Sustainability of a national arts festival

Heerden, Chris van; Saayman, Melville

doi:10.1177/1354816618762186

Cited by 14 publications

(2 citation statements)

References 68 publications

(82 reference statements)

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“…Festivals in South Africa before COVID-19 were a booming sector: In 2018, Van Heerden and Saayman (2018) found that there were more than 600 festivals of various kinds per year in South Africa. Although some of them were already starting to experience a drop in visitor numbers (and spending) as South African economic growth slowed, festivals were still seen as an excellent way to increase tourist spending, support the creative economy, and improve access to arts and culture for audiences (Snowball and Antrobus, 2021).…”

Section: Context: Creative Industries In South Africa and The South A...mentioning

confidence: 99%

Supporting the festival industry in troubled times: Higher education research and collaboration with festivals in South Africa during COVID-19

Snowball,

Drummond,

Tarentaal

2023

Industry and Higher Education

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This case study presents a critical reflection on the way COVID-19 lockdowns in 2020-2022 brought the festival industry in South Africa closer to higher education (HE) via a new and innovative collaboration. The research design allowed an international team to facilitate knowledge sharing and research support during a very challenging time for the industry. The project saw the development of a collaboration with seven festivals across South Africa. During the 15 months project, the collaboration allowed participants to build a new knowledge base - and a collaborative network - to survive the challenging times. Rather than a more extractive, top-down approach that saw festivals as “research subjects”, they were involved as research partners. Cultural organisations and members of the South African team acted as intermediaries, who used their existing networks and reputations to build a collaborative, trust-based relationship between industry partners and researchers where mutually beneficial outcomes were possible. The project thus became part of the South Africa festival ecosystem, creating opportunities for collaboration and knowledge exchange between festivals, cultural producers and academic researchers. The outcomes of the research helped to build a stronger creative economy and support its future development.

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Section: Context: Creative Industries In South Africa and The South A...mentioning

confidence: 99%

Supporting the festival industry in troubled times: Higher education research and collaboration with festivals in South Africa during COVID-19

Snowball,

Drummond,

Tarentaal

2023

Industry and Higher Education

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“…Today, festivals and special events are one of the fastest-growing types of tourism attraction worldwide (Crompton and McKay 1997;van Heerden 2003;Getz 1997;Thrane 2002 cited in Saayman andSaayman 2005). Festival tourism creates place attachment, and provides new paths of rejuvenation for destinations.…”

Section: Festivals As Creative Destinationmentioning

confidence: 99%

Adventures in Small Tourism

2023

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Thanks to Thompson Rivers University, especially the Research and Graduate Studies Office, for granting me a sabbatical in 2022, during which I completed a good deal of the work for this volume. I am also grateful for its support of my research assistant, Brendan Coulter. Thompson Rivers University is located on the unceded land of the Secwepemc, within Secwepemc'ulucw, the traditional territory of the Secwepemc people.Much of the labour on both this book and its predecessor, Creative Tourism in Smaller Communities: Place, Culture, and Local Representation (University of Calgary Press, 2021), occurred at my sunny loft flat in Mainz, Germany, in the house owned by my good friend Dr. Stephanie Doetsch. It is such a pleasure to acknowledge the affection and encouragement she regularly extends around my scholarly work and its attendant thrilling details. I am also happy to thank my colleague and friend Dr. Nancy Duxbury for her continuing participation in my scholarly projects. She is usually busy editing her own books, but always makes time to share her expertise in mine.Twenty-eight authors contributed to this international volume, and all have endured scores of my emails and deadlines in order to co-create this book; not a single one of them has let me down. I am very grateful to them for all their work.Once again, I want to acknowledge with gratitude my long and strong relationship with the University of Calgary. This is my second book with University of Calgary Press, headed by its director, the inimitable Brian Scrivener. He and his stellar staff, including Helen Hajnoczky, Melina Cusano, and Alison Cobra, work every day to bring peer-reviewed writing to all readers through open access-they are stardust, they are golden. Unsung heroes Ryan Perks and JoAnne Burek once again bring their copy-editing and indexing expertise to this volume. The comments made by both scholarly reviewers were also helpful.Finally. My son Dana Scherf-Silk has accompanied me on this long academic career; I was still an assistant professor when he was born. Clearly one can never really reflect the full scope of experience a child brings, but I can and do, with love, celebrate Dana by dedicating this book to him.

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