Academic literature includes numerous usages of the term engagement (Ferreira, 2020; Hisel, 2020; Jiang et al., 2022; Wickramasinghe et al., 2018). Engagement in the arts and humanities can refer to a connection between a performer and their audience or between a viewer and a piece of art (Gao & Lin, 2021; Lyu et al., 2021; Pandey et al., 2022). Scholars have also used it to describe the act of interpretation, such as when a viewer interacts with a piece of art (Wango, 2021). Scholars in the social sciences, have used the term engagement to describe both the interaction between an organization’s community and its community’s participation in civic life (Kahane et al., 2013; McGovern & Klenke, 2018). It has also been used to describe the learning process, such as when a learner interacts with a book by attempting to grasp its meaning (Höglander et al., 2023).

The purpose of this paper is to categorize the use of the term engagement based on study objectives as represented in four peer-reviewed academic journals focused on arts and cultural management. The journals reviewed were The American Journal of Arts Management, The International Journal of Arts Management, The Journal of Arts Management, Law, and Society, and The Journal of Cultural Management and Cultural Policy. The research questions for the study were: (1) How have arts management scholars used the term engagement in the selected journals? (2) What framework could assist in defining categorical research dealing with the notion of engagement? We selected these journals because they publish articles focused on arts management. Each journal also operates with an established peer review process to determine the published research’s trustworthiness, validity, originality, and significance. The articles served as the dataset for an in-depth qualitative content analysis for inductive category development (Mayring, 2000).

Through a thorough review of the 64 articles published in these journals that use the term engagement, we created a dynamic list of the many ways arts management scholars have used the word engagement based on what drives their research. By categorizing types of engagement studies, we seek to promote greater clarity around how researchers explore engagement. Improved clarity results in precise, unambiguous communication about engagement and arts and cultural organizations.
The meaning of engagement is contingent upon the context in which it is used because it is a complicated and multidimensional term. Although many scholars are specific in their usage of the term, engagement has also been extensively used indiscriminately and without any qualification, reducing its meaning to an ill-defined idea. Many academic studies—even those explicitly focusing on engagement—use the term without providing any definition. This practice can cause misunderstandings as engagement has varied meanings, is used situationally, and is circumstance-dependent.

The eight categories of engagement usage we propose are based on the content analysis and coding process conducted. Each category suggests the subject matter (what drives the research) of the studies included and how the term engagement is used.

• Cerebral engagement: This type of engagement research focuses on stimulating intellectual thought or emotional responses that may involve reading, writing, discussing ideas, or creativity.
• Conceptual engagement: This form of engagement research focuses on the interaction between two or more concepts that may involve analysis, comparison, and contrasting ideas.
• Employee engagement: This mode of engagement research focuses on improving the quality of the work experience for employees, which may involve providing opportunities for growth and development, offering flexible work arrangements, and creating a positive work environment.
• Financial engagement: This type of engagement research focuses on exchanging things of perceived similar value. That may involve activities such as buying, selling, and investing.
• Interactive engagement: This type of engagement research focuses on the interaction of people, often in one-on-one or group dialogues. It occurs when people connect about a subject or idea, resulting in dialogue, relationship building, and involvement in activities like face-to-face conversation, online communication, community participation, or freely providing value-added participation for the community.
• Control-sharing engagement: This is a form of interactive engagement research in which collaboration is central, and neither party has significantly more control over any outputs.
• Market engagement: This engagement research method focuses on achieving effective interaction with the marketplace and gaining insight into what informs decision-making. It may involve activities such as marketing, advertising, and public relations.
• Hive-mind engagement: This type of engagement research focuses on creating a shift in the thinking and behavior of large swaths of society and may involve social media campaigns, protests, and boycotts.

The eight proposed categories presented varying uses of the term engagement based on the foci of the scholarly articles. In the paper, we also take an epistemological perspective to discuss lenses through which scholars can study engagement. These lenses are distinct from what decidedly drives the research, which we categorized for arts management publications from the determined journals; however, some of the defined categories have closer ties to some lenses than others. We developed these lenses from results of the study and the various ways scholars beyond the arts management field have used descriptors preceding the term engagement to characterize a distinctive form of engagement. In considering these descriptors and the categories identified from arts administration literature, we proposed that the study of engagement can occur through four different lenses:

• Cognitive studies of engagement: This type of engagement focuses on the thoughts and ideas that people have, and a person’s effort in the thought process. Thought is frequently evaluated using skills such as problem-solving, understanding, and concentration. The effort is seen in cerebral engagement, as people stimulate intellectual thought. It is also present in conceptual engagement when people analyze, compare, and contrast ideas. It is also demonstrated in employee engagement, notable when employees learn and develop new skills.
• Emotional studies of engagement: Emotional engagement describes how people feel when exposed to something. It is frequently evaluated using the variables pleasure, satisfaction, and investment. This type of engagement focuses on peoples’ feelings and emotions. It can be seen in cerebral engagement, as people respond emotionally to their thoughts and ideas, and in conceptual engagement, when people exhibit emotional responses to the concepts with which they interact. It is also present in employee engagement, when employees feel motivated and engaged in their work, and in financial engagement when emotions influence feelings of connection for donors and recipients.
• Behavioral studies of engagement: This engagement type focuses on people’s actions and describes the responses people have to a stimulus. Elements of participation, contribution, decision-making, and advocacy are frequently used to gauge participation. This type of engagement can be seen in financial engagement, as people exchange things of value; present in interactive engagement, as people interact with each other in person or online; and in control-sharing engagement, as people collaborate to achieve a common goal. It is also an important factor in market engagement, which becomes critical in growing the consumer base and is a linchpin in the future of any organization.
• Relational studies of engagement: This engagement mode describes the connections people form with one another in reaction to an event. It is frequently evaluated using criteria such as community, social support, and a sense of belonging. It can be seen in cerebral engagement, as people connect their thoughts and ideas. It can also be seen in conceptual engagement, as people connect different concepts. Relational aspects are also present in employee engagement, as employees connect with their colleagues and work.
These lenses are not mutually exclusive. For instance, a person involved in a political campaign may be relationally engaged in forming relationships with other supporters, emotionally engaged in feeling passionate about the issues, behaviorally engaged in volunteering for the campaign, or cognitively engaged in learning about the issues but engaging in one manner does not automatically lead to or involve engaging in another type. Different lenses may be selected to examine engagement depending on the research topic being explored.
Henceforth, it would not be unusual to see a behavioral study of market engagement, a relational study of financial engagement, or an emotional study of interactive engagement. The lenses through which these categories can be viewed allow for a more succinct, precise, and codifiable trajectory for the concept of engagement, moving it from a freewheeling association to a more substantial theoretical framework.

Despite a relatively consistent number of articles published in the reviewed journals each year, when looking at five-year publication periods, the use of the term engagement has steadily increased in the last five of the five-year periods in the selected journals. This rise in usage suggests an increased interest among scholars exploring engagement relative to arts management.

Given the focus of engagement in many arts management publications, the results of this study are particularly beneficial to researchers looking to create greater clarity in their studies and writing. By being aware of the various uses of the term engagement in research, scholars can select the meaning most compatible with their research question and reduce ambiguity.

Research rationale
Afrikaans arts festivals in South Africa face challenges in appealing to and fostering an appreciation for the arts among younger audiences (Kruger & Saayman, 2016). These festivals are more than just events; they are critical for youth engagement, offering interaction, inspiration, and personal and cultural expression (Akbar, 2022). They play a role in the equitable development of cultural heritage and capital (Bob et al., 2019) while promoting diversity and transformation (Snowball et al., 2017; Snowball & Antrobus, 2021; Drummond et al., 2021). The Generational Theory is relevant to festival research as it reflects the unique characteristics and experiences of different age cohorts (Noble & Schewe, 2003; Garrick et al., 2017), particularly in developing countries (Viljoen et al., 2018; Kruger & Viljoen, 2022). Age-based segmentation is touted for its strategic marketing potential (Thach et al., 2020).
With South Africa's youthful median age (Ausubel, 2020), Generation Z is now a vital demographic for arts festivals as they become economically active (Barhate & Dirani, 2022; Szymkowiak et al., 2021; Koop, 2021), a trend that necessitates research for post-pandemic industry resilience (Dunne et al., 2023). The spending power of both Generation Z and Millennials and the immersive 'flow' experiences of festivals are vital to engaging these younger groups (Ho et al., 2022; Ding & Hung, 2021). Additionally, festivals facilitate identity development during significant life transitions (Özdemir et al., 2023; Wood & Homolja, 2021). This research, therefore, seeks to understand the preferences of Gen Z and younger Millennials at South African arts festivals to inform strategic festival planning that resonates with youthful audiences.

Methodology
In a 2023 survey, bilingual questionnaires were administered across five major Afrikaans arts festivals in South Africa to analyse the youth segment's profile and preferences. The survey, tailored to the distinct features of each festival, captured socio-demographic data, motivational aspects, festival contribution perceptions, behavioural intentions, and key elements affecting production selection and overall festival importance. Utilising a 5-point Likert scale, the survey probed into intrinsic and extrinsic motivators, cultural and economic impacts, and loyalty intentions. Researchers gathered on-site responses from individuals over 18 at various festival locations, aiming for a representative sample of 400 per festival based on Krejcie and Morgan's (1970) sample size determination. From 2237 collected responses, 952 individuals aged 18-35 were analysed to understand Generation Z's and younger Millennials' needs. Statistical analysis proceeded in three phases using SPSS Version 28 and TIBCO Statistica®. Exploratory factor analyses established the factors for motives, contributions, satisfaction, and preferences, applying Kaiser's criterion and confirming reliability through Cronbach's alpha and inter-item correlations. Cluster analysis with age as a base segmented the youth visitors, while ANOVAs and chi-square tests identified demographic differences. This study's approach, grounded in the national youth definition and substantial youth proportion in South Africa (individuals aged 14-35 years) (Youth Policy in South Africa, 2000), underscores the significance of youth preferences in the context of arts festivals.

Preliminary findings and implications
The results delineated three youth segments at South African Afrikaans arts festivals, each with distinct patterns of festival engagement. (see Tables 1 and 2) The "Surfacing Arts Engager" segment (N=384) is the youngest, averaging 21.23 years, primarily female and predominantly Afrikaans-speaking. They exhibit an emerging interest in the arts and actively engage with festivals through social media. The "Steady Arts Engager" group (N=172), averaging 26.42 years, demonstrates enduring loyalty to the arts, investing significantly in festival participation and valuing the cultural experience, often informed by traditional media and personal experiences. The oldest group, "Shifting Arts Engager" (N=190), with an average age of 31.77 years, shows a reduction in festival activity, suggesting shifting cultural interests. Despite greater financial means, this group's engagement through social media is less pronounced, and there is a discernible need for innovative festival experiences that can revive their participation.
Theoretically, these results illustrate diverse motivations and behaviours within the youth demographic at cultural festivals. On a practical level, the necessity for festival organisers to develop tailored marketing and programming approaches becomes apparent to cater to the specific preferences of these segments and bolster their connection with the younger audience. The prominent presence of the "Surfacing Arts Engager" segment indicates an opportunity to deepen the understanding of this potentially overlooked market. Their significant use of social media and peer influence suggests that digital marketing and engaging online festival experiences could resonate well with this group. Conversely, the "Steady Arts Engager" segment's established patronage and diverse interests underscore the need for a varied, high-quality program that sustains their engagement. While financially secure, the "Shifting Arts Engager" segment indicates a need for novel and varied artistic offerings to maintain their interest in the arts.
Overall, the study emphasises the role of arts festivals as vital platforms for social and cultural interaction, particularly for the youth in a culturally rich and dynamic environment. It advocates for a dynamic, segmented approach in festival programming, marketing, and customer experience to align with each group's unique motivations and behaviour patterns. These insights are valuable for shaping strategies to maintain and grow arts festivals in a competitive cultural market. A notable limitation of this research is its exclusive focus on Afrikaans national arts festivals, which may not fully represent the broader South African cultural population. Therefore, additional research is warranted to explore the youth market at various cultural events for a more inclusive analysis.

Keywords: Generational Theory, Youth festival markets, Generation Z, Millennials, arts festivals, age-based segmentation, South Africa

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