The Nexus Between Arts and Ageing: Bridging the Generational Gaps (Abridged)

Generational Theory is pivotal in arts and cultural participation research, as it illuminates the characteristics and shared experiences of age cohorts shaped by historical and cultural contexts. Age-based segmentation, therefore, becomes a strategic marketing tool for understanding these cohorts’ distinct motivations and preferences, enabling targeted strategies to enhance audience engagement and sustain cultural participation.

In the context of South Africa, however, applying Generational Theory requires special consideration. The country’s unique socio-political history—particularly the legacy of apartheid, a period of institutionalized racial segregation—has profoundly shaped generational differences. This historical backdrop has produced distinct generational cohorts, each marked by specific socio-economic and cultural experiences that set them apart from their global counterparts.

The Silent Generation and baby boomers (born pre-1960) experienced the full impact of apartheid, growing up under severe racial segregation and systemic oppression. Generation X (born 1960–1980), often described as a “bridging generation,” witnessed apartheid’s end during their formative years. They navigated a dual reality of systemic oppression and the democratic transition, balancing traditional values with modern opportunities and challenges. The millennials, or the “Born Free Generation” (born 1980–1996), came of age in a democratic South Africa, free from apartheid’s formal structures yet still affected by its socio-economic legacy. The “born free” label remains contentious, as many millennials face persistent barriers such as high unemployment and educational inequality. Disillusionment with democratic ideals has also been observed within this cohort. Generation Z and beyond (born post-1996) have grown up in a technologically advancing and globally interconnected world. Despite their exposure to global trends and digital innovation, they continue to face significant challenges, including poverty, corruption, and environmental concerns inherited from prior generations.

These generational distinctions illustrate the evolving yet interconnected socio-economic and cultural experiences in South Africa. The country’s historical nuances are critical for understanding generational consumption behaviors, particularly in sectors like cultural tourism, where sociocultural factors play a pivotal role.

To explore these theoretical insights in a practical setting, this research examines generational cohort dynamics at a South African Afrikaans national arts festival to explore the intersection of cultural participation, socio-historical contexts, and festival management. By applying Generational Theory in a developing country, the study offers nuanced insights into socio-political histories shaping generational behaviors.

Screenshot of Instagram posts that had the hashtag Aardklop 2019.

Methodology

The present research employed a quantitative approach, utilizing a self-administered questionnaire and the Aardklop National Arts Festival as the case study. Aardklop is an annual event held in the university town of Potchefstroom in the North West Province of South Africa to celebrate and promote Afrikaans art and culture.

Previous research has shown that the festival’s market is highly diverse in terms of attendee motivations for attending, yet somewhat homogeneous in terms of socio-demographic characteristics, making it an ideal case for the current research.

A total of 500 self-administered questionnaires were distributed in Afrikaans, the primary language of the festival’s main market, to festival visitors at the 2019 Aardklop.

The respondents were classified into four groups based on their generational cohort (see table 1).

Table 1:

GENERATIONAL SEGMENTATION OF RESPONDENTS

Findings and Implications

The findings reveal how unique socio-historical and cultural factors shape generational behaviors, preferences, and consumption patterns, providing valuable lessons for similar contexts globally.

Baby boomers, shaped by apartheid and post-apartheid transitions, exhibited the highest loyalty to the festival (40% of respondents, with 70% annual commitment) and preferred structured drama performances (87%). Conversely, Generation Z reflects a global shift toward experiential consumption, favoring the festival terrain (82%) and music performances (51%) while exhibiting price sensitivity. These insights underscore how shared historical contexts and the interplay between global trends and local realities influence generational participation patterns.

While baby boomers prioritize arts appreciation and structured performances, Generation Z emphasizes socialization and the unique festival atmosphere. These findings underscore the need for festival organizers to incorporate more art-related content and emphasize the themes of socialization and escape in marketing strategies to appeal to all generations.

Geographically, the location of these festivals in university towns like Potchefstroom amplifies their appeal to younger audiences, particularly students. North-West University’s proximity to Aardklop explains the high representation of Generation Z attendees (18% of respondents, 81% of students). This proximity reduces participation costs, aligning with the socio-economic realities of younger cohorts. However, while this demographic offers significant short-term benefits, retaining engagement post-graduation remains challenging. Leveraging nostalgia and place attachment could sustain connections, as university towns often hold emotional significance for alumni.

Tailoring strategies to address generational needs, such as pricing models for budget-conscious younger attendees and exclusive high-value experiences for older cohorts, ensures sustained relevance.

In summary, while grounded in South Africa’s unique context, this study provides cultural managers with actionable insights into how generational differences shape festival participation. By aligning programming, pricing, and marketing strategies with the preferences of each cohort, festival organizers can enhance audience engagement, foster loyalty, and ensure the long-term sustainability of cultural events.

Food stall at the Aardklop Festival, Potchefstroom, South-Africa. Credit: Ossewa. Licence: Creative Commons.

IMPORTANT: note that this article contains scientific references that we have omitted to lighten the text. Please consult the original article if you wish to quote excerpts.

Contact us at mmiam@hec.ca to request a free copy of the full article published in the International Journal of Arts Management, Volume 27, Number 3, Spring 2025.

You can also browse our abridged research articles here.