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

The arts in many countries, but particularly in developing ones, are coming under increasing financial pressure and finding it difficult to justify the increases in government funding needed to maintain and grow the cultural sector. The trend in cultural economics, as well as in other areas, appears to be towards including qualitative valuations, as well as the more traditional quantitative ones. This thesis argues that the value of cultural events should include long term historical qualitative analysis, financial or economic impact and a valuation of the positive externalities provided by cultural events and that any one of these should only be regarded as a partial analysis. Four methods of valuing the arts using the South African National Arts Festival (NAF) as an example are demonstrated. Firstly, a qualitative historical analysis of the role of the NAF in South Africa’s transformation process from Apartheid to the democratic New South Africa is examined, using theories of cultural capital as a theoretical basis. It is argued that the value of cultural events needs to take into account long-term influences especially in countries undergoing political and social transformation. The second valuation method applied is the traditional economic impact study. Four economic impact studies conducted on the NAF are discussed and methodologies compared. It is concluded that, despite the skepticism of many cultural economists, the method can provide a useful partial valuation and may also be used for effective lobbying for government support of the arts. Chapter four discusses willingness to pay studies conducted at the NAF in 2000 and 2003 (as well as a pilot study conducted at the Klein Karoo Nationale Kunstefees). It is found that lower income and education groups do benefit from the positive externalities provided by the Festival and that this is reflected in their willingness to pay to support it. It is also argued that such contingent valuation studies can provide a reasonably reliable valuation of Festival externalities, but that they may be partly capturing current or future expected financial gains as well. Finally, the relatively new choice experiment methodology (also called conjoint analysis) is demonstrated on visitors to the NAF. The great advantage of this method in valuing cultural events is that it provides part-worths of various Festival attributes for different demographic groups. This enables organizes to structure the programme in such a way as to attract previously excluded groups and to conduct a cost-benefit analysis for each part of the Festival.

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