts festivals make to the arts. The first objective was achieved by conducting a literature study. Literature was analysed to dentify the relationship between arts and culture when defining the arts. The arts were then placed in the arts festival context; explaining and identifying different art forms that can be present at these events, where after the arts related tourism products were explored with a particular focus on arts festivals. Six contributing factors that arts festivals have for the arts were identified from the literature and each was discussed separately. The contributing factors discovered include the emotional contribution, educational contribution, economic contribution, quality contribution, marketing contribution and the growth and development contribution. Achieving the second objective entailed using a destination-based survey administered at KKNK in Oudtshoorn, Western Cape. An exploratory factor analysis was subsequently conducted and five factors revealed themselves, being Visual arts enhancement, Performing arts enhancement, Emotional inspiration, Visual arts involvement and Performing arts exposure. The factor analysis indicated that KKNK is perceived to contribute to the arts. ANOVAs and ttests were undertaken for further statistical analysis to determine differences in perception between socio-demographic characteristics, such as age, previous arts exposure, arts preference and geographic location of the visitors to KKNK. As the festival is perceived to contribute to the arts, implications were structured for the festival to ensure its continuing contribution to all forms of the arts equally. The third objective was to determine the contributing factors to the arts of two arts festivals, the Innibos and Vryfees festivals, and to determine whether or not preference for a particular type of art might influence personal arts involvement at the festivals. Surveys were conducted at both Innibos in Mbombela, Mpumalanga and at Vryfees in Bloemfontein, Free State. Separate exploratory factor analyses and two-way frequency tables were subsequently conducted to determine the contributing factors of the festivals. This process was followed by independent ttests that were used to investigate any statistically significant differences between visitors who preferred the performing arts and those who leaned towards the visual arts and to their personal involvement to the arts. The results show some moderate differences between arts preference and personal arts involvement concerning the purchase of performing and visual arts products and activities. The results are relevant when the marketing and planning of arts festivals is considered in order to achieve both better arts contribution and personal arts involvement. The fourth objective sought to determine the perceived contribution of three Afrikaans arts festivals, the KKNK, Innibos and Vryfees festivals, to the arts. Differences in contributions amongst the festivals were analysed and those areas that seemed to lack contribution were identified. Questionnaire surveys were conducted, whereafter an exploratory factor analysis was performed to determine by means of factors the perceived contribution at these arts festivals. ANOVAs were done to determine any statistically significant differences in the contributions of the three festivals to the performing arts and to the visual arts in terms of each contribution as identified in literature. The results of this study indicated that the extent of their contribution varied in terms of both the type and the level of their contribution to the arts they presented. The results confirm that the visitors to Afrikaans arts festivals in South Africa perceive them as contributing to the arts. Marketing, programming and planning proposals to effectively increase the arts contribution at these three festivals were also made. The final objective, to draw conclusions and make recommendations founded on the results of the study, indicated that this study made a significant contribution to arts festival planning as it would lead to the development of arts festivals contributing to the arts more effectively and more efficiently. This research made a significant contribution to arts festival research and the contribution that arts festivals have to the arts, since this is the first of its kind. It was recommended that the actual contribution of arts festivals to the arts be measured and not merely the contributions these festivals may appear to have according to the perceptions of festival visitors. It was also evident that the personal involvement of visitors to the arts festivals must be considered when evaluating the contribution of the festivals to the arts. Future research on this topic should be conducted at other arts festivals in order to enable comparative studies. A better understanding of the contributing factors of the arts festival to the arts will assist festival managers in implementing strategies that ensures the livelihood and on-going contribution of arts festivals to the arts. Examining arts festivals based on their perceived contributions has, therefore, proved useful to comprehensively evaluate the festivals under review and particularly as they seek to increase their contribution to all types of arts. / Thesis (MCom (Tourism Management))--North-West University, Potchefstroom Campus, 2013.

Arts festivals form a large part of the South African culture originally as many local communities began to share their culture with visitors by means of arts festivals. This has grown into a large industry that has tremendous financial gain for the hosting communities. With over 500 arts festivals each year in South Africa alone, visitors are certain to find a festival to satisfy their specific needs and wants. Therefore, with so many genres available, each festival has created its own niche market and loyal customer base. An extensive literature study was conducted for the purpose of this thesis and it was found that research of small to medium arts festivals has been neglected. This finding motivated the main theme of this research. As mentioned earlier, there are so many genres available that the festival organisers may experience difficulty when deciding what to offer and how many genres to offer in order to still be sustainable and attract a sufficient number of visitors. Furthermore, the large number of arts festivals organised each year makes it increasingly difficult for festivals to build a loyal client base. First-time visitors can be converted into repeat visitors if the marketing strategy is precise. Repeat visitors, as stated in the literature, results in a sustainable income for each festival. Another question that motivated the research was the location of the three arts festivals (Innibos, Vryfees, and Kierieklapper). Three arts festivals in three provinces makes an interesting study to determine whether there is a difference in the three types of visitors that they attract and the spending patterns at each festival. While addressing the problems stated above, this study produced the following three articles: * Article 1: ―Determinants of spending at Vryfees with a focus on genres‖. * Article 2: ―First-time versus repeat visitors at Innibos Arts Festival‖. * Article 3: ―Role of location in the attendance and spending of festinos‖. Article 1 investigates spending determinants that influence visitor expenditure on the different genres offered at the Vryfees Festival in Bloemfontein, based on a survey conducted in 2011. The research is based on the notion that different genres have different spending patterns. Article 2 focuses on the differences and/or similarities between first-time and repeat visitors at the Innibos Arts Festival as an alternative approach to market segmentation. Lastly, the third article focuses on three different arts festivals in three different locations in South Africa. The research was conducted by means of a visitor survey at the three arts festivals during the same year with questionnaires administered at Innibos (428), Vryfees (336), and Kierieklapper (202) respectively. The most significant contributions of this study can be summarised as follows: * the tourist spending behaviour in regards to the difference between first-time and repeat visitors is significant and can be considered an important spending determinant; * the tourist spending behaviour in terms of length of stay between first-time visitors and repeat visitors is significantly different, suggesting that familiarity with the destination (as the repeat visitors are) has an important impact; * different locations attract their own type of tourists and certain locations receive a higher economic injection than other provinces do because of the type of festival held. All three arts festivals attract mainly Afrikaans speaking attendees; and for the first time, a comparative study has been conducted on three arts festivals targeting the Afrikaans speaking community. Additionally, this is the first time a comparative study was conducted on three small to medium arts festivals located in three different provinces; and * the developed spending model described in the last chapter of this thesis can assist the festival organisers with future festival marketing to improve their income and marketing strategy. / PhD (Tourism Management), North-West University, Potchefstroom Campus, 2014

Arts festivals form a large part of the South African culture originally as many local communities began to share their culture with visitors by means of arts festivals. This has grown into a large industry that has tremendous financial gain for the hosting communities. With over 500 arts festivals each year in South Africa alone, visitors are certain to find a festival to satisfy their specific needs and wants. Therefore, with so many genres available, each festival has created its own niche market and loyal customer base. An extensive literature study was conducted for the purpose of this thesis and it was found that research of small to medium arts festivals has been neglected. This finding motivated the main theme of this research. As mentioned earlier, there are so many genres available that the festival organisers may experience difficulty when deciding what to offer and how many genres to offer in order to still be sustainable and attract a sufficient number of visitors. Furthermore, the large number of arts festivals organised each year makes it increasingly difficult for festivals to build a loyal client base. First-time visitors can be converted into repeat visitors if the marketing strategy is precise. Repeat visitors, as stated in the literature, results in a sustainable income for each festival. Another question that motivated the research was the location of the three arts festivals (Innibos, Vryfees, and Kierieklapper). Three arts festivals in three provinces makes an interesting study to determine whether there is a difference in the three types of visitors that they attract and the spending patterns at each festival. While addressing the problems stated above, this study produced the following three articles: * Article 1: ―Determinants of spending at Vryfees with a focus on genres‖. * Article 2: ―First-time versus repeat visitors at Innibos Arts Festival‖. * Article 3: ―Role of location in the attendance and spending of festinos‖. Article 1 investigates spending determinants that influence visitor expenditure on the different genres offered at the Vryfees Festival in Bloemfontein, based on a survey conducted in 2011. The research is based on the notion that different genres have different spending patterns. Article 2 focuses on the differences and/or similarities between first-time and repeat visitors at the Innibos Arts Festival as an alternative approach to market segmentation. Lastly, the third article focuses on three different arts festivals in three different locations in South Africa. The research was conducted by means of a visitor survey at the three arts festivals during the same year with questionnaires administered at Innibos (428), Vryfees (336), and Kierieklapper (202) respectively. The most significant contributions of this study can be summarised as follows: * the tourist spending behaviour in regards to the difference between first-time and repeat visitors is significant and can be considered an important spending determinant; * the tourist spending behaviour in terms of length of stay between first-time visitors and repeat visitors is significantly different, suggesting that familiarity with the destination (as the repeat visitors are) has an important impact; * different locations attract their own type of tourists and certain locations receive a higher economic injection than other provinces do because of the type of festival held. All three arts festivals attract mainly Afrikaans speaking attendees; and for the first time, a comparative study has been conducted on three arts festivals targeting the Afrikaans speaking community. Additionally, this is the first time a comparative study was conducted on three small to medium arts festivals located in three different provinces; and * the developed spending model described in the last chapter of this thesis can assist the festival organisers with future festival marketing to improve their income and marketing strategy. / PhD (Tourism Management), North-West University, Potchefstroom Campus, 2014