Pages: 74

No chapter abstract available.

Pages: 11

Why take a journey along the road towards more resilient cultural tourism and why is this book a necessary companion to it? This chapter answers this important question by defining cultural tourism and resilience building; discussing why it is vital to integrate tourism and cultural and heritage management; and outlining who the main players are. The book conceptualizes cultural tourism as a product category and cultural tourists based on the depth of experience sought and the centrality of that experience in the travel decision. Thus, rather than focusing on specific products that may or may not reflect cultural activities (museums, cultural heritage theme parks, historic sites, festivals, events, and dance performances etc.), the book, thus, adopts an experiential approach to cultural tourism. The chapter outlines how the depth of cultural interaction demanded by tourists can influence the array of cultural experiences offered at a destination. It also outlines its importance as part of the overall suite of tourism products available at a destination and the size and economic importance of the sector. Finally, it raises the issue of what is the ideal balance between the needs of the different sectors, a theme that will be expanded upon later in the section.

Pages: 18

This chapter will explore the nature of the relationship between tourism on one side and cultural management and heritage management on the other. It introduces some principles about contemporary visual and performing arts management to round out the ‘cultural’. Basically, it explores the links on arts, culture and heritage on one side with interests in assets’ intrinsic worth and on the other the extrinsic values/commercial interests of tourism, media and creative industries. The emergence of cultural tourism as a popular tourism activity presents both opportunities and threats to its sustainable management. On the one hand, increased demand by tourists provides a powerful political and economic justification to expand conservation and safeguarding activities. On the other hand, increased visitation, over-use, inappropriate use and the commodification of assets without regard for their cultural values pose a real threat to their physical integrity, and in extreme cases to their very survival.

Pages: 26

This chapter comprises a literature review and case studies discussing the range of benefits and costs that can be associated with cultural tourism. Benefits include economic, social and important quality of life contributions to residents and tourists alike. It also considers the social, cultural and economic benefits and costs of pursuing cultural tourism. Cultural tourism, like all other forms of tourism, is potentially a double-edged sword, capable of benefiting host communities, while also having the potential to destroy the cultural heritage assets that create the tourism product. Many people, though, tend to focus on only one element: that cultural tourism is beneficial or cultural tourism is detrimental. The former is a common optimistic perspective that explains why many local community leaders view pursuing cultural tourism as the right thing to do (UNESCO 2000).

Pages: 17

This chapter addresses issues around tourism promotion involving national identities and national mythmaking. This chapter examines the cultural tourism scene and the relationship it has with politics and power as shaped by government, gender and class. Inclusive and culturally centric strategic public planning approaches are also explored regarding their importance for building resilient cultural tourism. Even though it is frequently seen through the lenses of personal encounters and economic returns, cultural tourism has a lot to do with politics (Church and Coles 2007). Governments and authorities are the main stakeholders and play a multifarious role in the cultural tourism scene. So too are notions of gender and class. These do not just affect its development and promotion. Rather, they also operate at a very fundamental level, shaping the definition of what is cultural tourism.

Pages: 96

No chapter abstract available.

Pages: 18

This chapter begins by introducing some underlying principles about cultural heritage management. Then, there is a discussion of CHM objectives and associated issues, such as: Why preserve the past? Can you keep the meaning if you alter the original fabric of a heritage place? Why are site settings important? These questions and more will be answered with reference to the current charters of conservation principles available and conventional international CHM practice, as well as a framework that explains why CHM varies from place to place. As we move further into the 21st century, the management of cultural heritage assets for tourism has experienced significant challenges. Brown and Vileikis, Co-Chairs of the 2023 General Assembly of the International Council on Monuments and Sites (ICOMOS), observed that the theme ‘Heritage Changes’ for the event was chosen with the aim of examining the role of heritage during such happenings as climate emergencies, conflict, the COVID-19 pandemic, lockdowns, closed borders, virtual meetings and the Black Lives Matter movement.

Pages: 20

Tangible heritage best practices and codes are outlined purely for tangible heritage such as archaeological sites, historic buildings, cultural landscapes, and so on. The chapter includes a discussion on the discourses on authenticity and commodification. Aspects of stakeholder consultation and sympathetic reuse of tangible heritage assets are also explored. Tangible cultural heritage includes all assets that have some physical embodiment of cultural values such as heritage cities, historic towns, buildings, archaeological sites, cultural landscapes, cultural objects and museum collections. These assets are thought to be easier to manage than intangible heritage assets, for their condition and integrity can be more easily assessed.

Pages: 17

This chapter explores the situation with the inscription of tangible heritage on the World Heritage Convention, 1976 and therefore mainly deals with tangible cultural heritage. World Heritage is discussed as a unique element of cultural tourism due to the largely political nature of World Heritage status acquisition. On the one hand, World Heritage areas are identified based on their Outstanding Universal Value to humanity. Tourism potential is not one of the criteria used to identify prospective World Heritage areas. Yet, many governments pursue World Heritage status explicitly for their tourism potential as a top brand. This duality creates a range of challenges from a tourism and tourism management standpoint. New online tools for World Heritage management are also covered.

Pages: 25

This chapter includes information about the development of international conventions and codes that support the management and safeguarding of intangible cultural heritage. Festivals, traditional dancing, storytelling, market shopping, culinary appreciation may all be considered intangible cultural heritage and/or activities. A section has been included on Indigenous cultural knowledge holders and Indigenous rights-based tourism development with reference to UNDRIP United Nations Declaration on the Rights of Indigenous Peoples, 2007. If tangible heritage represents a community's hardware, intangible culture heritage (ICH) represents its software. This chapter explains some of the core concepts behind ICH and also some of its unique management challenges, especially for tourism.

Pages: 14

This chapter addresses concerns that cultural tourism initiatives can be hybrids of heritage and contemporary arts. In doing so, cultural tourism is broader than cultural heritage. It begins by introducing the foundations of contemporary arts by discussing what it means to be a creative and, in an arts ecology, the role of the public sector and private sponsorship. It then outlines how creative capital can be built out of successful arts events with reference to creative tourism and its role in cultural tourism. Finally, the thorny issue of souvenirs and their relationship to arts and heritage is explored with reference to creating affordable, culturally sensitive and appealing souvenirs.

Pages: 115

No chapter abstract available.

Pages: 23

People sometimes lose sight of the fact that cultural tourism is first and foremost a form of tourism. They forget that the word ‘cultural’ is an adjective that modifies the noun ‘tourism’. Thus, while cultural tourism uses the cultural assets of a destination, its performance is guided by the same principles that drive any other form of tourism. Understanding cultural tourism, therefore, is predicated on developing an understanding of what tourism is, how it works and what drives tourism decisions. This chapter explains how tourism works by identifying 21 underlying principles or structural issues that drive tourism and influence why governments and heritage managers pursue it.

Pages: 18

Our knowledge of the cultural tourism market has changed dramatically. Whereas once it was assumed to be homogenous, now it is recognized as being heterogeneous, consisting of a number of clearly defined segments differentiated by the importance of culture as a travel motive and the depth of experience sought. Different segments, in turn, seek different products and different experiences and respond to different interpretive messages. This chapter discusses the cultural tourism market. It begins with an overview of the definitional challenge that has confused attempts to define the size of the market. A five segment cultural tourism market is then discussed. Finally, the chapter concludes with a cautionary note about research findings that appear too good to be true.

Pages: 13

Understanding why cultural tourists travel enables experiences to be shaped for different market segments, aids in consumption of products, defines the relative importance of different cultural attractions and helps manage both tangible and intangible heritage more effectively. Remember, cultural tourists are tourists first and foremost. They are rarely anthropologists, archaeologists, historians, creatives or cultural heritage managers, although they may have an interest in these activities. Remember as well, culture can play a variable role in the decision-making process, from being the core reason to visit to being part of a bundle of reasons, to playing little or no role in the visit decision, even though they may participate in cultural activities.

Pages: 20

Having a significant cultural asset means little if nobody knows about it. Neil Leiper (1990) wrote about this very issue when he conceptualized tourist attractions as a system that includes the attraction itself, the tourist and markers that connect the tourist to the attraction. His model explains that if no tourists visit, or if visitation is infrequent, then a site cannot be considered as a tourist attraction. More importantly, he identifies the role of markers and information gatekeepers in stimulating visits, shaping expectations and ultimately shaping experiences. This chapter begins with a review of the tourist attraction system, explores the idea of markers and concludes by discussing the role of information gatekeepers.

Pages: 21

The previous chapters discussed how tourism works and why people travel. We then identified five cultural tourism market segments, ranging from the incidental cultural tourist through to the purposeful cultural tourist and the role of gatekeepers. This chapter examines how cultural tourists ‘consume’ a destination, by examining the conditions that affect what people do, where they go and how they behave. ‘Consumption’ in this instance refers to ‘the process that tourism consumers choose and purchase tourism products to meet the needs of tourism pleasure and other experiences’ (Li and Cao 2022: 1). Remember, products and experiences are consumed on site (Sharpley 2002), which means the management of places must always be cognizant of the needs of local communities.

Pages: 18

In a time marked by frequent disruptions and rapid changes, the resilience of cultural tourism has become a critical area of focus for destinations worldwide. This chapter explores the intricate dynamics of how cultural tourism can withstand and adapt to various shocks and crises and prevent or push back deterioration of its sites. These shocks include overtourism, loss of authenticity and sense of place and community displacement, plus human-made and natural threats and how they might be made worse by ongoing climate change challenges and the emerging threats of de-globalization. This chapter looks at how well and how far cultural tourism can withstand and adapt to the sorts of slow transformations and sudden shocks that destinations everywhere are facing in these recent years. By utilizing academic frameworks from tourism studies, we delve into the mechanisms that enable tourism communities to not only survive but thrive in the face of adversity. This chapter examines the essential components of resilience, including strategic planning, community engagement and sustainable practice and offers a comprehensive understanding of how cultural tourism can maintain its vitality and contribute to the preservation of heritage and identity in an ever-changing world.

Pages: 55

No chapter abstract available.

Pages: 21

This chapter examines a wide range of issues about cultural tourism products. It looks at the general concept of products, examines the idea of products as tourist attractions and discusses the need to commodify and standardize product offerings. It adopts a marketing approach to cultural tourism product development. Marketing is an overall management philosophy that seeks to link consumers with experiences to satisfy both the needs of the visitor and the financial and non-financial needs of the organization providing the experience. Tourism is driven by products, which we commonly call attractions or experiences. Attractions are demand generators that give the customer a reason to visit. If none exist, people will have no reason to visit.

Pages: 12

The previous chapter discussed products in more generic terms by identifying the core, tangible and augmented product, discussing the benefits of environmental bubble creation and the need for compatibility with the destination's image. Chapters 17 and 18 focus on a range of issues at an asset-specific level. This chapter introduces the reader to a proven assessment tool to determine if a place or potential experience has market appeal and is robust enough to withstand increased visitation by non-traditional users. Tourism in general and cultural tourism in particular are linked closely to the broader social and political context in which they operate. If conditions are not favourable for cultural tourism development its chances of success will be limited, regardless of how appealing the project may seem.

Pages: 20

The two major auditing or assessment tools to assist with tourism planning are the Market Appeal/Robusticity Matrix (place-based cultural assets) and Sustainable Creative Advantage (SCA) Assessment or (arts/heritage events). The former will be explored in this chapter for place-based cultural assets, such as archaeological sites, museums, historic buildings and streetscapes. The latter involves understanding more about how controlling tourist experiences and how creative management and marketing of an event can have an impact on overall participant satisfaction. The key areas where arts and heritage events need the most attention to create and maintain an SCA are: glocal orientation and support, image, orientation and position, conceptual uniqueness, event experience, implementation and management.

Pages: 73

No chapter abstract available.

Pages: 14

This chapter explores a range of issues relating to factors that lead to the successful development of cultural heritage assets into attractions and experiences. A range of development options is presented varying from building a primary attraction through packaging and bundling to clustering, networking and developing touring routes. A series of tactics that can be implemented is also discussed. A first step before planning a product or attraction at the destination level is to understand what is going to make it successful. This chapter reviews some of the factors that have been identified in successful attractions and discusses some of the development options available and proven tactics that lead to quality experiences.

Pages: 16

So far, this book has discussed what cultural tourism is, how both cultural heritage management and tourism work, the tourist, how to assess whether cultural assets have the potential to function as tourism products and, considering both robusticity and market appeal, where an asset fits into the attractions’ hierarchy. The challenge now is how to transform this information to create sustainable products and experiences that deliver high-quality experiences. This task involves three final steps: planning for tourism; marketing the product in such a way that a suitable audience is attracted for the core experience provided; and delivering experiences. The following chapters address these topics. Since each asset is unique, each will require different planning, marketing and experienced management treatments. However, the core principles remain the same.

Pages: 19

This chapter extends the concept of interpretation to reflect the more comprehensive view of experience creation. It stresses that while interpretation is an important part of the presentation and management of cultural assets, it is only one component. Instead, the goal is to co-create something special and to facilitate an experience that can encourage self-reflection after the visit. The chapter begins with a discussion of the six principles of interpretation before discussing a range of tactics that are available to create peak experiences. These tactics range from mythologizing the asset, through showing a direct link from the past to the present, making it triumphant or a spectacle, to, ultimately, creating a unique experience. A discussion regarding the challenges of experience co-creation is also included with references to examples.

Pages: 22

The relationship between digital culture and heritage is not new. Seen as the ways in which peoples and communities communicate, think and interact in a digital environment, digital cultures have been on the rise since the advent of the internet and intensified since the web of things. In the last decade, virtual reality has found its way into all modes and forms of everyday life. Interpretive and display technologies have become more engaging, immersive and complex, encompassing technologies such as augmented reality and virtual reality. The new approaches and attempts to use such technologies for a variety of immersive experiences are outlined. Edutainment potential of digital and immersive technologies is touched upon. The use of AI and the challenges of their use in cultural tourism site management and museum and artifact management are discussed. Finally, a framework is presented for creating sustainable cultural tourism via an integration with digital heritage.

Pages: 2

Much has changed since the first edition of this book was published almost 25 years ago. Every new edition features a section near the end to provide guidance on where improvements, challenges and potential research could occur. Also included are some general observations of the state of cultural tourism. For instance, a more accurate interpretation of demand for cultural tourism categories at national and international levels is needed. This is significant because phantom demand pronouncements do not help with resource planning. Further necessary improvements include the need to reduce or avoid tendency to repeat successful aspects of one attraction across the board.