Die ooreenstemming tussen korporatiewe identiteitsbestuur en belangegroepverhoudinge van die ABSA KKNK

Abstract

In a bid to save the country's arts industry, arts festivals have sprung up in South Africa in the aftermath of the collapse of the theatre culture and the dissolution of the provincial arts councils. Meanwhile, these festivals have become indispensable for the preservation of the South African cultural heritage; indeed, the arts industry revolves around the festivals. The arts festivals are therefore compelled to be 'businesses', and have to be managed accordingly as organisations in their own right. This implies that the liaison function of an arts festival should be managed in the same way it is managed in the corporate sector. Each arts festival caters for more than just the art for which a platform is created, but offers a wide variety of events and experiences to the stakeholders of the festival. The sponsors of arts festivals get an opportunity for exposure to a particular target audience and to fulfil their corporate social responsibilities. The journalists that ensure coverage in the mass media for the festival get an opportunity to meet the arts and cultural needs of their readers, viewers and listeners. The involvement of a Wide variety of events and experiences included by an arts festival implies that stakeholders need to be managed by the festivals. The general research question of this study is: "What is the concurrence between corporate identity management and stakeholder relationships of the Absa KKNK?" This question is answered from the stakeholder relationship theory as metatheoretical framework. The Absa KKNK is used as the research unit because of the fact that it is the biggest Afrikaans arts festival in South Africa, has been in existence for twelve years, and is still going from strength to strength. An interpretative qualitative approach, gathering data through semi-structured interviews with the Absa KKNK personnel corps and liaison staff of the festival's key stakeholder groups (the artists, the sponsors and the media) was followed. The contents of the interviews were analysed qualitatively and further results were obtained through comparative analyses between the corporate identity and image of the festival as well as the corporate identity management and stakeholder relationships maintained by the festival. Overall, the corporate identity of the Absa KKNK is well managed, and this is reflected in the state of the relationships of the Absa KKNK with its key stakeholder groups. Although there are certain weaknesses in the management of corporate identity - such as the lack of a definite liaison strategy and less significant weaknesses concerning the management of symbolic elements, communication elements and behavioural elements - the role and importance of stakeholder groups for the success of the Absa KKNK are recognised and dealt with by the management. Recommendations concerning the corporate identity management and stakeholder relationships of the festival can be summarised by referring to the unique characteristics of the Absa KKNK as non-profit arts organisation, and these characteristics of the festival should be managed actively by the festival staff. The individuality of the festival includes, in particular, the emotional nature of the relationship between the festival and its stakeholders and the necessity of individualised attention to stakeholder groups. The main contribution of this research is that a new field of research was investigated. Arts Management in South Africa is not Widely researched and this growing industry can benefit from formal research.