Jarocin Festival (www.jarocinfestiwal.pl) is considered one of the most iconic music festivals in Poland. It originated in 1980’s and since then it has been a main meeting space for rock and punk-rock subcultures in the country. Until the end of communism in Poland (1989) it was an important platform for artistic freedom and social rebellion against the political system. Later - in the new reality - the liberal market conditions, rise of competition and financial challenges led to the festival’s end in 1994. It was reactivated again in 2005 and goes on until today, but the festival organizers are being constantly forced to re-define its identity and fight for its position.

Looking at the festival from the perspective of the city of Jarocin, it is undeniably an event of a great importance and plays multiple roles in the local cultural ecosystem. The aim of the proposed paper is to present the conclusions from the research on Jarocin Festival carried out in 2013-2023 by Adam Mickiewicz University ROK Culture Observatory and Altum Foundation. Primarily, the analysis will focus on data from the project conducted in 2022-23 entitled ‘New development paths of Jarocin Festival’. The project was funded by Norway Grants and initiated by the City of Jarocin.

References:
M. Poprawski, P. Firych (red.), Polityka kulturalna dla społeczności lokalnych powiatu jarocińskiego, Jarocin XXI, Jarocin 2014.
M. Mękarski, P. Firych, Raport. Jarocin Festiwal 2017 – badanie publiczności, ROK UAM, Poznań - Jarocin 2017.
M. Mękarski, S. Malewski, Raport. Jarocin Festiwal 2018 – badanie publiczności, Fundacja Altum / ROK UAM, Poznań - Jarocin 2018.
P. Firych, M. Mękarski, S. Malewski, Raport. Nowa ścieżka rozwoju jarocińskiego festiwalu, Fundacja Altum, Poznań – Jarocin 2023.

Research rationale

Cultural festivals, crucial for showcasing diverse artistic expressions, community engagement, and economic contributions, are integral to urban strategies (Perry et al., 2020; Quinn et al., 2021; Viljoen, 2023; Finkel & Platt, 2020). Managing these festivals involves a complex, multifaceted approach, with visitor perception as the objective and subjective truth (Kinnunen & Haahti, 2015; Luonila & Kinnunen, 2020; Mair & Weber, 2019). Cultural festivals contribute to regional development economically, socially, and culturally, playing a vital role in urban economies by enhancing the area's image and attracting cultural tourists (Drummond et al., 2021). However, debates persist regarding the perceived contribution of festivals to cultural tourism (Tanford & Jung, 2017; Lee et al., 2019; Yozukmaz et al., 2020). In South Africa, where festivals champion the preservation and enhancement of arts for societal betterment, the alignment of visitors' perceptions with the organisers' intentions remains unclear (Luonila & Kinnunen, 2020). While studies have examined the market attracted to arts festivals in South Africa, limited research has delved into the perceived contribution of national arts festivals (Pretorius et al., 2016; Bob et al., 2019; Snowball & Antrobus, 2021). Literature underscores the concept of festivalscapes, encompassing tangible and intangible components that shape tourist perceptions, such as programs, services, and facilities (Chen et al., 2019). Festivalscape, akin to servicescape, considers design, aesthetics, lighting, atmosphere, layout, and accessories, while experiencescape focuses on the interaction between festival visitors and the environment to create unique experiences (Mody et al., 2019; Chen et al., 2019). Understanding visitors' perceived contributions is crucial for enhancing arts festival management, influencing strategic decision-making, and optimising resource allocation in South Africa (Perry et al., 2020; Quinn et al., 2021; Viljoen, 2023). Therefore, this research examines how visitors interpret and value the arts festival offerings, specifically emphasising their contributions, and provides insight to festival managers and organisers.

Methodology

In a 2023 survey, bilingual questionnaires were administered across five major Afrikaans arts festivals in South Africa. 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. In total 2237 questionnaires were collected across the five arts festivals. Statistical analysis proceeded in two phases using SPSS Version 28 and TIBCO Statistica®. Exploratory factor analyses established the factors for motives, perceived contributions, satisfaction, and preferences, applying Kaiser's criterion and confirming reliability through Cronbach's alpha and inter-item correlations. Regression analysis was performed to identify the critical components that enhance the perceived contributions of the arts.

Preliminary findings

This research identified two perceived contributions based on festival offerings. Festival brand and economic value and Cultural significance and community value were identified as important perceived contributions. The two perceived contributions enhanced one other in the regression models. Regarding the other variables in the models, Festival brand and economic value are positively enhanced by socio-demographics like age and group size, travel motives (artistic and personal development and social and leisure engagement), festival evaluation (service quality and experience), and general preferences (economic value and diversity). However, the choice of production (artistic quality and craft) had a negative correlation. The first model, therefore, ascribes contributions primarily to economic impacts and festival branding, indicating that particular determinants such as group size and age impact spending at the festival and disposable income. At the same time, socialisation motives are largely recognised and accompanying services and amenities impact the visitor experience, driven by the value of money and variety. Festival organisers should leverage particular economic or value-for-money objectives such as group discounts and packages, strengthen the perception of the festival brand as an affordable arts experience, and ensure high-quality services and amenities at reasonable prices.
Regarding the second model, Cultural significance and community value is positively enhanced by a single travel motive (artistic and personal development) and festival evaluation (emotional connection and support) factor. In this model, the choice of productions (artistic quality and craft and inclusivity and interactivity) also correlated positively. Age, as a demographic particular, had a negative correlation, indicating that as visitors increase in age, their perception of the contribution decreases. The second model emphasises the perceived contribution of the arts and the cultural significance of arts festivals. Here, the emotional connection of visitors and the production choice attributes are vital in curating a personal and artistic experience. This indicates that festival organisers can capitalise on an emotional response from visitors, especially by leveraging production content and creative offerings.

Conclusion

This research has provided a nuanced understanding of the perceived contributions of festival visitors to cultural festivals in South Africa, shedding light on two distinct dimensions: Festival brand and economic value and Cultural significance and community value. The findings underscore the importance of these contributions, revealing their intricate interplay and respective influences on the festival experience. Strategic management for cultural festivals in South Africa should prioritise economic objectives through targeted initiatives like group discounts and value packages, enhancing the festival's brand as an affordable arts experience. Concurrently, emphasising high-quality services and amenities at reasonable prices is crucial for overall visitor satisfaction. Furthermore, cultivating emotional connections by leveraging unique production content and creative offerings can enhance the festivals' perceived cultural significance and community value. Age-specific marketing strategies, recognising negative associations with specific demographics, should be employed to ensure inclusivity and broaden audience appeal. This strategic approach aims to optimise economic impact, foster positive branding, and deepen the cultural engagement of festival attendees.

References

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