MONITORING AND EVALUATION OF ARTS AND CULTURAL EVENTS

ARST AND CULTURAL DEPARTMENT

CITY OF CAPE TOWN

SAMFA RESEARCH SOLUTIONS

Final Report
June 2016

INTRODUCTION
SAMFA Research Solutions was appointed by the Arts and Cultural Department (ACD) of the City of Cape
Town to assist with the development and enhancement of the capacity of event organizers to conduct
monitoring and evaluation of Arts and Cultural Events funded by the City.
This report describes how event organizers and owners of ten Arts and Cultural Events participated in
identifying the following eight key areas to be monitored and evaluated;
1.
2.
3.
4.
5.
6.
7.
8.

Audience Profile
Economic Impact
Social Impact
Cultural Impact
Marketing and Communications
Media Profile
Funding, Partners and Support Mix
Arts and Culture Sector Development

Event organizers were also integrally involved in determining the most appropriate tools and techniques
to be used.
The report is structured into three parts. Part One deals with background, event profiles and methodology
which includes the analytical tools that where developed to classify events in terms of maturity and a
venue typology that was crucial for identifying what type of tools and techniques could be used for
monitoring and evaluation during an event.
Part Two is a detailed description and discussion of the key areas to be monitored and evaluated. Part
Three is a listing of potential tools, techniques and templates to be used for key areas to be measured.

PART ONE
BACKGROUND
Arts, culture and music have been heralded as a panacea for a spectrum of psychological, educational,
social, community and economic challenges that range from neighborhood revitalization, achieving
economic goals to social inclusion, job creation and income generation. It is this point of departure that
forms the axiomatic bedrock for the contention, undergirded by studies, best practice and global
precedence, of City of Cape Town, that Arts and Culture Events can be used as a vehicle for social,
economic and cultural development. It is to this end that the City have been working with ten Arts and
Cultural Events to unlock the latent value of these events by identifying key areas where support is
needed.
The ten events were:
1. Cape Town Carnival
2. Suidoosterfees
3. Cape Town Fringe Festival
4. Maboneng Township Experience / Arts Festival
5. Cape Town Open Design Festival
6. Cape Town Open Book Festival
7. Cape Town Nu World Festival
8. Infecting the City Festival
9. Open Streets Festival
10. Cape Town Electronic Music Festival
The City in conjunction with the organizers of the Arts and Cultural Events identified the need for
developing the monitoring and evaluation capacity for the events.
Benefits of Monitoring and Evaluation
The benefits of conducting monitoring and evaluation of Arts and Cultural Events have been
acknowledged by all stakeholders and include:
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.

Forming the basis for collaboration with potential partners.

Providing quantitative and qualitative collateral for marketing and fundraising for the event.
Demonstrating accountability to funders and stakeholders.
Assisting donors and funders understanding the event.
Providing material for advocacy of the event.
Better performance management and assessing whether the event has achieved set targets.
Determining the degree of sustainability of the event.
Demonstrating the impact of the event.
Helping communities and the general public to recognise the value of the event.
Strengthening the event and the event organiser by helping to improve programming, content
development, solving problems and making a compelling case for more resources.
11. Enhancing the results of programs, marketing efforts and management.

METHODOLOGY
This section deals with the approach, methods and tools used during the project.
After the inception meeting the project proceeded with a review of reports and previous studies that were
made available by the City of Cape Town, to gain an understanding of the organizational, environmental
and historical context of the project. This was followed by a scan of international literature on the
monitoring and evaluation of arts and cultural events to identify focus areas, and best practice analysis of
potential tools and techniques.
Two workshops were held with the event organizers.

The first workshop introduced monitoring and evaluation, provided case studies of Monitoring and
Evaluation processes and the benefits thereof. Event organizers also workshopped potential focus areas
to be monitored and evaluated and what would be required to do so.
Following the first workshop there was a series of individual interactions and feedback sessions with event
organizers which involved a combination of telephonic discussions, one-on-one meetings and electronic
communication.
This was followed by a second workshop that worked through focus areas and co-created templates.

Monitoring and Evaluation Approach

The following approach to Monitoring and Evaluation was adopted.
Monitoring: The ongoing collection of specific data on key aspects or dimensions of a project or
programme with a focus on inputs and outputs.
Evaluation: The periodic analysis of data to assess and improve performance with a focus on changes in
outcomes and impacts.
Different type of evaluation:
1. Formative Evaluation assess ongoing activities.
There are three types of formative evaluation.
2

1.1. Need assessment and response evaluation determines:

The need for a project, programme or intervention, and the
Structured response to the need in terms of defining the programme,
beneficiaries and target population and possible outcomes.
1.2. Implementation evaluation also called process evaluation, assesses whether a
project or programme is being conducted as planned.
1.3. Progress evaluation assess the extent to which the goals of a programme or project
are being met before the completion of the project.
2. Summative Evaluation Also referred to as impact and outcome evaluation assess the extent to
which a project or programme achieved its impact or change goals.
There are two types of formative evaluation
1. Ex- Ante impact assessment impact assessment based on forecast or predicted
results.
2. Ex-Post impact assessment impact assessment based on actual results.
Formative and summative evaluation can either be done via
1. External review / assessment or
2. Self-evaluation

This is graphically captured in the following table.

Needs
Assessment &
Response

Formative Evaluation
Implementation

Summative Evaluation
Progress

Ex-Ante: based
predicted results

Ex-Post: based on
actual results

External review or assessment

Self-evaluation

The areas identified by the Arts and Culture Event organisors allows for the different types of evaluation.
The reporting areas cover both the monitoring and evaluation components. Within evaluation it focuses
on the Ex-Post assessment, based on actual results of an event, as part of the summative evaluation.
The monitoring and evaluation approach essentially provides a first-order indication of what will be
measured.

Arts and Cultural Events Impact Evaluation Framework

In order to determine the significance of impacts of Arts and Cultural Events, an evaluation framework
was developed. Critical requirements of the evaluation framework are to;
1. Determine appropriate dimensions for the assessment,
2. Determine types of impact and
3. Structure the dimensions and types of impact in the framework to elaborate the causal
mechanisms through which arts and cultural events have an impact i.e. the intervening factors
that connect a particular arts activity with a specific outcome (Guetzkow, J 2002:2).
The following horizontal dimensions and vertical impacts have been established based on a combination
of technical analysis, best-practices, understanding of arts and cultural events, and expert judgement
based on a number of similar projects.
Horizontally, the rows deal with the following 3 dimensions:
1. Direct or personal involvement in the arts and cultural event,
2. Participation in the arts and cultural event as an audience member,
3. Presence of the arts and cultural organisation and institutions in the community.
Vertically, the columns represent types of impact and are divided into individual, community and sectoral
levels. Each of the levels has its own impact types. Individual impacts are material, cognitive/psychological
and interpersonal. Community impacts are economic, cultural and social. Sectoral impacts are Arts and
Culture; Media, Marketing and Communications, and Finance.
The framework provides a structure for determining what aspects of the Arts and Culture Events will be
monitored and evaluated.
Individual
Direct
Involvement
Audience
Participation
Presence of Arts
and Cultural
Organisations &
Institutions

Material/
Health

Cognitive/
Psychological

Community
Interpersonal

Economic

Cultural

Sector
Social

Arts &
Culture

Media &
Communications

Finance

The Arts and Cultural Events Impact Evaluation Framework essentially provides a second-order indication
of what will be measured.

EVENT PROFILE
1. Cape Town Carnival
The Cape Town Carnival is a non-profit organization with a strong developmental ethos. The Carnival was
started during the festivities of the Soccer World Cup tournament in Cape Town in 2010 and is an annual
festival. The Carnival has a strong developmental ethos. Its vision and mission is to showcase the diversity
of South Africas culture, language, race and artistic expression in addition to providing opportunities for
community participation in arts and culture. In addition, it wants to be a significant hub for the clothing,
costume and set-building industries in the Western Cape. It also aims to create employment and training
opportunities in costume, float design and production as well as large event logistics.
The Carnival takes place at the Green Point Fan Walk each year where spectators congregate on a large
scale to enjoy the procession of performers showcasing their talent. The management of the Carnival sees
the Green Point Fan Walk venue as being instrumental in the expansion of the Carnival both creatively
and logistically, as it provides opportunities for creative expression, job creation, skills development, social
cohesion and economic development.
The Carnival has had participants from several countries outside of South Africa, as well as participation
from a diversity of ethnic groups in South Africa.

2. The Cape Town Fringe Festival

The Cape Town Fringe Festival is modelled on the Edinburg festival which showcases artists performing
their own shows in shared venues making their shows cheaper for the public. In the same vein, the Cape
Town Fringe is an annual event which showcases different performances from theatre, dance,
performance art, physical theatre, music, family theatre and magic. The number of performances which
are shown around different venues in the City, has been growing each year and aims to showcase the best
of South African theatre.
The performances are selected by a panel who review proposals submitted to the Fringe. Generally
performances include work from established companies and new voices. According to the artistic director
the festival is evolving its own artistic fingerprint that of an engaged, original, and socially aware
programme.
The Cape Town Fringe is project-managed by the National Arts Festival and has attracted local and
international participants and supporters. The event is generally stage between September and October
each year.

3. Maboneng Township Experience / Arts Festival

The Maboneng Township Arts Experience involves guided tours to selected gallery homes in townships,
showcasing works from around the world, and typically involves local and international artists, including
a pedestrian route showcasing murals on walls in the area.

4. Cape Town Open Design Festival

The Open Design Cape Town Festival is a 12-day city-wide festival. Its mission is to develop a culture of
design as a foundation for future generations of entrepreneurs who use design and innovation to gain and
maintain their competitive edge and drive socio-economic change in their communities and cities.
The Open Design Cape Town festival is a dynamic and diverse design-focused festival which provides an
interactive platform for participants from across diverse demographics and communities. Most of the
Open Design events are free to enter, ensuring that people from all walks of life can participate, taking
design innovation to the people.
The Open Design programme engages design practitioners, entrepreneurs, managers, media, educators,
students and members of the public to share design, innovation, ideas and inspiration with each other.
According to the organisers this is integral to the development of a culture of design and innovation that
will increase social cohesion, economic development and nation building, creating inclusive, accessible
and sustainable communities and cities.

5. Cape Town Nu World Festival

The Cape Town Nu World Festival is a two-day music festival celebrating culture and genre from
around the world. Along with all the live performances, festival-goers can attend free talks and master
classes led by the participating artists and few industry leaders.

6. Cape Town Open Book Festival

The Cape Town Open Book festival is an annual literary festival which was launched in 2011. The festival
has grown considerably over the years and now includes over 100 events, featuring over 100 authors. The
Open Book vision is to be an international festival that attracts top writers and an audience from around
the world. The festival also wants to showcase the best of South African writing and make a significant
and sustainable contribution to the youth of South Africa by building a love of reading and books among
the youth of Cape Town.
The organisers has developed partnerships with a number of key stakeholders to ensure that the festival
meets its objectives and is able to attract the necessary authors and audiences. These partners bring
authors to the festival and helps to extend Open Books reach into different communities.

7. Cape Town Electronic Music Festival

The Cape Town Electronic Music Festival is a platform for the South Africas burgeoning electronic music

culture and industry. It typically has a wide-ranging 3-day programme comprising workshops and
showcases alongside the core music festival.

8. Infecting the City Festival

Infecting the City was started eight years ago and is a free, multi-disciplinary public arts festival that is
held annually in Cape Town and Mbombela. The festival brings artistic excellence, and socially engaged
performance and visual art, out of the theatres and galleries and into communal spaces. The festival
generally features pieces of performance art, dance, music, visual art and forms that defy categorisation.
The festival is currently the only free public arts festival in the country.
The festival includes productions from South Africa and international performances, and aspires to
convert public space into places that are genuinely for the public. The arts festival utilises CBD corners as
staging grounds, city squares as bandstands and forgotten spaces in the heart of the Mother City as
theatres, concert halls and galleries to enliven Cape Towns communal nooks and crannies and to make
public space, public once again.

9. Suidoosterfees
The Suidoosterfees, is a six-day festival that uses performance, music, historical tours, art exhibitions, etc.
to celebrate Cape Town heritage, lifestyle, cultural diversity and inclusivity. It takes place predominately
at the Cape Town City Hall, the Artscape and the Fugard Theatre, but with performances in different parts
of the city. It is all-round entertainment that features comedy, art, theatre, debates, culture, concerts and
plays.

10. Open Streets Festival

Open Streets Cape Town (OSCT) is a citizen-driven initiative, working to change how streets are used,
perceived and experienced. OSCT is rooted in street action that involves creating car-free environments
filled with entertainment meant to encourage dialogue, raise citizen awareness, spark public debate, and
ultimately drive behaviour change, around the role of streets in the life of the city.

EVENT MATURITY INDEX

An Event Maturity Index was developed to try and classify Arts and Cultural events. A grid was developed
that gauged Degree of Formalisation of the Event on the X-axis and indicated Age of the event on the
Y-Axis. Degree of Formalisation was determined by looking at the extent to which an Arts and Cultural
Event had an established organizational structure, staff establishment, premises and an associated
infrastructure. A relatively young event with a low degree of formalization was considered to have a low
maturity compared to an older event with a higher degree of formalization which was considered to be a
more mature event.

10

EVENT MATURITY INDEX

13
12

Suidoosterfees

11

Age of Event in Years as at 2015

10
9
8

Infecting the City

7
6
CT Carnival

5
CT Open Book Festival

4
3
2

CT Nu World
Festival

CT Electronic
Music Festival

Open Streets
Festival

Maboneng
Township
Experience

Open Design Festival

CT Fringe
Festival

Low

Medium

High

Degree of Formalisation of Event

(Entity with organizational structure, establishment, premises and associated infrastructure)
Number of days = 1
Number of days = 2

The event maturity index can be used to assess the type and level of support a particular event may be needing.
11

PART TWO
This part of the report deals with the key areas to be monitored and evaluated. These areas
are:
1.
2.
3.
4.
5.
6.
7.
8.

Audience Profile
Economic Impact
Social Impact
Cultural Impact
Marketing and Communications
Media Profile
Funding, Partners and Support Mix
Arts and Culture Sector Development

These areas allows for standardized reporting and can form the dials for a monitoring and
evaluation dashboard that can be used at an individual project level or at a City-level to monitor
and evaluate projects against the key areas.

12

FOCUS AREAS

Focus: Audience Profile

Reporting area: Audience size
Rationale: Audience size is critical piece of information for planning an event, evaluating its success,
marketing purposes, reporting to funders, sponsors and partners.
Type of evidence: Number of people who came to event.
Indicator: How many people attended the event?
Method of collecting information:
Estimating before event this involves estimating audience size based on:
1.
2.
3.

4.

Previous events.
Capacity of the venue/s, assuming a low churn (most visitors stay for the full
duration of the event), visitor numbers approximates venue size.
Churn where people stay for a short while only within the venue, but with a
more people coming during the course of the day or event. In this way the number
of people attending the event would be greater than the capacity of the venue.
Ticket sales

During the event this involves estimating audience size using the following options:
1.
2.
3.
4.
5.

Stickers handing people stickers at the entrances to the event. Audience size is
calculated by determining how many stickers remain at the end of the day.
Clicker counters manual or automated clicker counters can be used at the
entrances to events.
Head counts on site.
People per square meter this involves estimating density of people per square
meter at the event. This is then multiplied by the size of the site.
Photograph taking photographs and counting people on the photo.

13

Reporting area: Demographic profile

Rationale: Understanding who is attending an event is crucial for audience development, programming
and marketing.
Type of evidence: Types of people who came to event
Indicator: Demographic make-up of the audience
Method of collecting information:
1. Face-to-face audience survey this involves event staff or volunteers administering the
questionnaire at the event.
2. E-survey - This involves collecting contact details and email addresses at the event and sending a
link to an e-survey. For example, Survey Monkey.
3. Self-completion survey - This involve collecting contact details and email addresses and sending
an electronic questionnaire to be completed and emailed back.
4. Telephonic survey - This involve collecting contact details and email addresses and event staff or
a volunteer contacting the attendee and administering the questionnaire telephonically.

Reporting area: Audience response (perception and experience)

Rationale: Understanding audience perception and experience is crucial for improving programming,
creating more memorable arts and cultural experiences and audience development.
Type of evidence: Perception of event and level of satisfaction and enjoyment (experience).
Indicator: Audience perception and experience
Method of collecting information: The same as for audience demographic, including the following
options:
1. Mini interviews: short interviews by event staff or volunteers using interviewer-led
questionnaires.
2. Vox pops (Vox populi voice of the people): short audio and video recordings of quick interviews
with audience members to provide a snapshot of audience opinion.
3. Comment books or boxes: Provides qualitative feedback from audience.
4. Compiling press cuttings: Provides different insights and perspectives of the event.

14

Focus: Economic Development

Reporting area: Job creation
Rationale: Job creation provides compelling evidence of the socio-economic benefits of the event.
Type of evidence: How much opportunities for direct employment were created?
Refers to any job or work opportunity, whether
fulltime, permanent, part-time, temporary that have been facilitated, saved, created, improved,
maintained/sustained and is directly connected to the event.
Indicator: Number of jobs created:
-

Artists receiving payment for participation

Number of support staff hired

Method of collecting information: Capture data from event records.

Reporting area: Economic opportunities created

Rationale: Information on economic opportunities provides compelling evidence of the economic
benefits of the event for the local area.
Type of evidence: How much and what type of economic opportunities were created?
Indicator: Number of opportunities created. For example, product sales.
Method of collecting information: Capture data from event records.

Reporting area: Small, medium and micro enterprises supported

Rationale: Information on Small, Medium and Micro Enterprises supported, provides compelling evidence
of the economic empowerment benefits of the event.
Type of evidence: Size and number of businesses supported.
Indicator: Number of SMMEs used as service providers for event.
Method of collecting information: Capture data from event records.

15

Focus: Cultural Development

Reporting area: Arts and cultural works presented
Rationale: Information on Arts and Cultural works presented provides indication of the content of the
event.
Type of evidence: How much and what type of arts and cultural works were presented?
Indicator: Number of arts and cultural works in a presentation and number of presentations.
Method of collecting information: Capture data from event records.

Reporting area: Variety of disciplines (dance, design, drama, visual, etc.)

Rationale: Information on the variety of disciplines presented provides an indication of the content of
the event.
Type of evidence: How many and which disciplines were given exposure?
Indicator: Number and which disciplines were presented
Method of collecting information: Capture data from event records.

Reporting area: Geographic spread of participating artists

Rationale: This provides an indication of where the talent originates.
Type of evidence: Origin of artists Internal or external to the Western Cape.
Indicator: Areas outside the Western Cape where participating artists came from.
Method of collecting information: Capture data from event records.

16

Focus: Social Development

Reporting area: Distribution of venues
Rationale: Information on distribution of venues and size of audiences at these venues provides
compelling evidence of the social outreach and benefits of the event for the local area.
Type of evidence: Which venues were used and the number of people who came to event.
Indicator: Number and location of venues and number of audience members at each venue.
Method of collecting information: Capture data from event records and same methods for determining
audience size.

Reporting area: Local support

Rationale: Information on local support provides compelling evidence of the social developmental
benefits of the event for local communities and the local area.
Type of evidence: Individuals resident in the specific area where the event or venue is located.
Indicator: Number of locals employed and supported by the event.
Method of collecting information: Capture / compile data from event records.

Reporting area: Local school children at event

Rationale: Information on local school children at the event provides compelling evidence of the social
developmental orientation of the event and social benefits for the local area. It also increases awareness
and facilitates audience and talent development. It also stimulates the arts, cultural and creative
industries.
Type of evidence: School children resident in the specific area where the event or venue is located.
Indicator: Number of local school children attending event and number of local school children
participating in the event.
Method of collecting information: Capture/compile data from event records.

17

Focus: Marketing and Communications

Reporting area: Advertising methods
Rationale: Information on advertising methods will indicate how the event reaches its intended audience
and is crucial for targeting certain market segments which sponsors and funders would be interested in.
Type of evidence: What advertising were used?
Indicator: List type of advertising methods used (print, guerrilla, broadcast, outdoor, public service,
online, cellphone and mobile)
Method of collecting information: Capture/compile data from event records.

Reporting area: Event Promotions

Rationale: Information on event promotions will indicate how the event reaches its intended audience
and is crucial for targeting certain market segments which sponsors and funders would be interested in.
Type of evidence: How was event promoted?
Indicator: List promotional activities (social media celebrity / artist endorsements, competitions, talent
shows, sponsorships, etc.)
Method of collecting information: Capture/compile data from event records.

Reporting area: Event Public Relations

Rationale: Public relations information will indicate how the event seeks to maintain a positive image
and relationship with the broader public, stakeholders, and audiences and is crucial for positive brand
association which sponsors and funders would be interested in.
Type of evidence: Ways of engaging between the event and the public in order to maintain a positive
image of the event.
Indicator: Public relations campaign (news releases, feature articles, caption photographs, social events,
etc.)
Method of collecting information: Capture/compile data from event records.

18

Focus: Media Profile

Reporting area: Advertising Value Equivalency (AVE)
Rationale: Advertising Value Equivalency (AVE) is a quantitative measure of media coverage for the event
and is useful when approaching potential sponsors and funders.
Type of evidence: Rand value of media coverage.
Indicator: AVE value
Method of collecting information: Through use of media monitoring service.

Reporting area: Media channels

Rationale: An indication of media channels is important for branding, audience development, creating
awareness of the event and is useful when approaching potential sponsors and funders.
Type of evidence: Type of media used.
Indicator: List pf media channels
Method of collecting information: Event Organizer, Media Monitoring Service, Public Relations Company,
Marketing and Communications Agency.

Reporting area: Media partners

Rationale: An indication of media partners is important for branding, audience development, and creating
awareness of the event and is useful when approaching potential sponsors and funders.
Type of evidence: Who are media partners?
Indicator: List of media partners
Method of collecting information: Event organizer records.

19

Focus: Funding, Partners and Support Mix

Reporting area: Event Funders
Rationale: An indication of who is supporting the event financially and the extent of the support is critical
when determining the viability of an event. This information is also crucial to give potential sponsors and
funders and assurance that event organizers are pro-actively looking at the long-term sustainability of the
event.
Type of evidence: Rand value of the support / amount of funds provided and over which period.
Indicator: List of event funders with contribution amounts.
Method of collecting information: Event organizer records.

Reporting area: Event Partners (including in-kind partners)

Rationale: An indication of who is supporting the event in-kind and the nature and extent of the support
is critical when determining the viability of an event. This information is also crucial to give potential
sponsors and funders and assurance that event organizers are pro-actively looking at the long-term
sustainability of the event.
Type of evidence: Who are the in-kind event partners?
Indicator: List of event partners including nature of partnership and support provided.
Method of collecting information: Event organizer records.

Reporting area: Financial Sustainability

Rationale: An indication of financial forward-planning is crucial to give potential sponsors and funders and
assurance that event organizers are pro-actively looking at the long-term sustainability of the event.
Type of evidence: Fund-raising strategy for event.
Indicator: Financial Sustainability Plan
Method of collecting information: Event organizer records.

20

Focus: Arts and Culture Sector Development

Reporting area: Human Capital Development
Rationale: Measuring human capital development of the event provides an indication of the extent to
which the event is contributing to / increasing and enhancing the human resource capacity within the Arts
and Cultural sector as a whole.
Type of evidence: Increase and improvement in arts and culture content and human resources.
Indicator: Opportunities for development of new and established artists at event.
Method of collecting information: Extracting information from the specific acts and activities in the
programme where human resource, training and skills development took place.

Reporting area: Knowledge Capital Development

Rationale: Measuring knowledge capital development of the event provides an indication of the extent
to which the event is contributing to / increasing and enhancing the knowledge capital within the Arts and
Cultural sector as a whole.
Type of evidence: Increase, improvement and expansion of arts and culture knowledge and skills pool.
Indicator: Knowledge and skills transfer through participation in the event.
Method of collecting information: Extracting information from the specific acts and activities in the
programme where skills transfer and knowledge transfer took place.

Reporting area: Networking

Rationale: Organizing networking opportunities linked to the event facilitates exchange of ideas,
information, funds, insights, lessons learnt, solutions, best-practices, resources, talent and opportunities
which enrich the Arts and Cultural sector as a whole.
Type of evidence: Support for professional development of artists and industry professionals.
Indicator: Number of structured networking opportunities.
Method of collecting information: Extracting information from event programme.

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Summary
Focus
1. Audience
Profile
2. Economic
Development
3. Cultural
Development

1.
2.
3.
1.
2.
3.
1.
2.
3.

4. Social
Development

1.
2.
3.

Reporting Area
Audience Size
Demographic Profile
Audience Response
Job creation
Economic opportunities created
Small, medium and micro
enterprises supported
Arts and cultural works presented
Variety of disciplines (dance,
design, drama, visual, etc.)
Geographic spread of participating
artists
Distribution of venues
Local support
Local school children at event

1.
2.
3.
1.
2.
3.
1.
2.
3.
1.
2.
3.

5. Marketing &
Communications

1. Advertising methods
2. Event Promotions
3. Event Public Relations

1.
2.
3.

6. Media Profile

7. Funding,
Partners and
Support Mix
8. Arts and
Culture Sector
Development

1. Advertising Value Equivalency

(AVE)
2. Media channels
3. Media partners
1. Event Funders
2. Event Partners (including in-kind
partners)
3. Financial Sustainability
1. Human Capital Development
2. Knowledge Capital Development
3. Networking

1.
2.
3.

Indicator
How many people attended the event?
Demographic make-up of the audience.
Audience perception and experience.
Number of jobs created.
Number of opportunities created.
Number of SMMEs used as service providers for
event.
Number of arts and cultural works in a presentation
and number of presentations.
Number and which disciplines were presented.
Areas outside the Western Cape where
participating artists came from.
Number and location of venues and number of
audience members at each venue.
Number of locals employed and supported by the
event.
Number of local school children attending event
and number of local school children participating in
the event.
List type of advertising methods used (print,
guerrilla, broadcast, outdoor, public service, online,
cellphone and mobile)
List promotional activities (social media celebrity /
artist endorsements, competitions, talent shows,
sponsorships, etc.)
Public relations campaign (news releases, feature
articles, caption photographs, social events, etc.)
AVE value
List pf media channels
List of media partners

1. List of event funders with contribution amounts.

2. List of event partners including nature of
partnership and support provided.
3. Financial Sustainability Plan
1. Opportunities for development of new and
established artists at event.
2. Knowledge and skills transfer through participation
in the event.
3. Number of structured networking opportunities.

22

PART THREE
This part of the report provides tools, techniques and templates that can be used for each of the identified
reporting areas and indicators.

ARTS AND CULTURE EVENT VENUE TYPOLOGY

The venue where an event is held is of critical importance for deciding what the most appropriate method
for monitoring and evaluation would be. The flowing venue typology was developed and can be used in
conjunction with the tools and templates.
The Arts and Cultural Events typically use one or a combination of the following venue types.
Venue
Public Open Space

(All land or open surfaces that does not belong to private

individuals and institutions)

Hard open space

(within built-up environment)

Squares, plazas, atriums,
courtyards, paths, roads
including pavements
/sidewalks and
thoroughfares.

Soft open space

(Unbuilt or green space)

Parks, reserves, open land,
public commons,
waterbodies, beaches and
shoreline.

Building

(Single or multi-use buildings with single or multiple

entrances and exits)

Theatres, concert halls, arenas, community facilities,

civic centers, town hall, museums, galleries, business
premises, auditoriums, conference and convention
center,

23

1. AUDIENCE PROFILE
This section deals with methods that can be used to
collect information on audience size, demographic
profile and audience response.

Audience Size
Before the Event
The following methods can be used to estimate the
audience size, the number of people attending the
event, before the commencement of the event.

1. Estimating audience size based on previous events

Audience size can be estimated based on the number
of people who attended the event the last time.
Review records of last event and determine from the
records / files how many people attended the last
event.
For example, if the records of the last event indicates
that 10 000 people attended the event last year, it can

Staff resources - staff members or volunteers

Can be done by an individual

Small team

Labour-intensive

Timing time needed

Quick

Reasonable amount of time

Time-intensive

Cost budget required

Affordable

Reasonable cost

Expensive

Results will the results be numbers to crunch

or sound bites to quote

be estimated that approximately 10 000 people will

Data & figures

attend the forthcoming event.

Quotes

24

2. Estimating audience size based on capacity of the

venue
Audience size can be estimated by using the capacity
of the venue. This involves estimating density of
people per square meter multiplied by the size of the
site.
This is done using the following calculation:
Number of people = Floor area (m2 of the
audience standing or seating area) /
divided by the occupant density.
Floor area can be calculated by:
1. Measuring the length and width of the audience
area.
For example: Length = 20 meters, Width = 12 meters
Area = 20 x 12 = 120 m2

Occupant density: Occupant density refers to the

number of square meters (m2) per person.
M2 per person

Standing spectator,
Audience area, Assembly
Hall, Dance halls and floors,
Concert events
Seated venue

Can be done by an individual

Small team

Labour-intensive

Timing time needed

Quick

Reasonable amount of time

Time-intensive

Cost budget required

2. Multiplying the length and the width.

Venue Type

Staff resources - staff members or volunteers

0.2

Affordable

Reasonable cost

Expensive

Results will the results be numbers to crunch or

sound bites to quote

Data & figures

Quotes

Audience size (standing) = 120 m2 / 0.3 = 400 people

Seated

= 120 m2 / 1 = 120 people

Audience size (standing) at 70 % capacity full = 280

Audience size (standing) at 60 % capacity full = 240

25

3. Estimating audience size based on ticket sales

Audience size can be determined by looking at the number of tickets sold.
Determining audience size through ticket sales can be done by an individual, is quick, affordable and will
provide relatively accurate quantifiable information.

During the Event

4. Estimating audience size based on Head Count
During the event the following methods, based on head count, can be used to estimate the audience size:
4.1. Stickers this involves one or more staff handing stickers at the entrances to the event.
Audience size equals the total number of stickers handed out, which can also be calculated
by subtracting the stickers left at the end of the event from the total number of stickers
printed.
4.2. Clicker counters this involves one or more staff using manual or automated clicker counters
at the entrances to the event. Each audience member is clicked upon entering the event and
at the end of the event all the clicks are added to give the total audience size for the event.
4.3. Photographs This involves a staff member taking photographs of the audience and counting
the number of people on the photos.

26

Audience Demographic Profile

A questionnaire is the best method for

5. Design survey
- Choose survey template

determining the demographic profile of an

- Use questions from sample questionnaire

audience (See sample questionnaire). In addition

and / or formulate additional questions.

to demographic information, a questionnaire

can also provide valuable information on other
objectives

such

as

determining

audience

perception and experience. Questionnaires can

be completed;
1. Via face-to-face survey,
2. online where information is captured
electronically,
3. via email where the questionnaire is
emailed to audience members,
4. Telephonically.

6. Send survey (questionnaire) to attendees via

- Email
- web link
- Social media
- embed survey in website or blog
7. Analyse results
Self-completion survey
1. Event staff and / or volunteers collect contact
details and email addresses of audience
members/attendees before the start of the
event.
2. Staff member emails electronic copy of the

Face-to-face Survey

questionnaire to the audience member/

Event staff and / or volunteer can administer

attendee to complete and mail back to the

the questionnaire to audience member/

event organizer.

attendee before the start of the event.

Telephonic survey
Online Survey

1. Event staff and / or volunteers collect contact

1. Event staff and / or volunteers collect contact

details and email addresses of audience

details and email addresses of audience

members/attendees before the start of the

members/ attendees before the start of the

event.

event.

2. Staff or volunteers call audience

2. Staff member visits the Survey Monkey

members/attendees and administer the

website at http://www.surveymonkey.com

questionnaires telephonically.

3. Open an account on survey monkey

4. Follow instructions of how to create survey
4. Give Survey name
27

Audience Response
As for audience demographic profile, the methods for collecting audience response information involves
the use of surveys (questionnaires).
Audience response can also be measured using the following options:
5. Mini interviews
Short interviews by event staff or volunteers using interviewer-led questionnaires.
6. Vox pops (Vox populi voice of the people)
Short audio and video recordings of quick interviews with audience members to provide a
snapshot of audience opinion.
7. Comment books or boxes
Provides qualitative feedback from audience.
8. Compiling press cuttings
Provides different insights and perspectives of the event.

28

2: Economic Development
This section proposes a template that can be used to collect information on the number of jobs and
economic opportunities created and small, medium and micro enterprises supported by the arts and
cultural event.

Job Creation
Indicator
See herewith the skills demand and qualifications
framework

National
Qualifications
Framework (NQF)
Indicate number of
jobs created /
facilitated with
relevant NQF level

Organising Framework
for Occupations (OFO)
Indicate number of jobs
created / facilitated with
relevant OFO level

The number of jobs created/facilitated/ sustained

Refers to any job or work opportunity (defined as
work performed for pay, profit or family gain),
whether fulltime, permanent, part-time, temporary
that have been facilitated, saved, created or
maintained/sustained and is directly or indirectly
connected to the arts and cultural event.

Economic Opportunities
Indicator

Description of opportunity
(street vendors selling food )

#
4

The number of economic opportunities created

An economic opportunity is defined as an
opportunity/ instance that was created for the
promotion and sale of products or services during
the period of the event (For example, opportunities
for the sale of art work, music, erecting stalls or
booths that can be hired, etc.)

29

Small, Medium and Micro Enterprises

Indicator

Description of business

Amount

Example: Sound system hired (mediumsized enterprise)

R 20 000

(sound systems or lighting sourced )

The number of economic opportunities created
This refers to the businesses contracted or from
whom products or services were procured in
preparation for and during the running of the
event where event funds were used.
Micro enterprise - 1-5 employees including owner
Small enterprise Less than 100 employees
Medium enterprise Up to 200 employees

The economic development template can be completed by a staff member using the event
records and operating expenses.

30

3: Cultural Development
This section proposes a template that can be used to collect information on arts and cultural works presented,
the variety of disciplines and the where the participating artists originate from.
The following checklist can be used by an event staff member who can compile the information and complete
the template using event records.
Arts and Cultural Works
Art & Cultural Work

Indicator

Type and number of arts and cultural

works presented and number of
presentations.
Example
Type

Theatre, opera, music,

ballet, dance.

2. Applied Art

Architecture, design,
computer art, graphic
design.
Drawing, painting,
sculpture, printmaking
Fine art including
contemporary art
forms, new media,
photography, video
and animation.
Junk art and art
moulded or shaped
from materials such as
plastic, clay, stones,
wood, fibres, etc.
Jewellery, mosaics,
ceramics, pottery,
stained glass,
furnishings, etc.
Various functional and
aesthetic works made
by craftsmen.

4. Visual Art

5. Plastic Art

6. Decorative Art

7. Crafts

Number of
works

Number of
presentations

Performance art

Discipline

1. Performance Art

3. Fine Art

Type

31

Variety of Arts and Culture Disciplines

Indicator
Disciplines presented and number of
presentations
Type
1. Performance Art
2. Applied Art
3. Fine Art
4. Visual Art

5. Plastic Art

6. Decorative Art

7. Crafts

Discipline

Number
of works

Number of
presentations

Discipline
Theatre, opera, music,
ballet, dance.
Architecture, design,
computer art, graphic
design.
Drawing, painting,
sculpture, printmaking,
etc.
Fine art including
contemporary art forms,
new media, photography,
video and animation.
Junk art and art moulded
or shaped from materials
such as plastic, clay,
stones, wood, fibres, etc.
Jewellery, mosaics,
ceramics, pottery,
stained glass, furnishings,
etc.
Various functional and
aesthetic works made by
craftsmen.

Geographic Spread of Participating Artists

Indicator

Areas outside the Western Cape where participating artists come from
(Specify the area of origin of the artists participating in the event)
Cape
Metropolitan
Area

Outside Cape
Metropolitan
Area but within
Western Cape

Outside Western
Cape but within
South Africa
(specify Province)

Outside South Africa

(specify country)

32

4: Social Development
This section proposes a template that can be used to collect information on the distribution of event venues,
local support and local school children at the event.
The following checklist can be used by an event staff member who can compile the information and complete
the template using event records.
Distribution of Venues
Indicator

Venue Name

Number and location of venues and number of audience

members at each venue.

Address

Suburb venue is
located in

Number of people
at venue
(Use venue method
for determining
audience size)

1.
2.
3.
4.
5.

33

Local Support
Indicator
Venue Name

Number of local people employed and supported by the event.

Address

Suburb venue is
located in

Number of local
people employed
and supported by
the event who are
resident in the
same suburbs as
the location of the
event venues.

1.
2.
3.
4.
5.

Local School Children at Event

Indicator

Number of local school children attending event and number

of local school children participating in the event.
Number of local school
children attending event

Number of local school

children participating in event

34

5: Marketing and Communications

This section describes how to collect information on advertising methods, promotional and public
relations activities of an event.
Advertising, Promotions and Public Relations
The following checklist can be used by an event staff member who can compile the information and
complete the list using event records.
Indicator

Advertising methods used, Promotional Activities & Public

Relations
Type

Description

1. Print (Newsletters,
Brochures, Catalogues, News
releases, Press kits, Feature
articles)
2.Broadcast, Audio and Video
releases
Competitions and Talent
shows
4. Social Media (Facebook,
Twitter, YouTube, Blogs,
LinkedIn)
5.Online /Website
6. Outdoor
7. Public Service and Public
opinion polls

35

8. Sponsorships, Social
events, Functions & Speaking
Engagements.
2. Celebrity / artist
endorsements.

6: Media Profile
This section describes how to collect information on Advertising Value Equivalency (AVE), media channels
and media partners.
Advertising Value Equivalency (AVE)
The event organizer can use a media monitoring service who will be able to determine the AVE value or
the rand value of media coverage of the specific event.
Media Channels
The following checklist can be used by an event staff member who can compile the information and
complete the list using event records.
Indicator
1. TV

Media channels used

Type

Description

2. Radio
3. Newspaper
4. Magazines
5. Billboards
6. Postal
7. Banner
8. Facebook
9. Twitter
10. Mobile
11. Email

12. SMS

36

13. LinkedIn
15. Mobile App
16. Website (Desktop and
mobile)

Media partners
A staff member can list the media partners of the event after consultation with the management of the
event organizing entity.

7: Funding, Partners and Support Mix

This section describes how to collect information on event funders, event partners and financial
sustainability.
Event Funders
The following checklist can be used by an event staff member who can compile the information and
complete the template using event records.
Indicator

Event Funder
Financial Contribution
Amount in Rands

Funder

Current year
20.

Previous
year 1

In-Kind Contribution
(describe & provide Rand value)
Previous
year 2

Current year
20..

Previous
year 1

Previous
year 2

1.

2.

3.

37

Event Partner
The following checklist can be used by an event staff member who can compile the information and
complete the template using event records.
Indicator

Event Partner
Nature of partnership
Describe

Partner

Current year
20.

Previous
year 1

Support provided- Financial & In-Kind

(describe & provide Rand value)
Previous
year 2

Current year
20..

Previous
year 1

Previous
year 2

1.

2.

3.

Financial Sustainability
The management of the event organizing entity must draw up a financial sustainability plan that illustrates
multi-year financial requirements with forward planning and comprises a fund-raising strategy.

38

8: Arts and Culture Sector Development

This section describes how to collect information on how the event contributes to human capital
development, knowledge capital development and networking within the Arts and Culture Sector.
The following checklists can be used by an event staff member who can compile the information and
complete the templates using the event programme and records.
Human Capital Development
Indicator
Artist /Act/Programme
1.

Opportunities for development of new and established

artists at the event
Training provided
(teaching of new skills)

Development provided
(Enhancing existing skills)

2.
3.
4.
5.

Networking
Indicator
Opportunity
1. Opening / Launch Functions
2. Seminars
3. Arts and Culture sector and
professional meetings
4. Stakeholder Meetings
5. Formal Event Meals (Lunch,
Dinner, Breakfast)

Number of structured networking opportunities.

Description

Number

39

Knowledge Capital Development

Indicator

Knowledge and skills transfer through participation in the event

Artist/Act/
Programme

Knowledge
Required/identified

Transferred

Skills
Transfer
Mechanism
Shadowing
Expert interviews
Expert storytelling
Expert talks &
analysis
Knowledge maps

Required/identified

Transferred

Transfer
Mechanism
Mentoring/Coaching
Communities of practices
Cross-training /position(act)
back-up
Transitional Training
(Double Fill) an
experienced performer and a
less experienced performer is
placed in the same position
simultaneously.
Rotation

1.

2.

3.

40

ANNEXURES:
1. Questionnaire
2. Organising Framework for Occupations

41

42