Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
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
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).
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
Vrystaat
Art & Kunstefees
Health Literature
Festival
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.
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rigorous and long haul’ (DADAA). Health and CACD (Community Arts ligting.
Cultural Development)
FSAH’s vision is to elevate engagement
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Arts & Health Practice in South Africa well-being.
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4.6.1 PIAD First Nations
4.6 PROGRAMME FOR
4. PROGRAMME
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
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.
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 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
Program Managers/Coordinators
Present work from other South African and inter- 3 July Festival Director
national cultures
Program Managers/Coordinators
Program Managers/Coordinators
Coordinate the logistics of a high quality arts, 1 July Arts Market Coordinator
food and craft market
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
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)
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)
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
Programme managers/Coordinators
Programme managers/Coordinators
7. GOALS AND KPIS (KEY PERFORMANCE INDICATORS)
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
Programme managers/
Coordinators
Operational Goal - Efficiency
7. GOALS AND KPIS (KEY PERFORMANCE INDICATORS)
Festival Director
Programme managers/Coordinators
Run appropriate fundraising activities, including crowd 1 March Board
funding project.
Festival Director
Festival Director
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
Programme managers/Coordinators
Financial goals
8. FINANCIAL PLAN
The overall Vrystaat Arts Festival financial goals for the next 5 years are:
(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
CEO /
Board
Artistic Director
Marketing &
Arts & Health Arts Market Manager Literature Festival
Program Manager Development vrynge Coordinator
Manager & Administrator Coordinator
Manager
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.
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.
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
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
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.
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
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: