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M.Saayman
M. Kruger
J. Erasmus
Finding the key to success:
A visitors’ perspective at a national arts festival
150
Acta Commercii 2012
ISSN: 1680-7537
FINDING THE KEY TO SUCCESS:
A VISITORS’ PERSPECTIVE AT A NATIONAL ARTS FESTIVAL
Melville Saayman: TREES (Tourism Research in Economic Environs and Society), North-West
University.
Martinette Kruger: TREES (Tourism Research in Economic Environs and Society), North-West
University.
Joffrey Erasmus: TREES (Tourism Research in Economic Environs and Society), North-West
University.
Purpose and/or objectives: The purpose of this article was to segment festival visitors at the Klein Karoo National Arts
Festival (KKNK) based on their travel motives and their ratings of the Key Success Factors (KSFs) in terms of their festival
experience.
Problem investigated: Previous research has indicated that the success and sustainability of an arts festival is dependent
on the number of tickets sold for shows and productions during the festival. Therefore, success depends on attracting visitors
who attend and buy tickets for different types of shows and productions. To achieve this festival organisers need to
understand the aspects that visitors regard as satisfying their needs and which create a unique festival experience.
Methodology: A survey was conducted using a questionnaire at the festival. A total of 450 questionnaires were administered
and 443 completed questionnaires were included in the analysis. Factor analysis was used to identify visitors’ motivation to
travel to and attend the KKNK. Cluster analysis followed the factor analysis to segments visitors based their identified travel
motives. ANOVAs, Chi-square tests, two-way frequency tables and Tukey’s multiple comparisons were conducted to
investigate and determine any significant differences between the clusters based on demographics, behavioural variables
and KSFs.
Analysis and interpretation of findings: The findings of this study revealed that the travel motives that are important to
visitors to the arts festival are: Festival Attractiveness, Novelty and Escape and Socialisation. Furthermore, different markets
have different travel motives, clustered as Escapists, Festival Junkies and Culture Seekers. These different clusters have
different tastes and needs, for example the Culture Seekers are more interested in Rock shows and all three clusters enjoy
Drama, Music Theatre and Cabaret and Comedy shows and productions. Different markets also focus on different KSFs that
influence their experience of the event. Escapists rated Venues and Shows and Stalls as the most important KSF in
managing the festival, whereas Festival Junkies and Culture Seekers rated Safety and Personnel and Shows and Stalls as
the most important.
The value of the research: This research provides several insights. First, travel motives are a good base or foundation for
segmenting visitors to arts festivals. Hence, it is important to have an in-depth understanding of why visitors attend the arts
festival and what they expect to experience at the arts festival. Second, this research makes a contribution to the literatur e
around travel motives, market segmentation, festival management and need satisfaction. Finally, the results show that
festival organisers cannot base their planning on a general evaluation of visitors, but that different markets have different
needs and also regard different factors are important to their overall experience.
Conclusion: This research can help festival organisers understand what visitors want to experience at an arts festival and
how they want to experience it.
Key words: Klein Karoo National Arts Festival, market segmentation, travel motives, festival experience, KSFs, cluster
analysis, factor analysis, ANOVA, Chi-square tests
INTRODUCTION
The aim of this study is to determine if different markets (groups of visitors) to the Klein Karoo National
Arts Festival (KKNK) have different Key Success Factors (KSFs) that influence their festival
experience. This uses the premise that different markets have different requirements (Marais, 2009).
M.Saayman
M. Kruger
J. Erasmus
Finding the key to success:
A visitors’ perspective at a national arts festival
151
Acta Commercii 2012
ISSN: 1680-7537
This type of research is required because there are a growing number of offerings of leisure
experiences, new markets are more specialised and competition is increasing, with festivals being
established around the country, each with its own unique characteristics and objectives (Woodside
and Martin, 2008:198).
One such festival is the KKNK, which has been held annually in Oudtshoorn, in the Western Cape for
16 years. It takes place during the April school holidays. Annually, more than a 1000 artists perform
and exhibit at the KKNK in more than 200 shows and exhibitions over a period of eight days
(Erasmus, Saayman, Saayman, Kruger, Viviers, Slabberte and Oberholzer, 2010:2). According to
Hauptfleisch (2001:173) and Kitshoff (2004:237) the main aim of the KKNK is to promote culture and
arts in Afrikaans by providing opportunities for the local community to take part in the arts festival, to
benefit from the arts festival and to increase their life standards. Shows/genres that can be seen at the
KKNK include music, visual arts, theatre productions, dance items and shows and African culture
shows (Erasmus et al., 2010:1). The KKNK is, furthermore, seen as the largest arts festival in South
Africa according to the economic impact on the host community and in 2010 the festival generated an
estimated R109,7 million (Erasmus et al., 2010:36).
Even though arts festivals are held for different reasons visitors are in search of a total experience,
which is made up of different factors such as the attractions, the shows, the variety of entertainment,
restaurants and what they offer, and the opportunity to meet new people and experiencing Afrikaans
culture in a unique way (Saayman, Marais and Krugell, 2010:95). Different visitors have different
requirements and travel motives and reasons for attending an arts festival (Kruger, 2010:34) which
lays the foundation for this research. For the KKNK to be sustainable, organisers should base their
plans on the needs of visitors and ensure that these needs are met (Bowdin, Allen, O’Toole and
McDonnel, 2006:265; Yu and Huat, 1995:375; Leiper, 2004:170; Van Zyl, 2006:150).
THEORETICAL BACKGROUND
Prentice and Anderson (2003:9) warn that not everyone who is at a festival can be assumed to be a
festival goer, and they caution about making the assumption that all festival visitors are motivated to
visit the destination to participate in the festival. Some are motivated, for example more by
socialisation than by supporting the arts. Scott (1996) and Rachael and Douglas (2001) have shown
that travel motives differ from festival to festival or attraction to attraction. Therefore, segmenting
festival visitors based on their motivations is a prerequisite to an effective marketing strategy to
optimise the use of marketing and promotional resources (Crompton and McKay, 1997:426;
Juwaheer, 2006:4; Boo and Jones, 2009:66). Saayman (2001:12) defines travel motives as needs or
wants that drive, push and steer a tourist or visitor to make a decision about a specific destination or
attraction. According to Lee (2000:169) and Kim, Borges and Chon (2006:957) an analysis of travel
motives for festival attendance is an important marketing tool or variable for market segmentation and
effective promotion. Backman, Backman, Uysal and Sunshine (1995), Kara and Kaynak (1997:873)
and Formica and Murrmann (1998:204) support this idea and conclude that festival visitors are not
homogeneous when it comes to motives and that festival organisers should consider motives when
profiling the target market and designing the festival programme.
From a festival organisers’ perspective, the most desirable visitors to attract are those who stay
longer, travel for the purpose of attending the festival, and who are likely to spend money supporting
the festival shows/productions. For this reason, it is has become critical to select, attract and retain the
most viable target market(s) (Mykletun, Crotts and Mykletun, 2001:494; Koc and Altinay, 2007:228).
These factors have also become increasingly important as the growing number and diversity of
festivals and events has led to heightened competition. Crompton and McKay (1997:426) and Van Zyl
(2005:73) state that the enhancement and maintenance of visitors’ central motives should be the
primary goal of festival organisers, since identifying and prioritising motives is a key ingredient in
understanding visitors’ decision processes. Visitors may have several different needs, which they
desire to satisfy by attending a festival and different visitors may engage in the same festival element
M.Saayman
M. Kruger
J. Erasmus
Finding the key to success:
A visitors’ perspective at a national arts festival
152
Acta Commercii 2012
ISSN: 1680-7537
and derive different benefits from the experience. Measuring the main desires that visitors are seeking
to satisfy at the festival, and which motives lead to the preference of the particular festival, can give a
more detailed profile of the visitors and enable marketers/organisers to better address their needs with
a tailor-made and cost-effective marketing and festival programme (Crompton and McKay, 1997:426;
Raybould, 1998:238; Gitelson and Kerstetter, 2000:179). Getting feedback from visitors on the
aspects that influence their experience is therefore paramount in achieving growth of festivals
(Saayman et al., 2010:98).
This first problem that faces event organisers and academics alike is that the reasons for attending a
festival differ. These reasons include motives such as family togetherness, socialisation, novelty,
excitement and escape (Park, Reisinger and Kang, 2009; Kim, Burgess and Chon, 2006; Formica and
Murrmann, 1998; Nicholson and Pearce, 2001; Lee, 2000; Crompton and McKay, 1997; Schneider
and Backman, 1996:143; Scott, 1996; Backman et al., 1995; Uysal, Gahan and Martin, 1993; Cha,
McCleary and Uysal, 1995:35-37; Kruger and Saayman, 2008; Formica and Uysal, 1998; Formica and
Uysal, 1996; Mohr, Backman, Gahan and Backman, 1993; Uysal, Gahan and Martin, 1993; Van Zyl,
2006:151). Hence, the motives visitors have for attending are critical in planning an event. Previous
research has shown that the analysis of travel motives helps event organisers to better position their
work (Scott, 1996); plan and market festival programmes effectively (Kim, Uysal and Chen, 2002:129);
predict visitors’ future travel patterns (Cha, McCleary and Uysal, 1995:33; Jang and Wu, 2006:314);
identify markets in which visitor motives and festival features and resources match (Bansal and Eiselt,
2004:388); monitor satisfaction and understand visitors’ decision processes (Crompton and McKay,
1997:426); respond to the changing needs and trends of the market (Ferrell, Hartline and Lucas,
2002:74); identify strengths and opportunities with a view to ensuring visitors’ satisfaction (Lee and
Lee, 2001); initiate improvements for increased visitor numbers and/or revenues such as a tailor-made
festival programme designed to meet the needs of the visitors (Baker and Crompton, 2000; Crompton
and McKay, 1997:426) and strengthen management and product development (Gnoth, 1997:283;
Raybould, 1998:238).
The second problem or challenge, according to Saayman et al. (2010:96) is that arts festivals are a
combination of numerous factors and elements that need to be managed effectively to create a unique
experience for visitors. These include, for example, the theme of the festival, providing a variety of
entertainment, and technical aspects, such as supplying food and beverages, marketing, managing
stalls, managing the entrance, managing the visitors, transport services, information services, the
layout of the arts festival, adequate accommodation, financial services, adequate parking areas,
inclusion of the local community, adequate and trained staff, emergency and medical services,
adequate and affordable children’s activities, safety and security, managing ticket sales, adequate and
correct directions, high quality infrastructure, and the different venues of shows and productions during
the arts festival (Silvers, 2004:41; Matthews, 2008:2-347; Bowdin et al., 2006:353; Woodside and
Martin, 2008:206). The afore-mentioned factors should be managed in such a way that they ensure a
unique experience for visitors (Westerbeek, Smith, Turner, Emery, Green and Van Leeuwen,
2006:41). According to Page (2003:249) management is a function where the organisations’ resources
are used to deliver products, and services that meet tourists’ needs. Therefore festival organisers
should manage the different aspects of the KKNK to create an unforgettable festival experience.
In this regard it is important to determine what aspects or key success factors (KSFs) visitors regard
as important for a quality visitor experience. Slabbert and Saayman (2003:8) define key success
factors as the particular strategy elements, resources, competitive capabilities, product attributes,
competencies, and business outcomes that spell the difference between profit and loss. Essentially,
KSFs are thus the “must–achieve” factors and necessary for an organisation (festival) to achieve its
overall goals (Brotherton, Miller, Heinhuis and Medema, 2002:48). However, key success factors are
not business objectives or goals. They are combinations of activities or processes designed to support
the achievement of such desired outcomes specified by the festival’s objectives or goals (Brotherton
and Shaw, 1996:114; Thompson and Strickland, 1999:96; Aaker, 2005:91). The emphasis on
achievement highlights an important characteristic of KSFs, namely that they are action-orientated.
M.Saayman
M. Kruger
J. Erasmus
Finding the key to success:
A visitors’ perspective at a national arts festival
153
Acta Commercii 2012
ISSN: 1680-7537
Festival managers are furthermore entrusted with the responsibility to achieve the festivals’ objectives,
keep up management standards and ensure visitor satisfaction (Yu and Huat, 1995:375; Leiper,
2004:170); understanding of KSFs will make it easier to maintain these responsibilities and ensure a
quality visitor experience.
Management theory shows that management in essence consist of four basic functions namely,
planning, organising, leading and controlling (Murphy and Murphy, 2004:50; Leiper, 2004:175-179;
Saayman, 2007:71; Vallen and Vallen, 2005:84). The most important function to ensure the success of
a festival according to Saayman (2009:214) is the ability of the festival organisers to evaluate.
Evaluation is often avoided but through evaluation or control, organisers not only determine their
success but also failures and gaps (Saayman et al., 2010:97). The success depends on whether plans
in terms of goals and objectives are reached, if high quality services and shows are provided, if the
overall satisfaction of visitors are achieved, if a unique experience is offered, ensuring the festival
programme satisfies all role players at the festival and if the overall festival is an improvement on the
previous year’s festival (Van der Westhuizen, 2003; De Witt, 2006; Goodman, Fandt, Michlitsch and
Lewis, 2007; Daft and Mrcic, 2009). Kreitner (1989) defines control or evaluation as taking the correct
action and ensuring the festival occurs as it was planned to occur. This therefore shows a strong
relationship between planning and control which is indicated in Figure 1.
This relationship consists of three different phases during the evaluation plan. First, the input phase
followed by the process and lastly the output phase. According to Figure 1 input consists of the festival
visitors who are one of the most important stakeholders since they are the ones that buy tickets and
support the arts and lead to the KKNK’s success. These visitors differ based on their socio-
demographic profile, behavioural characteristics and have different travel motives and reasons why
they attend this specific arts festival. These motives include: to get away from their daily routine, to
relax, to spend time with friends and family and to view a wide variety of shows and productions to
name but a few. However, a quality visitor experience is especially dependent on the KSFs. These are
factors that need to be managed and form part of organisers’ event plans. These are also the factors
that distinguish one event from the next. The outcomes of this process culminate in visitor satisfaction,
high ticket sales – in short a successful event. Control (evaluation) may be the final step in
management theory but not only does it determine the level of success but the feedback from the
visitors also contribute to the sustainability of the festival and it is the starting point of future events
(Saayman et al., 2010:97; Crompton and McKay, 1997:426; Raybould, 1998:238; Gitelson and
Kerstetter, 2000:179).
M.Saayman
M. Kruger
J. Erasmus
Finding the key to success:
A visitors’ perspective at a national arts festival
154
Acta Commercii 2012
ISSN: 1680-7537
Figure 1: Relationship between planning and feedback
Source: Adapted from Saayman et al. (2010:97)
THE PURPOSE OF THE RESEARCH
The purpose of this research is thus to segment festival visitors at the Klein Karoo National Arts
Festival (KKNK) based on their travel motives and their ratings of the Key Success Factors (KSFs) in
terms of their festival experience.
METHOD OF RESEARCH
Quantitative research was conducted using a structured questionnaire to collect the data.
The questionnaire
The questionnaire used at the KKNK 2010 was based those suggested by Marais (2009), Silvers
(2004:41); Matthews (2008:2); Bowdin et al. (2006:353) and Woodside and Martin (2008:206) and was
made up of four sections. Section A consisted of the demographic information (gender, year of birth,
home language, occupation, town/city of residence, province, how many years the festival have been
Satisfying visitors’
needs
Total experience
Increase ticket sales
Positioning of event
Quality services
delivered
Promote the region
Competitive
advantage
Financially strong
Improved infra-and
suprastructure
Accessibility
Successful event
Competitive
advantage
Financially strong
Improved infra-and
suprastructure
Adequate and
trained staff
PLANNING
Travel
Motives
The theme of the arts festival, entertainment, technical
aspects, food and beverage, marketing, stalls,
entrance, visitors, transport services, information
services, the layout of the arts festival, adequate
accommodation, financial services, adequate parking
areas, inclusion of the local community, adequate and
trained staff, emergency and medical services,
adequate and affordable children’s activities, safety and
security, ticket sales, adequate and correct directions,
high quality infrastructure, and the different venues of
shows and productions during the arts festival
EVALUATION
FEEDBACK
Visitors
INPUT
Travel Motives
OUTPUT
Demographic
information
(gender, home
language, level of
education, marital
status);
Economic
information
(spending per
person, number of
tickets purchased,
type of
accommodation,
mode of transport,
length of stay, group
size);
Behavioural
information
(preferred type of
genres, other
festivals attended,
repeat visitation)
To get away
To relax
Spend time with
family and friends
To meet new people
Experience a
different festival
Variety of
productions and
stalls
Socialisation
Educational reasons
Buy art
Exploration of
environment
Afrikaans festival
Unique holiday
experience
Flagship
productions and
well-known
performers
FESTIVAL MANAGEMENT
KSF’S
Experience
M.Saayman
M. Kruger
J. Erasmus
Finding the key to success:
A visitors’ perspective at a national arts festival
155
Acta Commercii 2012
ISSN: 1680-7537
visited, how many days stayed at the festival, nights stayed in Oudtshoorn, spending, preferred genres
of shows). Section B focused on evaluating 52 aspects of the festival; thus the key success factors
according to a five point Likert scale (1 = totally disagree, 2 = do not agree, 3 = neutral, 4 = agree and
5 = totally agree); and section C measured the travel motivations. Twenty one travel motivations were
measured with a five point Likert scale according to the importance of these motivations in the visitors’
decision making process (1 = not at all important, 2 = less important, 3 = important, 4 = very important
and 5 = extremely important).
Sampling method and survey
A destination-based survey was conducted where the questionnaires were handed out by nine field
workers who were trained and who understood the aim of the study as well as the questionnaire. The
survey took place at concert areas, festival grounds where visitors gathered between shows and at
different food and beverage stalls and tents. Adult visitors were randomly selected as they entered or
left these areas; respondents were briefed about the purpose of the research beforehand to ensure
that they complete the questionnaire willingly and responded openly and honestly. A total of 443
questionnaires were completed over a period of eight days (1-8 April 2010). According to Israel
(2009:6), when the population (N) is 100 000, 398 respondents (n) is representative, with a 95% level
of confidence and a ±5% sampling error. Thus the 443 completed questionnaires are therefore greater
than the required number of questionnaires. Microsoft© Excel© was used to capture the data and
conduct a basic data analysis.
Statistical analysis
SPSS (SPSS Inc, 2007) was used for the analysis of the data. This study consists of three stages of
statistical analyses. First, a principal axis factor analysis and a principal component factor analysis,
using an Oblimin rotation with Kaiser Normalisation was performed on respectively the 52 critical
success factors and the 21 motivations listed to explain the variance-covariance structure of a set of
variables through a few linear combinations of these variables. The Kaiser-Meyer-Olkin (KMO)
measure of sampling adequacy, as well as Bartlett’s Test of Sphericity was used to determine if the
covariance matrix is suitable for factor analysis. Kaiser’s criteria were used for the extraction of all
factors with eigenvalues larger than one; this is because they were considered to explain a significant
amount of variation in the data. Any item that cross-loaded on more than one factor was categorised
by the factor where its interpretability was best. A reliability coefficient (Cronbach’s Alpha) was
computed for each factor to estimate the internal consistency of each factor. All factors with a reliability
coefficient above 0.6 were considered as acceptable and the average inter-item correlations were also
computed as another measure of reliability and should be between 0.15 and 0.55 (Clark and Watson,
1995).
Secondly, a cluster analysis, using Ward’s method with Euclidean distances, was performed on the
travel motives’ scores. Hair, Bush and Ortinay (2000:594) define a cluster analysis as a multivariate
interdependence technique whose primary objective is to classify objects into relatively homogeneous
groups based on the set variables considered. Lastly, multivariate statistics were used to examine the
statistically significant differences between the motivational clusters. Two-way frequency tables and
Chi-square tests were conducted to profile the clusters demographically, and ANOVAs with Tukey’s
multiple comparison were conducted to investigate and determine any significant differences between
the clusters concerning factor scores. This study used demographic variables (gender, home
language, age, occupation and province of origin), behavioural variables (length of stay, genres of
shows and spending) and KSFs to examine whether statistically significant differences existed among
the different groups.
ANALYSIS AND INTERPRETATION OF FINDINGS
The results will be discussed in three sections. First, the results of the factor analyses (critical success
factors and travel motivations) will be discussed, followed by the results of the cluster analysis and
lastly, the profiles of the clusters will be presented and discussed.
M.Saayman
M. Kruger
J. Erasmus
Finding the key to success:
A visitors’ perspective at a national arts festival
156
Acta Commercii 2012
ISSN: 1680-7537
Results from the factor analysis Key Success Factors in managing the visitor
experience
The pattern matrix of the principal axis factor analysis identified seven factors using an Oblimin
rotation with Kaiser normalisation namely Safety and Personnel, Marketing and Accessibility, Venues,
Accommodation and Ablution, General Aspects and Social Impact, Parking and Restaurants, and
Shows and Stalls. The seven factors accounted for 55,4% of the total variance and all factors had
relatively high reliability coefficients, ranging from 0.83 (the lowest) to 0.88 (the highest). All the items
loaded on a factor with a factor loading greater than 0.2. The Kaiser-Meyer-Olkin (KMO) measure of
sampling adequacy of 0.94 also indicates that patterns of correlation are relatively compact and yield
distinct and reliable factors (Field, 2005:640). Bartlett’s Test of Sphericity also reached statistical
significance (p<0.001).
Table1: Factor analysis of the key success factors
KEY SUCCESS FACTORS AND ITEMS
FACTOR
LOADINGS
MEAN
VALUE
RELIABILITY
COEFFICIENT
Factor 1: Safety and Personnel
3.78
0.88
Staff appears professional
0.71
Friendly and helpful staff
0.69
Adequate number of staff members available during
festival
0.68
Staff are trained and informed to handle any queries
concerning the festival
0.65
Police and security are in clear sight on festival terrain
0.51
Precautions are taken in terms of street children
0.40
High quality service at ticket sales
0.33
Adequate safety precautions in place during festival
0.31
Emergency services are visible
0.24
Factor 2: Marketing and Accessibility
3.57
0.85
Adequate marketing before and during the festival
0.20
Correct information given through marketing
0.24
Adequate information centres on festival terrain
0.77
Adequate information boards on festival terrain
0.77
Clear indications to halls, social venues and open-air
theatres
0.61
Halls are easy accessible
0.31
Layout of festival terrain is good
0.26
Factor 3: Venues
3.77
0.87
Correct information is captured on tickets
0.22
Front-of-house service at shows is good
0.47
Seats in halls are numbered correctly
0.46
Adequate amount of halls available
0.44
Website is user friendly
0.44
Adequate air-conditioning in halls
0.42
Adequate amount of seats in halls
0.40
Adequate amount of banks and mobile ATMs
0.35
Good technical aspects during shows (lights, sound
etc.)
0.34
M.Saayman
M. Kruger
J. Erasmus
Finding the key to success:
A visitors’ perspective at a national arts festival
157
Acta Commercii 2012
ISSN: 1680-7537
Effective booking of tickets through the internet
0.21
Factor 4: Accommodation and Ablution
3.50
0.88
Adequate ablution facilities
0.72
Good hygiene of ablution facilities
0.68
Affordable prices for accommodation
0.55
Adequate accommodation facilities available
0.46
Effective marketing of accommodation
0.42
Quality accommodation facilities
0.41
Factor 5: Activities and community
3.66
0.86
Adequate activities and products for children
0.25
Adequate control over alcohol use
0.29
Local community’s contribution is visible at the festival
0.80
Local community is involved in festival
0.80
Affordable prices of transport services
0.40
Children’s’ activities are affordable
0.34
Adequate transport services available for tourists
0.28
Factor 6: Parking and Restaurants
3.68
0.83
Good safety of vehicles in parking areas
0.57
Adequate parking on and around festival terrain
0.54
Adequate amount of dustbins available on festival
terrain
0.53
Affordable prices at food providers
0.42
Adequate food providers on the festival terrain
0.34
Quality food at food providers
0.25
Factor 7: Quality Shows and Stalls
3.80
0.84
Wide variety of shows are available
0.53
High quality shows
0.52
Products sold at stalls are affordable
0.39
Affordable prices for shows
0.38
Stall owners are friendly and supportive
0.35
Quality products sold at stalls
0.34
Wide variety of stalls and shops available
0.32
TOTAL VARIANCE EXPLAINED
55,4%
The factor scores were calculated as the average of all items contributing to a specific factor in order
to interpret them on the original 5-point Likert scale of measurement (1 = Totally disagree; 2 = Do not
agree; 3 = Neutral; 4 = Agree; 5 = Totally agree). As shown in Table 2, the following KSFs were
identified: Safety and Personnel, Marketing and Accessibility, Venues, Accommodation and Ablution,
Activities and Community, Parking and Restaurants and Quality Shows and Stalls. Shows and Stalls,
Venues and Safety and Personnel were rated the most important according to visitors at the KKNK.
Shows and Stalls and Parking and Restaurants were furthermore identified as unique success factors
for arts festivals. Marketing and Accessibility and Accommodation and Ablution were rated the least
important. The afore-mentioned contributes to the overall experience of visitors at the festival.
Results from the factor analysis: Visitor Motivation
Three motivational factors were identified when performing the pattern matrix of the principal
component factor analysis using an Oblimin rotation with the Kaiser Normalisation. These factors were
labelled according to similar characteristics (Table 2). The three factors accounted for 53,3% of the
total variance. All factors have high reliability coefficients ranging from 0.77 (the lowest) to 0.88 (the
highest). The average inter-item correlations values are between 0.40 and 0.43; this also implies that
there is internal consistency for all the factors. The Kaiser-Meyer-Olkin measure of sampling adequacy
M.Saayman
M. Kruger
J. Erasmus
Finding the key to success:
A visitors’ perspective at a national arts festival
158
Acta Commercii 2012
ISSN: 1680-7537
of 0.91 and Barlett’s Test of Sphericity also reached statistical significance (p < 0.001), also indicated
that patterns of correlation are relatively compact and should yield distinct and reliable factors (Field,
2005:640; Pallant, 2007:197).
Table 2: Factor analysis results of KKNK visitors’ travel motivations
MOTIVATION FACTORS
AND ITEMS
FACTOR
LOADINGS
MEAN
VALUE
RELIABILITY
COEFFICIENT
AVERAGE
INTER-ITEM
CORRELATION
Factor 1: Festival
Attractiveness
3.87
0.88
0.42
ABSA KKNK is different to
other festivals
0.60
Variety of productions
0.80
Quality productions
0.74
Sociable festival
0.55
To see well-known
performers
0.55
It is an annual
commitment
0.44
It is primarily an Afrikaans
festival
0.55
The festival provides a
unique holiday experience
0.52
The introduction of new
flagship productions at the
festival
0.50
The festival promotes
cultural inclusiveness
0.41
The festival is value for
money
0.63
Factor 2: Novelty
3.17
0.79
0.43
It is the closest festival for
me
0.49
To the benefit of my
children
0.59
To support the stalls
0.51
To buy art
0.78
To explore the
environment
0.63
Factor 3: Escape and
Socialisation
3.84
0.77
0.40
To get away from my
routine
0.39
To relax
0.47
To spend time with family
0.46
To spend time with friends
0.60
To meet new people
0.42
TOTAL VARIANCE
EXPLAINED
53,3%
M.Saayman
M. Kruger
J. Erasmus
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ISSN: 1680-7537
The factor scores were calculated as the average of all items contributing to a specific factor so that
they could be interpreted on the original 5-point Likert scale of measurement. Festival attractiveness
(Factor 1) had the highest mean value (3.87) and was considered as the most important motive for
visitors to attend the festival. This was followed by Escape and Socialisation (Factor 3) (3.84).
Novelty (Factor 2) obtained the lowest mean value (3.17) and was regarded as a less important
motive.
Results from the cluster analysis
An exploratory cluster analysis based on all cases in the data was performed on the motivational
factors. A hierarchical cluster analysis, using Ward’s method of Euclidean distances, was used to
determine the clusters’ structures based on the motivation factors. A two-, three- and four-cluster
solution was examined, and the three cluster solution was selected as the most discriminatory (Figure
2). The results of the multivariate analyses were used to identify the three clusters and to indicate that
significant differences existed between them (p<0.05).
Figure 2: Five cluster solution: Ward’s method with Squared Euclidean distance
measures
Ward`s method
Euclidean distances
C_183 C_240 C_349 C_288 C_208 C_168 C_211 C_164 C_364 C_391 C_343 C_142 C_124 C_59 C_301
0
50
100
150
200
250
Linkage Distance
Identification of segmented clusters
ANOVAs of the three factors indicate statistical significant differences (p<0.001). ANOVAs indicated
that all three factors contributed to differentiating between the three motivational clusters (p<0.05). In
addition, Tukey’s post hoc multiple comparisons were employed to explore these differences between
clusters with regard to each factor. Table 3 indicates differences in means between the three clusters
and reveals the importance of each of the factors for festival travel for the members of each cluster.
M.Saayman
M. Kruger
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Acta Commercii 2012
ISSN: 1680-7537
Table 3: ANOVA and Tukey’s post hoc multiple comparison results for motivational
factors in three clusters of KKNK visitors
Motivational factors
Cluster 1
Escapists
(N=130)
Cluster 2
Festival
Junkies
(N=197)
Cluster 3
Culture
seekers
(N=96)
F-ratio
Sig. level
Festival Attractiveness
2.99a
4.34b
4.06c
238.546
<0.05
Novelty
2.35a
4.12b
2.27a
399.109
<0.05
Escape and Socialisation
2.96a
4.35b
2.27c
219.092
<0.05
Note: respondents were asked to indicate how important they considered each item on the scale (1=not at all important, 2=less
important, 3=important, 4=very important and 5=extremely important). Tukey’s multiple comparisons indicate that statistically
significant differences exist among the clusters with different superscripts. For example, in terms of Festival attractiveness,
differences were found between Cluster 1 (superscript a) and all the other clusters. Cluster 2 (superscript b) differed from all the
other clusters and Cluster 3 (superscript c) differed from all the other clusters as well.
Cluster 1 was labelled Escapists. This cluster contained 130 respondents and had the lowest mean
values for all three of the travel motives (Festival attractiveness (2.99); Novelty (2.35); and Escape and
Socialisation (2.96)). Cluster 2 was labelled the Festival Junkies, contained 197 respondents and had
the highest mean scores for all the factors among the three cluster groups. Cluster 3 was labelled the
Culture Seekers and contained 96 respondents. Within this cluster, Festival Attractiveness (4.06) had
a significant larger mean than all the other factors. Table 3 also shows that all three clusters placed
higher importance on Festival Attractiveness and Escape and Socialisation than on Novelty. The
cluster analysis identified the most significant market segment as the Festival Junkies (Cluster 2). The
Festival Junkies are characterised by having the highest mean scores across the three motivation
factors and contained the largest sample of respondents.
Results of ANOVA and Tukey’s post hoc multiple comparisons
ANOVAs were also conducted to determine the differences in other characteristics and the key
success factors of visitors. As shown in Table 4, there were statistically significant differences between
the Escapists, Festival Junkies and Culture Seekers based on all the characteristics. The results of
this analysis revealed the following:
Age: Based on age (p<0.001) both Escapists (Cluster 1) and Culture Seekers (Cluster 3)
differ statistically from Festival Junkies (Cluster 2). The Escapists and Culture Seekers are,
on average, in their early forties (41 and 40 years respectively), while the Festival Junkies are
slightly older (47 years old).
Years attended: With regard to years attended (p<0.033) there were statistical significant
differences according to the significance level. However, Tukey’s post hoc comparison tests
identified no differences between the three clusters. All three clusters indicated that they have
attended the arts festival regularly for between five and six years.
Length of stay: With regard to both the number of days spent at the festival (p<0.010) and
nights in Oudtshoorn (p<0.002), both Escapists (Cluster 1) and Festival Junkies (Cluster 2)
differ statistically from Culture Seekers (Cluster 3). The Culture Seekers stay approximately
five days and nights at the arts festival, while Escapists and Festival Junkies stay an average
of four days and the Escapists stay over in Oudtshoorn for four nights and the Festival
Junkies for only three nights.
Total spending: Based on total spending (p<0.004) there were statistical significant
differences between Escapists (Cluster 1) and Culture Seekers (Cluster 3). However there
were no statistically significant differences between Escapists and Festival Junkies (Cluster 2)
and between Culture Seekers and Festival Junkies. The Culture Seekers spent the most
during the arts festival (R4770.44), followed by the Escapists, (R3774.70) and then the
Festival Junkies (R3215.31).
Key Success Factors:
M.Saayman
M. Kruger
J. Erasmus
Finding the key to success:
A visitors’ perspective at a national arts festival
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Acta Commercii 2012
ISSN: 1680-7537
With regard to the KSFs, there were statistically significant differences based on all seven
factors. These differences are discussed below:
Safety and Personnel (p<0.05): Escapists differ statistically from Festival Junkies
and Culture Seekers. The Escapists (3.34) are neutral in agreement compared to
Festival Junkies (4.01) and Culture Seekers (3.89) who agree that Safety and
Personnel is an important factor for the success of the KKNK.
Marketing and Accessibility (p<0.05): With regard to this KSF, all three clusters
differ statistically from one another. Festival Junkies (3.83) and Culture Seekers (3.58)
agreed that Marketing and Accessibility is an important KSF for the KKNK compared
to the Escapists who are neutral in agreement.
Venues (p<0.05): Festival Junkies and Culture Seekers differ significantly from
Escapists. Escapists (3.46) do not have an opinion (neutral) on Venues in comparison
with Festival Junkies (3.93) and Culture Seekers (3.82) who agree that Venues play
an important role in the visitor experience at the festival.
Accommodation and Ablution (p<0.05): Escapists and Culture Seekers differ
significantly from Festival Junkies. Regarding Accommodation and Ablution Escapists
(3.22) and Culture Seekers (3.42) are neutral in their agreement that this KSF plays a
role in the success of the KKNK. Festival Junkies (3.71), on the other hand, agree that
Accommodation and Ablution is important, and that it contributes to their overall
experience.
General Aspects and Social Impact (p<0.05): Significant statistical differences were
identified between all three (Escapists, Festival Junkies and Culture Seekers).
Festival Junkies (3.92) and Culture Seekers (3.65) both agree that General Aspects
and Social Impact plays a role in satisfying the visitors needs. However Escapists
(3.31) differ from this conclusion and for them it is neither important nor less
important.
Parking and Restaurants (p<0.05): Both Festival Junkies and Culture Seekers differ
significantly from Escapists. Escapists (3.35) has a neutral agreement with regard to
this KSF while, Festival Junkies (3.87) and Culture Seekers (3.71) agreed that it is an
important factor contributing to their festival experience.
Shows and Stalls (p<0.05): With regard to Shows and Stalls, Escapists differ
statistically from both Festival Junkies and Culture Seekers. Escapists (3.44) are
neutral about whether Shows and Stalls are important in creating a unique experience
for visitors to the KKNK, compared to Festival Junkies (4.00) and Culture Seekers
who agree that Shows and Stalls are important. With regard to the KSFs the Festival
Junkies rated all the factors the highest, followed by the Culture Seekers and the
Escapist who rated all the factors the lowest.
M.Saayman
M. Kruger
J. Erasmus
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Acta Commercii 2012
ISSN: 1680-7537
Table 4: ANOVA and Tukey’s post hoc multiple comparison results for visitor
characteristics and key success factors of the clusters
Characteristics
Cluster 1
Escapists
(N=130)
Cluster 2
Festival
Junkies
(N=197)
Cluster 3
Culture
seekers
(N=96)
F-ratio
Sig.
level
Age
41a
47b
40a
9.116
0.001*
Years attended
5
6
6
3.432
0.033*
Length of stay
Days
Nights
4a
4a
4a
3a
5b
5b
4.708
6.352
0.010*
0.002*
Total spending
R3774.70a
R3215.31ab
R4770.44b
5.540
0.004*
Key Success Factors
Safety and Personnel
3.34a
4.01b
3.89b
47.793
<0.05
Marketing and Accessibility
3.23a
3.83b
3.58c
26.600
<0.05
Venues
3.46a
3.93b
3.82b
23.924
<0.05
Accommodation and Ablution
3.22a
3.71b
3.42a
17.758
<0.05
General Aspects and Social
Impact
3.31a
3.92b
3.65c
31.875
<0.05
Parking and Restaurants
3.35a
3.87b
3.71b
20.188
<0.05
Shows and Stalls
3.44a
4.00b
3.85b
31.163
<0.05
* Statistically significant difference: p<0.05
Tukey’s multiple comparisons indicate that statistically significant differences exist among the clusters with different
superscripts. For example, in terms of Festival attractiveness, differences were found between Cluster 1 (superscript a) and all
the other clusters. Cluster 2 (superscript b) differed from all the other clusters and Cluster 3 (superscript bc) differed from all the
other clusters as well.
Results of two-way frequency tables and Chi-square tests
Two-way frequency tables and Chi-square tests were also constructed to provide a complete
demographic profile and show whether significant demographic differences existed between the three
clusters. According to Table 5 there are statistically significant differences between the three clusters
based on gender (p<0.045) and rock (p<0.010) as a preferred type of show/production. Even though
there are no statistical differences based on the other characteristics it can still be seen that the three
clusters differ from each other.
These differences are discussed below:
Gender: The majority of respondents were female, however males had the highest
percentage (47%) in Cluster 3 (Culture Seekers) between the three clusters.
Language: All three of the visitor groups were mainly Afrikaans speaking.
Province: The majority of Escapists, Festival Junkies and Culture Seekers resided in the
Western Cape. Escapists and Festival Junkies had the highest percentages. Gauteng was
identified as the second highest province for the Escapists and this result corresponds with
total spending (Table 5) because they travelled the furthest. Eastern Cape was identified as
the second highest province of origin for the Festival Junkies and Culture Seekers.
Occupation: All three clusters are in a high-income occupation, whereas Escapists had the
highest percentage of visitors in this category; this result also corresponds with their total
spending (Table 3) where Escapists had the highest spending over the duration of the arts
festival. However Escapists also had the highest percentage of visitors in a low-income
occupation, and this explains there travel motives; they are only at the KKNK to enjoy
themselves and the arts festival.
Types of Shows/Productions: Culture Seekers were very interested in rock shows and this
corresponds with their age (Table 4) hence they are the youngest cluster. Culture Seekers
M.Saayman
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Acta Commercii 2012
ISSN: 1680-7537
also had the highest percentage for attending Drama shows followed by Festival Junkies and
Escapists. All three clusters also attended Music Theatre and Cabaret, and Comedy shows. In
general Escapists interests were spread over all the genres and type of shows and
productions, whilst Festival Junkies and Culture Seekers had specific genres and types of
shows/productions they preferred to attend.
Based on the above mentioned results from the cluster analysis, the Festival Junkies (Cluster 2) and
Culture Seekers (Cluster 3) can be regarded as the arts festival’s most important markets. These
clusters indicate that respondents are female, Afrikaans speaking, in their forties and from the
Western Cape. These visitors are in a high-income occupation, stay an average of four to five days
and nights at the arts festival and have attended the festival for six years. They attend music theatre
and cabaret, drama and comedy shows and productions during their stay at the KKNK.
M.Saayman
M. Kruger
J. Erasmus
Finding the key to success:
A visitors’ perspective at a national arts festival
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Acta Commercii 2012
ISSN: 1680-7537
Table 5: Visitor characteristics of clusters
Characteristics
Cluster 1
Escapists
(n=130)
Cluster 2
Festival Junkies
(n=197)
Cluster 3
Culture Seekers
(n=96)
Chi-
square
value
df
Significance
level
Phi-value
Gender
6.219
2
0.045*
0.121
Male
38%
32%
47%
Female
62%
68%
53%
Language
2.664
4
0.616
0.080
Afrikaans
95%
95%
94%
English
4%
5%
6%
Other
1%
0%
0%
Province
10.336
6
0.111
0.163
Western Cape
65%
65%
51%
Gauteng
18%
12%
16%
Eastern Cape
14%
18%
29%
Free State
3%
5%
4%
Occupation
4.947
4
0.293
0.108
High-Income (Professional,
Management, Self-employed)
48%
39%
44%
Medium-Income (Technical, Sales,
Farmer, Mining, Administrative,
Civil service, Education)
19%
29%
28%
Low-Income (Housewife, Pensioner,
Student, Unemployed)
33%
32%
28%
Type of shows/productions
Drama
Yes=29%;No=71%
Yes=31%;No=69%
Yes=43%;No=57%
5.681
2
0.058
0.116
Dance Theatre
Yes=11%;No=89%
Yes=11%;No=89%
Yes=12%;No=88%
0.028
2
0.986
0.008
M.Saayman
M. Kruger
J. Erasmus
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A visitors’ perspective at a national arts festival
165
Acta Commercii 2012
ISSN: 1680-7537
* Statistically significant difference: p<0.05
Word art & Poetry
Yes=5%; No=95%
Yes=7%;No=93%
Yes=5%;No=95%
0.626
2
0.731
0.038
Children’s Theatre
Yes=5%; No=95%
Yes=3%;No=97%
Yes=5%;No=95%
1.622
2
0.444
0.062
Theatre discussions
Yes=5%;No=95%
Yes=3%;No=97%
Yes=5%;No=95%
0.956
2
0.620
0.048
Music theatre & Cabaret
Yes=42%;No=58%
Yes=42%;No=58%
Yes=42%;No=58%
0.010
2
0.995
0.005
Classical music
Yes=12%;No=88%
Yes=11%;No=89%
Yes=10%;No=90%
0.089
2
0.956
0.015
Choir & Ensemble
Yes=1%;No=99%
Yes=2%;No=98%
Yes=0%;No=100%
2.552
2
0.279
0.078
Rock
Yes=19%;No=81%
Yes=10%;No=90%
Yes=23%;No=77%
9.151
2
0.010*
0.147
Visual arts & Exhibitions
Yes=6%;No=94%
Yes=5%;No=95%
Yes=2%;No=98%
2.138
2
0.343
0.071
Comedy
Yes=29%;No=71%
Yes=22%;No=87%
Yes=31%;No=69%
3.567
2
0.168
0.092
Jazz
Yes=1%;No=99%
Yes=2%;No=98%
Yes=2%;No=98%
0.906
2
0.636
0.046
M.Saayman
M. Kruger
J. Erasmus
Finding the key to success:
A visitors’ perspective at a national arts festival
166
Acta Commercii 2012
ISSN: 1680-7537
FINDINGS AND IMPLICATIONS
The results from this research indicate that visitors to the KKNK are not homogeneous in terms of their
travel motives and that different KSFs influence their experience differently. These results are consistent
with the findings of Scott (1996), Rachael and Douglas (2001), Backman et al. (1995), Kara and Kaynak
(1997), Marais (2009) and Formica and Murrmann (1998). These are the findings and implications based
on the results:
First, three travel motives for attending the arts festival were identified, namely Festival Attractiveness,
Novelty and Escape and Socialisation. Kruger (2009:29); Formica and Uysal (1998:19-21); Formica and
Murrmann (1998:201-205); Lee, Lee and Wicks (2004:66); De Guzman, Leones, Tapia, Wong and De
Castio (2006:864-865) also identified Festival Attractiveness as a travel motivation, while Novelty has
also been identified by previous research including Formica and Uysal (1996); Formica and Uysal
(1998:19-21); Formica and Murrmann (1998:201-205); Lee and Lee (2001:813-814); Lee et al. (2004:66);
De Guzman et al. (2006:864-865) and Chang (2006:1229). Escape has been identified in research done
by Lee et al. (2004:66); De Guzman et al. (2006:864-865); Uysal et al. (1994); Beh and Bruyere (2007);
Saayman and Saayman (2008); and Kruger (2009:29), and Socialisation has also been identified by
Formica and Uysal (1996); Formica and Uysal (1998:19-21); Formica and Murrmann (1998:201-205); Lee
and Lee (2001:813-814); Lee et al. (2004:66); De Guzman et al. (2006:864-865); Chang (2006:1229) as a
travel motive. However Escape and Socialisation have not been grouped together as a travel motive and
is therefore a unique motive of visitors to the KKNK. Festival attractiveness was identified as the most
important travel motive which shows the importance of the core business aspects of an arts festival,
followed by Escape and Socialisation and, lastly, Novelty. This implies that travel motives differ from one
event to the next, concurring with the findings by Saayman and Saayman (2006). Therefore organisers
need to focus on the three motives mentioned above. It would also be advantageous if the marketing
campaign focuses on these motives since they are unique to this festival.
Second, based on the identified travel motives, three distinct clusters and markets were identified namely
Escapists, Festival Junkies and Culture Seekers. The Festival Junkies and Culture Seekers were
identified as the most significant market segments since these visitors attend the KKNK specifically to
experience arts and culture by means of shows and productions, stalls and socialisation. The results from
the ANOVA furthermore revealed statistically significant differences between the Escapists, Festival
Junkies and the Culture Seekers in terms of their socio-demographic and behavioural characteristics. In
terms of the socio-demographic differences the Escapists and Culture Seekers are slightly younger than
the Festival Junkies and want to experience shows and productions. The Culture Seekers spend more
money at the festival compared to the Escapists and Festival Junkies and they rated Festival
Attractiveness as their most important travel motivation. In terms of behavioural characteristics,
Escapists, Festival Junkies and Culture Seekers indicated that they have attended the KKNK between
five and six years, spending approximately five days and nights at the arts festival. This indicates a high
level of loyalty among all clusters. The Culture Seekers were more interested in Rock shows compared to
the other two clusters while three clusters were interested in Drama shows, Music theatre and Cabaret,
and Comedy shows. The Culture Seekers attended different shows and productions during the festival,
which implies that they are all-round festival goers who enjoy all types and genres of shows and
productions, while Festival Junkies and Escapists had specific tastes in genres of shows and productions
and festival organisers should therefore focus on providing high standard and quality shows in these
specific genres to ensure the return of visitors in two clusters. The implication of this is that festival
organisers need to implement a differentiated management and marketing strategy or plan to satisfy the
needs of these clusters. In terms of the Festival Junkies, they should be encouraged to buy more tickets,
since they are identified as the lowest spending cluster at the festival. This can be achieved by providing
high quality affordable shows with well-known performers and including this in their marketing campaign
before and during the festival. Festival Junkies are interested in genres including drama, musical theatre
and cabaret and comedy shows, thus more of these shows should be included in the festival programme.
Regarding the Culture Seekers festival organisers should encourage this cluster to stay longer at the
festival, the festival has a duration of nine to ten days but the Culture Seekers only stay five nights and
M.Saayman
M. Kruger
J. Erasmus
Finding the key to success:
A visitors’ perspective at a national arts festival
167
Acta Commercii 2012
ISSN: 1680-7537
days at the festival; this can be achieved by offering special packages to visitors, which consist of
accommodation, entrance to festival grounds, food and beverage and different shows they are interested
in. Both Festival Junkies and Culture Seekers agree on the importance of the seven KSFs for the
sustainability of the KKNK therefore festival organisers should focus on implementing and improving
these KSFs in their management plan. Examples of what festival organisers can do include: training staff,
providing adequate information services and kiosks across the festival grounds, using the best technical
crews during shows and productions; placing ablution facilities on the festival grounds and ensuring they
are in a good hygienic condition at all times; providing children’s activities and packages consisting of
children’s activities, providing a greater variety of food and cold drinks and day care services. Since stalls
are important, the introduction of new types of products at the festival should be managed and a floating
trophy for best new product launched during the festival. This will encourage them to be innovative.
These activities should contribute to the output phase as shown in Figure 1.
Last, as the results indicated that there are statistically significant differences between the three clusters
of visitors based on the KSFs, this implies that a different approach is required. The Festival Junkies, for
example had the highest mean values for all the KSFs and regard all seven KSFs as important for a
quality visitor experience. The Escapists rated Venues and Shows and Stalls as the most important
KSFs to improve their experience while Festival Junkies and Culture Seekers both identified Safety and
Personnel and Shows and Stalls as necessary factors in creating a unique festival experience. The
implication of the above is that a general evaluation of the success of an event can be misleading since
visitors differ and the factors that contribute to their experience differ. A general evaluation merely
indicates areas of importance but do not necessary distinguish the level of importance. If festival
organisers want to ensure that visitors’ needs are fulfilled, it means a more comprehensive approach has
to be followed to ensure that the KSFs for different markets are determined.
SUMMARY AND CONCLUSION
The purpose of this study was to segment visitors to the KKNK by means of travel motives and showing
that different markets have different requirements of a National Arts Festival. The findings of this study
revealed that there are different types of travel motives visitors experience as important in their decision
to visit the arts festival, namely Festival Attractiveness, Novelty and Escape and Socialisation.
Furthermore, different markets have different travel motives, clustered as Escapists, Festival Junkies and
Culture Seekers, and these different clusters have different tastes and needs, for example the Culture
Seekers are more interested in Rock shows and all three the clusters enjoy Drama, Music Theatre and
Cabaret and Comedy shows and productions. Different markets also focus on different KSFs that
influence their experience of the event. Escapists rated Venues and Shows and Stalls as the most
important KSF in managing the festival, whereas Festival Junkies and Culture Seekers rated Safety and
Personnel and Shows and Stalls as the most important. The article makes several contributions; first, that
travel motives are a good base or foundation for segmenting visitors to arts festivals; hence an in-depth
understanding of why visitors attend the arts festival and what they expect to experience at the arts
festival is important. Second, this research makes a contribution to the literature on travel motives, market
segmentation, festival management and need satisfaction. Last, the results show that festival organisers
cannot base their planning on a general evaluation of visitors but that different markets have different
needs but they also regard factors contributing to their overall experience differently. Therefore, this
research can help festival organisers to understand what visitors want to experience at the arts festival
and how they want to experience it.
M.Saayman
M. Kruger
J. Erasmus
Finding the key to success:
A visitors’ perspective at a national arts festival
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Acta Commercii 2012
ISSN: 1680-7537
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