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2018-2022

BUSINESS PLAN

It’s my City, 2016. Lead artist: Alex Rinsler. Local artists: Minè Kleynhans, Marius Jansen Van Vuuren & Tshiamo Art and Crafts
Collective (Loki Maselwane, Itumeleng Moamogwa,Tshegofatso Marogoa). Photograph Leopold Frechow.
Onesie World, 2017.
Lead Artist: Adele Varcoe
1. Vision, mission, values and goals 3.4 Market 4.6. Programme for Innovation in 4.7 Pan-African Creative Exchange
CONTENT

Artform Development (PIAD) (PACE)


2. Executive Summary 3.5 Competition
4.6.1 PIAD First Nations 4.8 Arts Learning
3. Context 4. Programme
4.6.2 Arts/Science And 4.9 Arts Market
3.1 History 4.1 Main Program
Interdisciplinary
5. Target Markets
3.2 Internal situation 4.2 Vrystaat Literature Festival Artist Residencies
Knowledge and skills 6. Competition
4.3 vrynge 4.6.3 OpenLab
Relationships and networks
Interdisciplinary Arts 7. Goals and KPIs (Key Performance
Brand potential 4.4. Public Art
Laboratories Indicators)
Financial situation
4.5. Free State Arts and Health
4.6.4 Production and 8. Financial Plan
3.3 External situation (FSAH)
Presentation of New
Political 9. Management Plan
Work
Economic
10. Risk Management
Social 4.6.5 Critical Debates/
Technology Forums

Contributors: Vrystaat Arts Festival Board; Roxanne Konco, Marketing Manager; Atie Kamper, General Administrator and Arts & Crafts Market Organiser; Michael Garbett, Assistant Administrator
and Vrynge Coordinator; MC Roodt, Manager Free State Arts and Health; Adriaan Meyer, Festival Programme Manager and PAP Creative Producer; Corneli van den Berg, Literature Festival
Coordinator; Thuthuani Ndlovo, Assistant Literature Festival Coordinator; Zane Muller Vrywees Creative Producer; Rea Mokone, PACE Administrative Assistant and PAP Creative Producer;
Nike Jonah and Erwin Maas, Co-Directors Pan-African Creative Exchange (PACE); Angela de Jesus, Curator Steggmn Gallery and Co-Director PIAD
Plastic Histories, 2014
Lead Artist: Cigdem Aydemir
OUR VISION OUR GOALS
1. VISION, MISSION, VALUES AND GOALS

One festival. Many stories The Vrystaat Arts Festival’s goals are:
1. To bring people together
OUR MISSION 2. To support great art
To support the development and presentation of great 3. To develop artists and audiences
art in the Free State for all
4. To drive innovation
5. To play on the world stage
OUR VALUES
Welcoming
OPERATIONAL GOAL
• Inclusive
To run an efficient festival
• Respectful
• Collaborative
Man with the Green Blanket, 2015.
Artist Lesiba Mabitsela.
The Vrystaat Arts Festival is an Afrikaans This will be achieved not only because of our
2. EXECUTIVE SUMMARY

language festival that forges creative strong artistic vision, but because Mangaung has
connections with English and Sotho cultures. some of the best theatre and accommodation
It also contributes to the global exchange infrastructure of any secondary city in Africa.
of ideas around arts, culture and society
There are more than 15 fully equipped theatres
through connections with other national and
ranging from 150-1000 seaters, over 800
international creative communities.
guesthouses, an international airport (Bram
Our vision is centred on the principle of ‘One Fischer), and easy access from Cape Town,
festival, many stories,’ and our mission is to Johannesburg, Pretoria, Port Elizabeth and
support the development and presentation of Durban by road.
great art in the Free State for all. We do this
Currently income is generated through art
by bringing people together; supporting great
markets, ticket sales, sponsorship, philanthropy,
art; developing artists and audiences; driving
grants and other fundraising activities.
innovation; and playing on the world stage.
The estimated local economic impact of the
The festival’s current strategic plan was
festival is more than R208 million annually.*
developed after international, national, and
local consultations on what the festival could For every R1 spent by the festival, therefore,
achieve not just to support the local Free State an additional R35 is injected into the local Free
economy, but also to have a significant impact State economy.
on South African, African, and global creative
The overall financial goals for the festival are to
communities.
build additional operational and project income
As a consequence the festival now functions over a five year period and develop reserves at
as a creative industry generator, instigating 20% of turnover.
partnerships and new initiatives such as a fringe
festival (vrynge); a national and international
literature festival (Vrystaat Literatuurfees);
public art projects (PAP and Vrywees); Arts
Learning programs; a Free State Arts and
Health program; the Programme for Innovation
in Art form Development (PIAD); and a Pan-
African Creative Exchange (PACE).

Of all the festivals in South Africa, the Vrystaat


Arts Festival is the most strategically placed to * South African Festivals Economic Impact Calculator
become a major international arts festivals on (SAFEIC) www.southafricanculturalobservatory.co.za/
the African continent. safeic-intro
Ontbloem, 2016. Artist: Francois Knoetze.
Photographer Leopold Frechow.
The province of origin in 2017 was Free State
3.1 HISTORY
3. CONTEXT

(35%), Gauteng (27%), Western Cape (10%),


Eastern Cape (9%), Northern Cape (8%), North
The Vrystaat Arts Festival is registered in
West (7%), Kwazulu-Natal (6%) and Limpopo
South Africa as an Association without Profit.
(2%).
Previously known as the Volksblad Arts Festival
and Vryfees, the festival established itself as Tickets for theatre productions are sold via
a major South African arts festival since its Computicket. More than 240 productions
inception in July 2001. including drama, comedy, children’s theatre,
music theatre, teenage drama, classical
The founding company is Media24 with the
music, contemporary music, film, visual arts,
University of the Free State and the Volksblad
workshops, experimental, interdisciplinary
regional newspaper the two festival partner
work and a literature festival were supported.
sponsors. The university sponsors infrastructure
and significant initiatives such as the Vrystaat In 2017 more than 1000 South African artists
Literature Festival and the Programme for were supported by the festival: 495 White,
Innovation in Artform Development (PIAD), and 312 Black and 205 Brown. In addition 27
Volksblad sponsors publicity for the festival, as international artists were supported: 18 White
well as office space. and 9 Black.
The festival has been an annual multidisciplinary The festival also hosts more than 400 arts
event held during the second week of July market stalls including food, art and crafts,
since 2001. art galleries and clothing, which attracts local
audiences as well as tourists nationally and
Entrance to the terrain of the festival is free for
internationally.
pedestrians, with a small vehicle entry fee paid
when entering the university grounds by car. The estimated local economic impact of the
festival is more than R208 million annually.
Since 2014 the festival has become a key national
hub for site specific and interdisciplinary work,
including hosting artists from all over the world.

Approximately 160,000-180,000 people attend


the festival on the campus of the University of
the Free State (UFS), with up-to an additional Hattingh, Johann. Evaluating the demographic and
75,000 people experiencing free public art in behavioural profile of visitors to the Vrystaat Arts Festival.
the city centre. A synopsis, Tourism and Event Management, Faculty of
Management Sciences, Central University of Technology,
The current demographic of the festival goer is Free State. 2016.
61% white, 22% black, 11% brown, 1 %Indian * South African Festivals Economic Impact Calculator
and 5% Other. (SAFEIC) www.southafricanculturalobservatory.co.za/
safeic-intro
The festival is strengthening its current African connections young people; farmers; local businesses; women; people
3.2 INTERNAL SITUATION
3. CONTEXT

with Southern African member states Botswana, Namibia, with disabilities; and developing communities.
Lesotho, Swaziland, Zaire and Zambia and forging new ones
Knowledge and skills To grow the brand we are presenting a more diverse
with Egypt, Ghana, Kenya, Nigeria, Uganda and Senegal
programme which includes productions representing a
The staff and volunteers of the Vrystaat Arts Festival have (most prominently through the Pan-African Creative Exchange
wider racial and age demographic; presenting more young
experience in South African and international cultural - PACE).
upcoming and popular artists that will encourage new
development and festivals. They also have a strong knowledge
Other international festival partners include the Andrew audiences to attend; and significant, active engagement on
of South African customs and easily negotiate intercultural
W Mellon Foundation, the Kingdom of the Netherlands, our social media platforms.
dialogue.
Istituto Italiano di Cultura, the Flanders Government, Festival
There is enormous potential for brand growth in particular
Key personnel have strong project management and Atelier, the International Federation of Arts Councils and
though the Pan-African Creative Exchange (PACE), which
governance skills, having worked in both corporate and Cultural Associations (IFACCA), Queensland University of
will see a range of national and international presenters and
publicly funded environments. This encompasses analysis Technology, Salamanca Arts Centre, Tasmania (through
producers attend the festival.
and financial feedback of the business plans and program SituateArt in Festivals), Arts House, Melbourne, DADAA in
implementation of major cultural institutions. Western Australia, the Australia Council for the Arts, Duckie
UK, the Canada Council for the Arts, Arts Council England,
Of increasing importance in a contemporary cultural
Mid-Atlantic Arts Foundation, New York based International
Financial situation
environment, staff also have extensive skills in social media
Society of Performing Arts (ISPA), De Maan Teater, A3 Youth This business plan sets a course to ensure that the Vrystaat
for both marketing outcomes and audience development.
Theater Singapore and ASSITEJ. Arts Festival is financially robust and viable.
In a growing on-line space, where audiences seek curated
and managed information, these skills not only facilitate the Key personnel also have strong links and previous The festival’s income is generated through its arts markets
creation of successful brands and audience engagement, but employment experience at the Australia Council of the Arts, (more than 400 stalls), ticket sales, and grants and
also provide innovative platforms for developing the program SAL and academic links to institutions such as the University sponsorships both nationally and internationally. Since 2014
content of the festival and its annual program. of the Free State, Faculty of Arts and Social Sciences at the the income from the arts market has increased by 30%,
University of Technology, Sydney, University of Stellenbosch, and ticket sales 36%. However, the cash sponsorship for
WITS University and the Centre for Cross-cultural Research at operational costs is plateauing.
Relationships and networks the University of Western Sydney.
At the same time funding for individual projects have
Staff and volunteers have strong links to key players in the increased by 57%.
South African cultural industries, including close ties to the
National Arts Council of South Africa (NAC), KKNK, Woordfees,
Brand potential One of the goals of the festival is to increase its core cash
operational funding so that staffing can match the increased
Innibos, Suidoosterfees, Aardklop, Grahamstown Arts The Vrystaat Arts Festival is dedicated to supporting the
program output.
Festival, Business Arts South Africa (BASA), Johannesburg development of the arts in central South Africa, nationally and
Art Fair and the Market Theatre. increasingly Pan-African and internationally. Another key financial goal for the festival is for reserves to
reach 20% of annual cost.
The festival also has major networks with key sponsors such The target audience currently is the general public with special
as Media24, the University of the Free State, the Volksblad, reference to the following sub-segments: local artists; national We will do this by increasing box office sales, fundraising
the National Afrikaans Theatre Initiative (NATi), ATKV, ABSA, artists; international artists; Afrikaans speaking communities; activities and by improving the consistency of annual results.
Distell, SA Brewery, Dagbreektrust, PACOFS, Kunstetrust, SeSotho speaking communities; English speaking
OFM and Stuttafords Van Lines. communities; families; students; LGBTQI communities;
A favorable foreign exchange rate will make it cheaper to pay renewed pride in the achievements of current South African
3.3 EXTERNAL SITUATION
3. CONTEXT

South Africans for internationally funded works in South Africa, society, and also offers opportunities for South Africans
but if this fluctuates significantly, it may impact on the budget to contribute constructively to debate about their cultures
Political
forecasting for the festival. nationally and internationally.
South Africa is a complex political nation. Continued efforts
Broader global economic situations impacting on the economy
around land reform and wealth redistribution with limited
would also affect funds available for new productions, and the
government resources means sustainable funding models of
size of consumer budgets for entertainment. These factors
Technology
support must be developed for the festival to survive.
inevitably influence the decision of audiences attending the The Vrystaat Arts Festival utilises and continually improves
There is still significant racial divisions in South Africa, festival. on current social media technologies such as Facebook,
which often highlight the stark gaps between rich and poor, Wordpress, Twitter, Instagram, Youtube and crowd sourcing
www.oecd.org/southafrica/south-africa-economic-forecast-summary.htm
predominantly, but not solely, along racial lines. websites such as Ideas Scale and Thundafund. As new
technologies and applications emerge, the Festival will
The festival has a significant role to play in linking communities
augment its operational and social media strategies with new
and different language groups through community engaged Social tools and infrastructure, such a directly selling tickets from
projects, as well as providing socially relevant art to foster
A key area of cultural support the Vrystaat Arts Festival Facebook.
dialogue.
provides in partnership with the University of the Free State
Teleconferencing facilities such as Skype, Whatsapp and
The festival also has a key role in providing communities through the PIAD is the recognition and celebration of First
Google+ Hangouts are utilised to continue dialogue between
access to cultural capital, identity formation and therefore self- Nations people - in particular the Khoi and San people of
South African stakeholders and international partners.
empowerment. South Africa. Through consultation with the Khoi and San, the
Conferences and forums as part of the festival, also use these
festival features appropriate ceremonies to open events, with
facilities to link in international speakers who may not have
participants also partaking in key forums held at the festival.
the capacity to be physically present at the festival, but who
Economic
Through the First Nations focus and engagement with other are critical partners in the debate around the work presented.
South Africa’s monetary policy operates in a difficult language groups, the festival creates opportunities for local
environment of high inflation and low growth. The long-lasting South African communities to connect with each other and
drought and rising oil prices have maintained inflation high. their national and international peers. These events provide
a point of contact for a range of South African communities
Securing the support of key philanthropic and corporate
to exchange ideas amongst themselves, and create space 1 Franke, P. (2010). Research Report on Public Participation in the Arts Survey,
sponsors for operational costs is critical for the running of the
for international audiences to meet diverse South African Methodology & Demographics. pp. 3- 13. http://www.nac.org.za/research/
festival. Significant energy, research and networking will be reports/NAC%20PPS%20forWeb.pdf
creatives.
required to obtain funds from international and South African The Free State has a very specific creative-industry profile. In addition
businesses for the festival given the current economic climate. The festival extends beyond the showcasing of work, by to being one of the few regions in the country where the population
is growing (compared to a general decrease in the population in South
offering itself as a site of mobilisation and identity formation
Relationships with other festivals and producers are important Africa), according to the Public Participation in the Arts Survey 2010 by the
for a range of participants who might re-imagine what it means National Arts Council of South Africa, the Free State, of all the provinces,
for maintaining the economic viability of the festival. This had the highest percentage of people who participated in the arts because
to be South African in a multicultural South Africa.
includes negotiating the cost of sales and transport of work of a growing number of events being offered (27%, followed by 21% in
and supporting guests and artists at the festival. By reflecting on the similarities and differences between Limpopo).[i] This indicates that there is a growing cultural offering in this
region that is outpacing other regions in terms of community support. The
cultures, the festival provides a public sphere where new ways
Increased costs in set transport, accommodation and travel Free State also has the highest number of participants (22.4%) attending
of understanding and deploying cultural diversity as a strength events to support artists (the highest of all the provinces), indicating a
requires new strategies for supporting artists at the festival. significant and loyal support base for local, emerging artists.
can be developed. The festival and its attendant events foster
4. PROGRAMME

vrynge

PACE Public Art

Vrystaat
Art & Kunstefees
Health Literature
Festival

Art & PIKO


Education PIAD
Kahn & Karen Zoid, 2017. Vrystaat Kunstefees 2017
In addition to the main festival programme (2017) and Generating Alpha (2018).
4. PROGRAMME

consisting of theatre, dance, film, music


South African partnerships with other festivals
and visual arts and craft, the Vrystaat Arts
such as Aardklop, Innibos, Grahamstown,
Festival also supports an internationally
KKNK, Woordfees, Suidoosterfees and with
acclaimed literature festival, a fringe festival,
national institutions such as The Market Theatre,
an arts and health program, public art, an
means we are able to present performing arts
arts learning initiative, the Programme for
of the highest caliber.
Innovation in Artform Development (PIAD)
for interdisciplinary and experimental art, a With growing support from the Istituto Italiano
Pan-African Creative Exchange (PACE) and the di Cultura in Pretoria and the Mid-Atlantic Trust
annual Arts Market. Foundation in the US we are also growing our
classical music offering.
Collectively these initiatives support a holistic
and interconnected arts ecology, including More and more contemporary musicians are
support for emerging and established artists also requesting to be part of the festival, in
and writers, experimental arts practitioners, particular to perform in the Blêrkas, the main
cross-disciplinary arts health and community beer tent.
programs, and development of audiences who
Strong links with the Stegmann Gallery at
do not traditionally engage with the arts.
UFS and Oliewenhuis National Art Museum,
These initiatives engage with diverse language ensures the visual arts program of the festival
and cultural groups and are for the creative is consistently of the highest national and
development of all. international standards.

The film festival, thanks to an education initiative


4.1 MAIN PROGRAMME of UFS, annually screens art films from around
the world at the state of the art film school
The main program consists of the highest quality facilities on campus.
theatre, music (classical and contemporary),
dance, film and visual arts and craft on offer The festival is successful year-after-year
nationally and increasingly internationally. because we maintain the highest standard of
presentation in all the genres we support.
As a result of recent partnerships with bodies
such as the National Afrikaans Theatre Initiative
(NATi), the University of the Free State (UFS),
the Kingdom of the Netherlands and the
Government of Flanders we are now also able
to co-produce significant new theatre of scale
such as I-Dent-I-Ties (2016), Pleisters vir die
Dooies (2016), Gif/Poisen/Ytyhefu (2017), Altaar
Zakes Mda, Sol Plaatje lecture, 2016
4.2 VRYSTAAT
4. PROGRAMME

LITERATURE FESTIVAL
The Vrystaat Literature Festival has a unique
identity, the first of its kind in South Africa and
the Free State, contributing significantly to the
development and promotion of a robust reading
culture in our country. Established in 2016, the
festival presents over 120 writers a year with
over 60 sessions during the festival week.

The aims of the Literature festival are to:

• Create a platform for local, national and


international writers

• Develop a culture of reading in the widest


possible sense

• Foster exposure to multilingual language


programming, including indigenous
languages

• Present and make Afrikaans and South


African literature accessible to a diverse
range of audiences.

The festival promotes the international


importance of Afrikaans as well as South African
literature and indigenous languages, as well
as functioning as a platform for the exchange
of ideas amongst national and international
writers.
Survive, vrynge, 2017
4.3 VRYNGE
4. PROGRAMME

As part of its new strategy, a fringe festival


(vrynge) was added to the Vrystaat Arts Festival
to support upcoming talent and projects in
development. The vision of the vrynge is to
inspire emerging arts with a mission to create
platforms for emerging artists in South Africa.
The aims of the vrynge are to:

• Support emerging arts

• Develop a growing audience in Bloemfontein


for vrynge

• Encourage a greater understanding of and


support for the diversity of South African
culture through art

• Facilitate cross-cultural collaboration


between vrynge and other festivals (national
and international)

• Run an innovative, efficient and financially


viable vrynge festival.

vrynge provides platforms to artists who have


not yet had enough experience to perform in
a main festival, or professional artists testing
new work in development. It is seen as a
critical intervention in the development and
presentation of new art in the region and South
Africa.

The vrynge has significant support from local


communities, and acts as is a platform where
they—as well as their national and international
counterparts—can present new work and
develop new audiences.
29°06’S 26°13’E, Lhola Amira & Vasiki Creative Citizens , 2017
with site specific performances,
4.4 PUBLIC ART
4. PROGRAMME

happenings, installations, temporary


sculptures and visual art.
One of the main issues the festival faces as
a result of its location on the campus of the PAP aims to facilitate cross-cultural
UFS is its isolation from many communities exposure, enliven neglected urban sites
who are not able to access the site either and stimulate urban renewal. PAP creates
because of distance or because they a new platform for artists and the public to
perceive it as an elitist, privileged space. meet in a space previously occupied only
by passersby and lunchtime visitors.
In addition, many of those who attend the
festival markets on the campus ground Vry-wees was developed to provide a
itself do not realize that there is a broad platform for local artists and creative
range of theatre, visual art and music practitioners to showcase quality art in
offering as part of the event. public spaces around the festival grounds
itself. The programme includes dancing,
To reach the widest possible audience, and
singing, poetry or modelling to expose a
to make those attending aware of the arts
range of local artists to new audiences and
as a key component of the programme, the
festival audiences to the vibrant talent of
festival embarked on a significant public
local, creative practitioners.
art program. Two key initiatives - Public
Art Projects (PAP) and Vry-wees were The festival aims to expand PAP and
established to activate public space. Vry-wees to connect people with each
other in a city that is still very segregated
PAP was developed to bring together
geographically and culturally.
international, national and provincial artists
to animate public spaces in Bloemfontein,
FSAH ‘Wrap it up’ campaign, 2016
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4. PROGRAMME

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4.6.1 PIAD First Nations
4.6 PROGRAMME FOR
4. PROGRAMME

First Nations Colloquium, Wildebeestkuil, Platfontein, 2016


An annual First Nations Colloquium brings together a
INNOVATION IN ARTFORM gathering of South African and international arts managers,
DEVELOPMENT (PIAD) directors, writers, artists and cultural practitioners with the
aim of fostering cross-cultural and collaborations between
The Programme for Innovation in Artform Development First Nations peoples and First Nations creative work.
(PIAD) is an initiative developed by the Vrystaat Arts Festival
and the University of the Free State (UFS), focusing on how
technology, interdisciplinary, and experimental arts can The aims of the First Nations initiative are to:
connect with and have an impact on communities.
• Provide inspiration for new creative works and interrogate
PIAD was launched in 2014 as a pilot project in response to first nations artists locally and internationally across
data indicating that the creative industries in Africa contribute performing arts, experimental and emerging arts and
less than 1% to global creative output. In 2015 the Andrew traditional art and craft practices
W Mellon Foundation supported the programme for four 4.6.2 Arts/Science and Interdisciplinary
years with approximately R8 million. This has significantly
• Increase career pathways for artists, arts workers, Residencies
producers and presenters
increased the potential of the programme to make a A key aspect of the PIAD is support for world first research
meaningful intervention in the arts in Africa. • Increase audiences and markets at a regional, national and through artist residencies around arts/science and
international level interdisciplinary collaborations. Several international artists
PIAD fosters innovation in artform development in South
Africa through First Nations programmes; arts/science and • Develop a deeper appreciation of the value of First Nations have and continue to work on new, interdisciplinary projects
interdisciplinary artist residencies; interdisciplinary arts arts and cultural expression through the PIAD, including regenerative ecology projects (Dr
laboratories; production and presentation of challenging new Keith Armstrong), sounds art (Julia Drouhin), moist media (Dr
• Seek to increase collaborations and presentation of Nigel Helyer) and site specific tactical media interventions
work; and critical debates/forums.
excellent new first nations artistic works both locally, (pvi collective).
United Nations Conference on Trade and Development (UNCTAD) Report,
nationally and internationally
2010, quoted in Mike Van Graan, “African Creative Industries, the Sleeping
Giant,” edited by Anver Versi, African Business, no. 405, London, February pvi collective, transformer, Vrystaat Arts Festival, 2016
• Increase investment in the development and presentation
2014, p. 16 Photo: Lihlumelo Toyana
of significant excellent works of scale across all art forms,
created by first nations artists and communities

The Colloquium inspires creative works across the performing


arts, experimental and emerging arts, literature and visual
arts. It focuses on increasing cross-cultural collaborations
and international partnerships with a deeper appreciation of
the value of First Nations arts and cultural expression.
4.6.3 OPENLab Interdisciplinary Arts 4.6.4 Production and Presentation of 4.6.5 Critical Debates/Forums
4. PROGRAMME

Residencies New Work Innovation in artform development takes place when


OPENLab is a national laboratory for early- and mid-career Each year PIAD commissions new, experimental work from dialogue between various artforms are encouraged and
artists and creative practitioners interested in making art both national and international artists to be presented at the relationships with disciplines outside of the arts facilitated.
in the public realm. OPENLab is an intensive residency Vrystaat Arts Festival. These works include commissions These linkages lead to the development of new artistic and
platform aimed at generating new strategies and ideas in from OPENLab artists. scientific languages, new ways of thinking, groundbreaking
site-specific, experimental and interdisciplinary practice. The community engagement and cutting-edge processes for
aim of OPENLab is to prepare a new generation of artists producing and presenting culture. Facilitating debates,
Jess Oliveri & Parachutes for Ladies,
to present site-specific work in festival settings, not just at The White Horse Project , 2015. Photo by Kobus Robbertze national and international art forums, lectures, critical
the Vrystaat Arts Festival, but also other South African and writing and seminars is therefore essential to contextualize
international festivals and events. innovation in artform development.

The Allosphere, Probably/Possibly?, JoAnne Kuchera-Morin, 2017


OPENLab 2016, MAPSA Richmond, Northern Cape
Arts/Science Research and Practice within the AlloSphere Research Group
Spearheaded by the Deutsch Foundation Fellows
The AlloSphere Research Group under my direction continue to advance arts/science
research at the highest level in order to make a social change in the way that society
views the arts, advancing the arts to highest level in STEM research. As with our
research/practice efforts in empowering our community outside of the institution, the
Deutsch Fellows have also been essential and very effective in advancing cutting edge
research within the university, affecting a change within the institution as well.

TEM/Atom Probe Research


We are advancing our general-purpose data discovery visualization system in materials
research, refining the interface through our Transmission Electron Microscope/Atom
Probe research. Deutsch Foundation Fellows Hannah Wolfe and Tim Wood have been
instrumental in leading the AlloSphere research group on this project.

Hannah Wolfe and Tim Wood immersed in a piece of steel from a nuclear reactor that is a hair
thin, interactively analyzing and mining the data with our interactive data discovery system.

In our TEM/AP research, we are building a data discovery computational language for
scientists to investigate, predict and do virtual experiments at the highest level of
information technology for new materials for energy efficiency, medical advancements,
as well as theoretical mathematical research that informs the arts and sciences of
higher dimensions of consciousness. We hope to have a visual/aural language that will
4.7 PAN-AFRICAN 4.8 ARTS LEARNING
4. PROGRAMME

CREATIVE EXCHANGE The Vrystaat Arts Festival in partnership with


(PACE) other programs such as the PIAD presents
seminars, artists talks and educational
The PACE, an initiative of the Vrystaat Arts events throughout the year. We also aim to
Festival, is a biannual arts market for the support learning programs in schools through
performing arts in Africa, developed for the arts.
national and international presenters and
producers, providing the highest quality
theatre productions from Africa to buyers,
artists, and the general public.
4.9 ARTS MARKET
The Arts Market is increasingly a major
There are eight proposed aspects to the
source of income for the festival, and a
market, including presenting full shows for
huge contributor to the economic injection
tour-ready work; showcasing excerpts of tour-
of the Free State. More than 400 stalls are
ready work; showcasing excerpts of work in
supported each year, ranging from handmade
progress; pitching new work; a producer’s
craft, food, beer and community stalls. Stall
shadowing and exchange program; critical
owners come from all over South Africa
debate/roundtable sessions; networking
and increasingly from other African nations,
programmes; and key PACE programming
with a very high standard maintained by the
events.
festival organisers and the University of the
The aim of PACE is to increase the global Free State. A significant number of festival
reach of the performing arts industries in patrons come to the festival for the arts
Africa, and to contribute to the development markets alone.
of future work from the continent.
The Vrystaat Arts Festival’s target audience The demographics of festival goers are
5. TARGET MARKET

is the general public with special reference around 61% white, 22% black, 11% brown,
to the following sub-segments: 1% Indian and 5% other. Local residents
make up 58% of the visitors whilst 42%
• Residents of Mangaung and the Free
come from inside and outside SA’s borders.
State
However, the province of origin of visitors
• Afrikaans, English, Sesotho
in 2017 is Free State (35%), Gauteng (27%),
speaking communities
Western Cape (10%), Eastern Cape (9%),
• Local artists Northern Cape (8%), North West (7%),
Kwazulu-Natal (6%) and Limpopo (2%).
• National artists
With the bi-annual Pan-African Creative
• International artists
Exchange (PACE), additional international
• Senior citizens visitors from within and outside the African
continent are expected.
• Women

• Families

• Students

• LGBTQI communities Cay van der Merwe, ‘Analysis of Survey on 2017 Arts
Festival’, based on data collected through Deirdre van
• Young people Rooyen, UFS, 2017.

• Farmers Hattingh, Johann. Evaluating the demographic and


behavioural profile of visitors to the Vrystaat Arts Festival.
• Local Businesses A synopsis, Tourism and Event Management, Faculty of
Management Sciences, Central University of Technology,
• People with disabilities Free State. 2016.
We are aware and responsive to the fact
6. COMPETITION

that the Vrystaat Arts Festival exists within


a dynamic and shifting cultural landscape.
Competition for the target market will come
from diverse sources including: other Afrikaans
language festivals, MACUFE, Ek Love die
Vrystaat and targeted sporting or other cultural
events programmed in the July period. But
these also provide opportunities, especially
in the sharing or resources and collaboration
through bodies such as the South African Arts
& Festivals Forum (SAAFF).

Although there is a significant number of arts


festivals currently in South Africa, there seems
to be a growing demand for arts events that
create opportunities for artists to experiment
and test works in development. The Vrystaat
Arts Festival in particular has positioned itself
as a space where new work can be tested,
experimented with and developed for other
festivals.

Such an incubator festival is unique in South


Africa.
In addition, there is intense competition for
limited funding for cultural events and also
a number of events competing for media
coverage.

The Vrystaat Arts Festival team is committed


to broadly identify and advocate for support for
the organisation and promote the festival in an
innovative way to ensure maximum interest
from media companies.
7. GOALS AND KPIS (KEY PERFORMANCE INDICATORS)

Goal KPIs Current 2018 2019 2020 2021 2022


Situation
1. PEOPLE Number of First Nations protocol events held 2 2 2 2 2 2

We bring people together


Audience numbers Festival Festival Festival Festival Festival Festival
Terrein Terrein Terrein Terrein Terrein Terrein

170000 180000 190000 200000 210000 220000

City Centre City Centre City Centre City Centre City Centre City Centre
70,000 72,000 74,000 76,000 78,000 80,000
Number of arts market stalls 420 425 430 435 440 445
Number of free public events 45 50 55 60 65 70
Social media followers/ likes 10,000 20,000 30,000 40,000 50,000 60,0000
2. ART Number of new/debut works 55 56 57 58 59 60

We support great art


Number of productions supported 250 260 280 290 300 310
Number of critical reviews/analysis 6 8 10 12 14 16
3. DEVELOPMENT Number artists supported to attend 1000 1010 1020 1030 1040 1050

We develop artists and


audiences
Number of development workshops 10 11 12 13 14 15
Number of public special guest talks 4 4 4 4 4 4
3 INNOVATION Experimental Residencies 2 2 2 2 2 2

We drive innovation
First Nations Laboratory and colloquium 1 1 1 1 1 1
New Experimental works produced 5 5 5 5 5 5
National experimental artist laboratories 2 to date 1 0 1 0 1
4. GLOBAL HUB Number of international artists, presenters 40 100 60 150 80 200
and producers attending
We play on the world stage
Number of international works presented 6 7 8 9 10 11
No of international writers presented 6 8 10 12 14 16
Number of international co-productions 4 6 4 6 4 6
5. OPERATIONAL GOAL Develop and maintain a cash reserve of 20% 2% 4% 6% 9% 13% 20%

Efficiency
7. GOALS AND KPIS (KEY PERFORMANCE INDICATORS)

Strategies

GOAL 1 PEOPLE - WE BRING PEOPLE TOGETHER

Strategy Key Activities Priority Timeline Responsibility


Annual First Nations laboratories and colloquiums 1 Annually Festival Director and Co-Directors
PIAD

We support First Nations Protocols


and Cultural Engagement First Nation protocols and new work developed 2 July Festival Director and Co-Directors
for festival PIAD

Present Afrikaans, English and SeSotho works 1 Annually Festival Director

Program Managers/Coordinators

We maintain and grow Afrikaans,


English and Sotho cultures. Develop new work opportunities for Afrikaans, 2 July Festival Director
English and SeSotho works
Program Managers/Coordinators

Present work from other South African and inter- 3 July Festival Director
national cultures
Program Managers/Coordinators

We support & present work from a


range of other cultures Co-develop work with other cultural groups 4 Annually Festival Director

Program Managers/Coordinators

Coordinate the logistics of a high quality arts, 1 July Arts Market Coordinator
food and craft market

We develop Arts Markets that


create a sense of shared community Develop high quality stall infrastructure for 2 July Arts Market Coordinator
market applicants who do not have their own
facilities
7. GOALS AND KPIS (KEY PERFORMANCE INDICATORS)

GOAL 2 ART - WE SUPPORT GREAT ART

Strategy Key Activities Priority Timeline Responsibility


Ensure a national programme selection 1 January Festival Director
committee is picked to create a programme of
the highest quality Program Managers/Coordinators

Selection Committee
We support local, national and
international art of the highest
quality
Commission new work locally, nationally and 2 Annually Festival Director
internationally
Program Managers/Coordinators

Ensure a range of traditional and emerging art 1 Annually Festival Director


forms and genres are represented at the festival
Program Managers/Coordinators
We support a range of artforms and
practices Selection Committee

We develop and support work with Partner locally, nationally and internationally to 2 Annually Festival Director
local, national and international develop and present new work
partners Program Managers/Coordinators
7. GOALS AND KPIS (KEY PERFORMANCE INDICATORS)

GOAL 3 Development - We Develop Artists and Audiences

Strategy Key Activities Priority Timeline Responsibility


Research current and emerging art form 3 March Festival Director
practices nationally and internationally.
Programme managers/
Coordinators
We support artists from all art forms and
practices Develop strategies to engage with var- 2 Feb Festival Director
ious art form interest groups in South
Africa. Programme managers/
Coordinators

Host forums, critical debates, talks and 1 July but also Festival Director
dialogues all year round
Programme managers/
Coordinators
We support critical artistic and cultural
dialogue Facilitate development workshops for 2 July Festival Director
artists during the festival.
Programme managers/
Coordinators

We support art in education programs Develop an arts and education program 3 All year round Festival Director
7. GOALS AND KPIS (KEY PERFORMANCE INDICATORS)

Goal 4 Innovation - We Drive Innovation

Strategy Key Activities Priority Timeline Responsibility


Host arts/science and interdisciplinary 1 Annually Festival Director and Co-Directors
arts practitioners in residence. of the PIAD

We support art/science and


interdisciplinary residencies and research Publish research finding on artists in 2 Annually Festival Director and Co-Directors
residence of the PIAD

Livestream events for broader access 1 July but also Festival Director
throughout
the year Programme managers/Coordinators

Technical Managers

Use social media to promote work and 1 July but also Board
increase ticket sales throughout
the year Festival Director
We develop digital platforms for the
Manager Marketing and Development
promotion, development and creation of
the arts
Programme managers/Coordinators

Develop projects that involves digital/ 2 July but also Festival Director
technological components throughout
the year Manager Marketing and Development

Programme managers/Coordinators

Technical Managers

Commission and present new experi- 1 July Festival Director


mental work
Manager Marketing and Development

Programme managers/Coordinators

We support, present and promote new


experimental work Hold talks to stimulate dialogue about 2 Annually Festival Director
new experimental work
Manager Marketing and Development

Programme managers/Coordinators
7. GOALS AND KPIS (KEY PERFORMANCE INDICATORS)

Goal 5 Global Hub - We play on the world stage

Strategy Key Activities Priority Timeline Responsibility


Commission, host and present international 1 July but also Festival Director
artists and writers’ work throughout
the year Co-Directors PIAD
We present international artists and writers
Programme managers/
Coordinators
Co-commission work with national and inter- 2 All year round Festival Director
national partners
We co-produce work with national and Co-Directors PIAD
international partners
Programme managers/
Coordinators
Develop exchanges with international partners 2 All year round Board
such as SituateArt in Festivals and DADAA
Festival Director

Manager Marketing and


Development

Programme managers/
Coordinators
Provide development opportunities for local 2 Feb-Mar 2012 Board
artists internationally
Festival Director
We promote local work nationally and
Manager Marketing and
internationally
Development

Programme managers/
Coordinators
Develop presenting, mentoring and network- 3 All year round Board
ing opportunities for internationally for local
artists. Festival Director

Manager Marketing and


Development

Programme managers/
Coordinators
Operational Goal - Efficiency
7. GOALS AND KPIS (KEY PERFORMANCE INDICATORS)

We run an efficient organisation


Strategy Key Activities Priority Timeline Responsibility
Secure corporate sponsorship - cash and in-kind. 1 All year round Board

Festival Director

Manager Marketing and Development


Research funding opportunities available to the festival 2 All year round Board
and explore possible new ways of funding.
Festival Director
Raise funds and increase
financial reserves.
Manager Marketing and Development

Programme managers/Coordinators
Run appropriate fundraising activities, including crowd 1 March Board
funding project.
Festival Director

Manager Marketing and Development


Review organisational structure on an annual basis. 1 Board
Maintain a committed
and motivated staff and Festival Director
establish an active and
engaged board. Provide professional development opportunities for all 2 All year round Festival Director
staff.
Utilise technology to run an efficient organisation. 1 All year round Board

Festival Director

Manager Marketing and Development

Programme managers/Coordinators

Technical Managers
Implement standardised project and event management. 2 All year round Board
Implement best practice
Festival Director
artistic and operational
processes to run a success-
ful festival. Manager Marketing and Development

Programme managers/Coordinators

Technical Managers
Undertake rigorous artistic evaluation processes. 3 April Board

Festival Director

Manager Marketing and Development

Programme managers/Coordinators
Financial goals
8. FINANCIAL PLAN

The overall Vrystaat Arts Festival financial goals for the next 5 years are:

• to increase to and maintain reserves at 20% of turnover


• to achieve budget each year.
• to secure funding for additional projects to grow the creative industries in the Free State

ADDITIONAL FUNDING OPPORTUNITIES

Programme Opportunities 2018 2019 2020 2021 2022


vrynge (Capacity development ZAR300,000 ZAR400,000 ZAR500,000 ZAR600,000 ZAR700,000
in visual and performance art)
Large Scale Public Art (PIAD, ZAR1,000,000 ZAR1,100,000 ZAR1,200,000 ZAR1,300,000 ZAR1,400,000
PAP and Vrywees)
New Work Theatre ZAR500,000 ZAR700,000 ZAR800,000 ZAR900,000 ZAR1,000,000
Development
Arts Learning Program ZAR500,000 ZAR600,000 ZAR700,000 ZAR800,000 ZAR900,000

(Five schools)
Arts and Health ZAR550,000 ZAR850,000 ZAR2,200,000 ZAR2,500,000 ZAR2,800,000

(National producers)
PACE (Creative producers) ZAR500,000 ZAR600,000 ZAR700,000 ZAR800,000 ZAR900,000
Literature Festival (New ZAR100,000 ZAR110,000 ZAR120,000 ZAR130,000 ZAR150,000
Creative writing commission/
Prize)
Literature Festival (New Poetry ZAR100,000 ZAR110,000 ZAR120,000 ZAR130,000 ZAR150,000
commission/Prize)
Vlieks:
Vlieks Laboratory ZAR250,000 ZAR270,000 ZAR300,000 ZAR3,330,000 ZAR3,600,000
Vlieks Creative Development ZAR300,000 ZAR330,000 ZAR350,000 ZAR380,000 ZAR420,000
Vlieks New work ZAR500,000 ZAR700,000 ZAR900,000 ZAR1,100,000 ZAR1,300,000
Arts Markets Stall Development ZAR500,000 ZAR600,000 ZAR700,000 ZAR800,000 ZAR900,000
Operational Opportunities
Operations Manager ZAR400,000 ZAR440,000 ZAR480,000 ZAR500,000 ZAR550,000
Social Media Coordinator ZAR100,000 ZAR110,000 ZAR130,000 ZAR150,000 ZAR170,000
Creative Festival Producers x 2 ZAR600,000 ZAR660,000 ZAR700,000 ZAR800,000 ZAR900,000

TOTAL ZAR6,100,000 ZAR8,460,000 ZAR10,860,000 ZAR14,090,000 ZAR15,690,000


9. MANAGEMENT PLAN

CEO /
Board
Artistic Director

Marketing &
Arts & Health Arts Market Manager Literature Festival
Program Manager Development vrynge Coordinator
Manager & Administrator Coordinator
Manager

Arts Market Terrain


Project Staff Project Managers Development Intern Project Manager
Manager (4 months)

Arts Market UFS


Technical Producers
Liason (2 weeks)
Organisational structure The Board will promote the festival in The Board
9. MANAGEMENT PLAN

the community, assist with fundraising


Board member Special responsibilities, qualifications and experience
programs and stakeholder relations
Role of the board and governance
(including industry, Government, corporate
Ricardo Peach Director Ex Officio
The Vrystaat Arts Festival is a not-for-profit sponsors and donors) and provide
Annalize Dedekind Chair and Volksblad Representative
organisation. The Festival Director reports expertise and advice to management. The
Etienne van Niekerk Finance
to the Board, consisting of up to seven (7) composition of the Board is determined to
De Villiers Brink Entrepreneur
members. ensure a mixture of skills and backgrounds.
Thoke Nogabe Arts Activist and Government Relations
This mix includes those with expertise in
The primary role of the Board is to promote Prof Nicki Morgan Community and UFS Representative
the following areas:
the long-term health and prosperity of the Prof Nico Luwes Theatre and Drama
festival. This includes: • Arts and culture Rouxnette McKeating Marketing and media and Volksblad Representative

• Reviewing and advising on strategic • Media/marketing/advertising


plans, annual operating plans and
• Government relations
budgets.
• Law
• Providing specific skills (including artistic
counsel) to management when required/ • Finance and accounting
requested.
• Corporate/business
• Generating leads for fundraising.
Members of the Board will be invited by
• Reviewing the Festival’s strategic and the Chair to join. A member will be on
artistic plans. the Board for a period of three (3) years
with a possible extension as required
• Reviewing significant business risks.
and determined by the Chair after
• Attending the festival and sponsor/donor recommendation from the board has been
associated events as required. considered.

Sub-committees will be established,


including Finance and Fundraising.
Membership of each committee will be
determined by the board. The Festival
Director attends all Advisory Committee and
subcommittee meetings.
Risk rating
10. RISK MANAGEMENT

Likelihood Insignificant Minor Moderate Major Catastrophic


Almost certain High High Extreme Extreme Extreme
Likely Moderate High High Extreme Extreme
Possible Low Moderate High Extreme Extreme
Unlikely Low Low Moderate High Extreme
Rare Low Low Moderate High High

Risk management plan

Risk Probability Impact Risk rating Mitigation


External risks
Funding not secured Possible Major Extreme Development of partnerships, alternative
funding and revenue streams.
Economic downturn Possible Moderate High Provide flexible ticketing options to patrons.

Venues not available Unlikely Major High Develop relationships with multiple venues.

Artists not willing to participate Possible Low High Work closely with partner festivals to increase
brand of the festival in South Africa.
Artistic risks
Quality of applications do not meet Possible Moderate High Detailed research of the current industry and
the festival’s requirements develop contacts.
Diversity of art projects available are Unlikely Moderate Moderate Augment program with other events etc to
limited ensure diversity.
Financial risks
Rising core and production cost Likely Moderate High Diligent and realistic budgeting.

Loss of sponsorship Possible Major High Prospect a broad range of possible sponsors.

Inability to meet budgets Possible Major Extreme Constant monitoring of budget.

Management and operational risks


Job dissatisfaction Rare Moderate Moderate Clearly defined job descriptions.

Loss of board members Possible Minor Moderate Encourage board engagement with the festival.

Loss of information Unlikely Major High Annual review of IT systems and following best
practice in archiving.
SWOT Analysis
10. RISK MANAGEMENT

Strengths Weaknesses
1. Knowledge, skill and passion of key staff members. 1. Insufficient core operational funding.

2. Staff with previous experience in running arts programs, festivals and other cultural events. 2. A new type of festival with a brand that is still establishing itself.

3. The Vrystaat Arts Festival is unique and has a reputation for artistic innovation. 3. Significant pressures and resistance against Afrikaans culture in South Africa

4. Existing relationships within other South African arts festivals and organisations such as the 4. Key staff currently working across several portfolios.
Festival Forum
5. Not enough staff for the scope of the programme
5. Existing networks within the South African arts sector.
6. Lack of significant government funding in South Africa
6. Knowledge of South African customs and culture.

7. Extensive knowledge on using Social Media as engagement and marketing tool.

8. Staff with the ability to speak South African languages, such as Afrikaans.

9. A demand exists for South African theatre and music - particularly Afrikaans.

10. The best theatre and performing arts infrastructure in South Africa / Africa

11. Extensive accommodation choices in Bloemfontein

Opportunities Threats
1. Collaboration with other festivals in South Africa and in internationally. 1. An already established expectation of what Afrikaans festivals should provide and present.

2. Potential patrons for the festival could include high profile South Africans. 2. Competition for funding that might be available.

3. A strong sense of community pride for the Free State and South African communities could grow 3. Venues not available for the selected dates.
out of the festival.
4. Not enough interest by patrons to attend the festival.
4. New multilingual audiences for South African and international work will be developed through
the festival. 5. Artists not willing to travel to Bloemfontein.

5. Patrons will be introduced to a different and emerging artforms 6. Not able to secure guests to attend the festival.

6. Potential to boost tourism to the Free State. 7. Different South African communities demanding different products that cannot always be delivered.

7. Touring new work to other metropolitan and regional areas. 8. Conflict on how to represent South African and Afrikaans culture within a multicultural society.

8. Opportunity to develop new funds for local and South African artists.
Appendix 1 2. To maintain the loyalty of our current audiences through: Youtube inserts from productions/interviews
APPENDICES

a. Presenting high quality of services Socialize with supporters


Marketing Plan b. Rewarding loyal patrons d. Twitter and Instagram campaigns target age groups
MARKETING OBJECTIVE & GOALS 15 - 30
c. Providing new and fresh work with an innovative
• One of our goals is to expand our social media properties. approach that will surprise and enthrall our audiences, Keep users up to date
Through social media we can create and reinforce brand encouraging them to be adventurous in trying out
Create a buzz around productions
awareness, advertise and promote our products and services, new theatre experiences.
capitalize and engage our followers and connect to media Invite celebrities to follow us to expand the user base.
3. To grow and develop new audiences through:
partners with the ultimate goal of becoming the festival of
e. Website-campaign target 15 – 50
choice. These actions together, and its proper execution, will a. Presenting a more diverse programme which include
enhance our goal that is directly involved with our marketing productions representing a wider racial and age Refresh look - add visuals and YouTube features
plans. demographic profile.
Updates on news items with short announcements,
• We will use a combination of both traditional and digital b. Present more young upcoming and popular artists that in-depth articles
marketing channels to cater for some of our consumers who do will encourage these audiences to attend.
not have access to Internet. Give exposure to sponsors
c. Combine packages which will include their favorite
• We also want to improve community engagement and positively genres like music with drama/ comedy and physical Archive section – easy for customers refer to previous
impact lives through training and development. theatre productions which will make it more affordable news
for them to attend more than their usual preferences
• We will also develop a supportive and growing audience within 3. TV Campaign
and encourage them to broaden their theatre
the next five years experiences. Get National TV –channels (SABC/kykNET/ETV) to do
SITUATIONAL ANALYSIS interviews with artists
d. To be very active and engaging on our social media
Marketing for VS Arts Festival will primarily happen via Facebook platforms TV ads to run at least 3 weeks before the festival
and our website. Social media technologies play a vital role in 4. Radio campaign – Make audiences aware of upcoming events,
creating awareness around what we do. A social media strategy programmes and variety on offer.
involving key role players such as active bloggers, Facebook addicts ACTION PLAN
and Twitterati, instagrammers will be utilized to market our artistic Radio interviews and informative announcements: On
1. Use channels such as Facebook, Twitter and Instagram,
programme. community and national radio Stations.
which are social media networks; as well as mailings
MARKETING STRATEGIES lists. We can also reach our audience through Newspaper campaign target age group 30 – 70 –
subscription services. Community papers/Media24 partners
The aim is to develop a supportive and growing audience in the
next five years and to actively engage with these communities to 2. Compiling packages to cater for specific audience groups, In depth stories and interviews
learn more about them and what we can offer in future to better taking into consideration the age, language, race and financial
Create awareness of programme and artists.
serve their interests. We want to build a strong relationship with demographic of each target audience. The production’s cast/
our audience and encourage interaction. artists, subject and language will determine the target group. 5. Newsletter campaign target current and loyal customer base
The aim is to get diverse audiences involved:
AIM In depth stories and interviews
a. Utilizing digital technology to expand marketing
1. To convey the renewed image which caters for a diverse through cost effective mediums like SMS’, Facebook, Create awareness of programme and artists.
audience with an array of innovative and diverse productions Twitter, YouTube, Instagram and Website.
with a new approach towards the compilation of our programme 6. Pamphlet campaign targets children and audiences that do not
and the implementation of a fresh marketing campaign, b. SMS campaigns target our current customer base have access to internet
expanding the campaign through social media, effective Schools to be visited by actors to distribute pamphlets
c. Facebook campaigns target age group 18 – 50.
targeting of audiences and to provide value for money through
special package deals. This will increase our Facebook users and get the Distribution of appropriate productions at taxi ranks
buzz going
7. Launch – target media, sponsors and collaborators Target market Where do festival goers come from?
APPENDICES

To give exposure to programme, sponsors and How old are festival goers? 35% Free State
collaborators 27% Gauteng
50% 27%
To encourage media to support VS Arts Festival and our 10% Western Cape
marketing campaign 37.5% 35%
9% Eastern Cape
Also invite reporters from regional media, national media, 25% 8% Northern Cape
and representatives from art supporting institutions. 10%
12.5% 7% North West
2%
8. Posters, Banners, Bill boards and Building wrap 7% 9% 6% KwaZulu-Natal
0%
/21 21-30 31-40 41-50 51-60 61-70 6% 8%
To create a presence 2% Limpopo
The majority of respondents were below the
9. Programme/ Magazine Publication age of 30 (43%), with those between 31-40 a
significant second participatory group. Future Visitors come from all over South
We would like to make it freely available and to print a
growth in audiences participation could focus Africa and increasingly internationally
higher volume.
on engaging younger patrons. to attend the Vrystaat Arts Festival
To create more access to programme through with people in most provinces aware
distribution throughout region utilizing regional offices of of the brand.
university offices, government offices, coffee shops, Are festival goers male or female? What racial demographic does the festival have?
libraries and book shops.

10. Utilizing available media publications

Weekly Newsletters
22% 61% White
Get presence on Free State Tourism websites under
31%
entertainment and events. 22% Black
69% Female
11%
Get presence on other websites which promotes 61% 11% Brown
31% Male
entertainment, festivals and arts. 69% 1%
5% 1% Indian

5% Other

In 2017 61% of respondents were White,


Approximately 31% of the respondents
22% Black, 11% Brown, 1% Indian, and 5%
were male whilst 69% were female -
other, compared to 2013 statistics which
suggesting that the Vrystaat Arts Festival
were 85% White, 8% Black, 5% Brown,
is relevant to both genders.
1% Indian and 1% other. This does not seem
to indicate a loss in white attendees (given
visitor growth and increased ticket sales to
predominantly white shows from 2014-2017)
but rather a potential increase in visitors from
other racial demographics.
Competitor analysis Free State Statistics 2011 Census
APPENDICES

We are aware and responsive to the fact that the Vrystaat Arts Gender People Percentage
Festival exists within a dynamic and shifting cultural landscape. Female 1416623 51.60%
Competition (but also opportunities) for the festival’s target market
Male 1328967 48.40%
will come from the following sources:

• Provincial/language specific festivals Population group People Percentage


Black 2405533 87.61%
• Other cultural events
White 239026 8.71%
Brown 83844 3.05%
Provincial/language specific festivals Indian or Asian 10398 0.38%
Other 6790 0.25%
Although there is a significant number of festivals currently in South
Africa, there is a growing demand for specialist or niche festivals
First language People Percentage
that creates opportunities to engage with a specific topic or genre
in greater depth. Competitor festivals include the following: Sesotho 1717881 64.20%
Afrikaans 340490 12.72%
Arts Festivals Month isiXhosa 201145 7.52%
Woordfees March Setswana 140228 5.24%
isiZulu 118126 4.41%
KKNK April
English 78782 2.94%
Suidoosterfees May
Sign language 32910 1.23%
Innibos June Other 15935 0.60%
Grahamstown National Arts Festival June isiNdebele 10008 0.37%
MACUFE October Xitsonga 8039 0.30%
Sepedi 7395 0.28%
Aardlkop October
Tshivenda 2592 0.10%
SiSwati 2246 0.08%
Other cultural events Not applicable 69813

A reduction in disposable income means that patrons will more


so than ever consider what entertainment choices they make https://census2011.adrianfrith.com/
more carefully. In this regards, the Vrystaat Arts Festival will be
competing with the following cultural events: http://www.statssa.gov.za/publications/SAStatistics
SAStatistics2012.pdf
Event Month
Concerts at PACOFS All year
Odeion Concerts All year
Wildsvleisfees May
Nampo May
BloemSkou May
Ek Love die Vrystaat August
Kersiefees November
The White Horse Project, 2015,
Jess Oliveri & Parachutes for Ladies
Thank you
Contact:
Dr Ricardo Peach | Director: Vrystaat Kunstefees/Arts Festival/Tsa-Botjhaba
ricardo.peach@volksblad.com | +27 (0)51 404 7715

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