cultural tourism trends

Cultural Tourism: A Huge Opportunity and A Growing Trend

Cultural tourism. It sounds like a niche. In reality it is something different. Cultural tourism is a huge opportunity and a growing trend. According to the Travel Industry Association of America, roughly eighty percent of the 150,000,000+ adults who travel more than fifty miles from their homes can be considered “cultural tourists.” Thirty percent of adults state that specific arts or a cultural or heritage event influenced their choice of destination on their last trip. Cultural tourism and the interest in culture among travelers--particularly affluent, active, and frequent travelers-- is on the rise. According to UNWTO, global cultural tourism is forecast to increase by fifteen percent in the coming years.

Moreover, cultural tourism is very popular in many countries but is still somewhat nascent in the United States. This implies that even greater growth is possible in the United States as the traveler’s appetite for authentic cultural experiences in heritage, ethnicity, cuisine, crafts, arts, and music, continues to expand.

So for anyone involved in marketing a destination or “place-based” marketing, the question can no longer be should we, but rather how do we.

Definitions and Concepts

What exactly is “cultural tourism?” Before going too far, let us share some definitions.

The World Tourism Organization defines “cultural tourism” as trips with the main or concomitant goal of visiting sites and events with cultural and historical value. Cultural tourism includes a means or opportunity to enjoy past human accomplishments. In other words, “visiting such places creates admiration, national pride, and the rediscovery of the achievements of our ancestors.”

An important aspect of cultural tourism is intangible cultural heritage. This is defined as those practices, expressions, knowledge, and skills that communities and individuals recognize as part of their cultural heritage. Transmitted through generations and constantly recreated, they provide humanity with a sense of identity and continuity.

Another author has identified “Five Pillars” of cultural tourism. For the most part, these concepts suggest intended benefits to a DMO by employing a cultural tourism strategy. Collectively, they provide further insight into the potential success produced by a focus on not just the place or its history, but the indigenous and sometimes more allusive culture.

The Five Pillars of Cultural Tourism

When considering cultural tourism, there are often natural tensions which occur with respect to intended outcomes, program management, and the use of specific tourism assets. For instance, there is sometimes a lack of understanding with respect to the potential economic impact of increased tourism and who should benefit from the incremental revenues. Cultural tourism spreads the economic impact across many different consituents, especially those who typically do not gain from traditional destination marketing. There are often issues associated with preservation, maintenance cost, economic exploitation, privacy, and the specific strategies used to promote cultural assets. In fact, Cultural tourism helps preserve and promote the unique cultural aspects of a place, preventing them from being forgotten or forever lost. But despite the barriers, most civic, state, and regional leaders agree that cultural tourism is an increasing trend and one that provides return on investment for its practitioners. Given the often sensitive and politicized nature of cultural heritage, it makes sense to emphasize and frequently remind stakeholders of the benefits. In other words, that which is at stake.

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Cultural traveler demographics.

From our experience with destination marketing we’ve developed a sophisticated and nuanced understanding of the cultural traveler that we use to develop cultural tourism strategies. Below are a few generalizations which transcend specific places and population groups.

• The market is growing. The cultural traveler is a sub-set of the leisure travel market. Both are growing as the baby boom population continues to reach retirement age and as generation xers and millennials seek ever-more authentic and immersive travel experiences.
• The market, while skewing slightly older than the general population, is getting younger. Given the relatively large size of the millennial cohort, their relative wealth, and their travel propensity, the market is getting younger and has become less dependent on the retiree.
• The market is well-educated and technologically savvy. Travelers of all ages seek and attain information prior to making detailed plans and use technology--primarily the internet and mobile devices--to implement their plans.
• Finally, cultural travelers are staying longer and are more likely to travel by air.

Although definitions of the cultural travel market vary to some degree, most experts include creative arts, history, and indigenous culture as key aspects of cultural tourism or heritage tourism. Using a set of activities surveyed by the U.S. Travel Association “Domestic Market Report,” one can gain a perspective of the significance of these activities within the context of a larger set of tourism drivers. Dining, shopping, and entertainment are the perennial, top-three tourism drivers, with roughly seventy percent of all tourists participating. While not directly associated with cultural tourism, the first opportunity is often to create more cultural context for traditional dining, shopping, and entertainment experiences.

As most destination marketing professionals know, these are the mainstay and mainstream activities that create room nights, hotel tax revenue, and generally drive the local economy. The problem is that they do not serve to distinguish or differentiate one community from another based on any proprietary feature or set of assets. They are almost always the result of national or local investment rather than indigenous history or a differentiated culture.

The exception to this of course is when a destination’s primary heritage is around the dining, shopping, or entertainment industries, for instance the “Theater District” in New York or Chicago’s “Magnificent Mile” or Minneapolis’ “Mall of America.” A more typical scenario is that a particular destination continues to evolve and gradually becomes more attractive to the national, branded stores, restaurant chains, and entertainment venues. As population demographics and tourism traffic support more and more branded concepts, the destination increases its tourism volume, or the percentage of its tourism revenue, derived from the “big three” aforementioned activities.

The next problem is that this also diminishes the destination’s sense of place, historicity, and differentiation based on unique cultural assets. While every community covets a discount mall, a Nordstrom’s, and a Capital Grill, there is an unintended consequence as differentiation is incrementally diluted and every place looks and feels a little more like every other place.

As the table below indicates, several other activities are more closely associated with cultural tourism. Touring and site seeing is in many cases directly related to cultural and/or heritage and four other activities from the survey are found within most definitions of cultural tourism. Collectively, these “middle-of-the-pack” activities account for about twenty percent of all tourism activity. And, again, they are the activities that are typically the most capable of distinguishing or branding a destination.

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The trend toward post-modernism.

Of equal significance is the trend driving the trend. The fact is, today’s interest in cultural tourism is really a manifestation of a larger and even more fundamental trend: post-modernism. Culturally, we crave that which is more personally relevant and less packaged or mass produced. For the fifty years following World War II, our economy has pursued a strategy largely defined by modernism. An emphasis on production, efficiency, the modern corporation, and, of course, mass marketing. General Motors, IBM, McDonalds, Wal-Mart, and, in the travel and destination industry, Disney. From industry-to-industry, we’ve homogenized it. Yes, we have achieved improved convenience and attainability, and we’ve hit that price point. The trade-off… America has morphed into “Generica”. Some would say: no small sacrifice. The places we’ve loved, or at least been curious about, have lost their specialness. They all look a little more like each other. And for what? A discount mall? Shame on us.

Fortunately, there is a counter-trend and a generational cohort really driving, if not insisting on, the change. It’s called post-modernism. The post-modern aesthetic has everything to do with authenticity and personal meaning. We no longer settle for the ring tone that everyone has (remember it?) but instead download something that somehow communicates something about us. Using the telephone as an example, there are many different sizes, shapes, storage capabilities, brands, and apps. There is a mega-industry devoted to customization of the protective case and another one for the ring tones. The point is, we want it our way (not their way).

The unavoidable truth is that mass production has produced a counter-trend--a preference for its antithesis. Artisanal products, craft products, hand-made, and in the travel space, authentic and immersive experiences that you can’t find just anywhere.

And there are a host of sub-trends: social media, curation, shop-small, buy-local, mass customization, etc. And the specific means by which the travel industry is tapping this macro-trend is called: cultural tourism. It is a way to confer and achieve unique experiences. It is more about truly being somewhere than just going somewhere. It is immersive, experiential, educational, and soul-cleansing. Hey, Dad, are we there yet?

The Broad Perspective and The Simple Premise

1. Handicrafts and visual arts 2. Gastronomy and culinary 3. Social practices, rituals, and festive events 4. Music and performing arts 5. Oral traditions and expressions 6. Knowledge and practices concerning nature

To the extent a local planning or leadership team can discover, develop, package, and promote these six aspects of local culture, a destination can build a more robust tourism program. The obvious implication is that most destinations do not necessarily have an even or symmetrical understanding across the six areas. Some areas are well-developed strengths while others are not well understood and/or represent latent opportunities at best. So, optimization across the six categories is the hallmark of an effective program. And, program optimization depends on a process.

Our premise is two-fold: First, tourism promotion is more effective when the destination is connected to a strong branding idea. Brands create interest, relevancy, and differentiation. A set of assets are more easily understood and remembered when they are associated with a brand idea. Second, local culture and the branding idea that supports it are more discovered than they are created. Therefore, a discovery process is necessary to understand and gain consensus around a set of marketable ideas.

Our process is called Culture ContextTM and it depends on a thorough understanding of the local culture and the context in which a particular destination competes. That context is defined by three domains: 1) the place; 2) the people; and 3) the peer group. We sometimes refer to these as the “three P’s of cultural tourism marketing”. Through an exhaustive but efficient process we collect information from each of these domains. This typically includes interviews with community stakeholders and influencers, a brand audit, a peer group communications analysis, tourism market research, and concept testing.

In a typical workshop, over one-hundred different opportunity areas are identified and then scored based on the three strategic criteria. A second evaluation step is then added. Each idea is sorted based on its ROI using our Visitor Experience Enhancement Model. This technique locates each highly scored opportunity area on a matrix defined by two axes. The first axis is the investment axis; the second is the impact axis. The reasoning is that a set of opportunities are variable in terms of the degree of investment required to create impact. Some ideas are inherently higher or lower investment and, conversely, create higher or lower impact.

In summary, this two-step approach in which ideas are first generated and scored and then sorted provides the following benefits:

• It generates new thinking and ideas;
• It creates focus and builds consensus within a group of key stakeholders;
• It sorts potential ideas into categories based on potential impact and investment requirements;
• It creates a basis for marketing planning;
• It identifies and prioritizes the destination's cultural assets with the known traveler segmentation and preferences;
• Finally, it insures that cultural products are “on-brand” from a strategic perspective.

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Conclusions and guidelines.

In summary, a set of conclusions has been offered by the World Tourism Organization with respect to planning for cultural tourism.

SOURCES: “Cultural Tourism Overview,” 2004. Travel Industry Association of America, 2013. “Study on Tourism and Intangible Cultural Heritage,” World Tourism Organization, 2011. UNESCO Convention of Safeguarding Cultural Heritage, 2003. U.S. Travel Association Domestic Travel Market Report. U.S. Travel Association Domestic Travel Market Report. “Study on Tourism and Intangible Cultural Heritage,” World Tourism Organization, 2011. “Arts & the Economy,” National Governor’s Association, 2006.

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Cultural Travel Market

Cultural Travel Market by Type, Category, & Region - Forecast 2022-2032

Market Insights on Cultural Travel covering sales outlook, demand forecast and up-to-date key trends

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Cultural Travel Market Snapshot (2022-2032)

[342 Pages Report] The global cultural travel market size is expected to reach US$ 559.30 Million by 2032. The cultural travel market is growing rapidly.

As per FMI Analysts, the global Cultural travel market is estimated to be valued at US$ 462.50 Million in 2022 and is projected to increase at a CAGR of 6.54% in the forecast period from 2022 to 2032.

Cultural travel is one such aspect of tourism  that draws huge numbers of tourists who wish to expand their horizons of knowledge about a new place, it is an ideal platform for tourists to gain insight into any area. Tourism is a growing industry backed by millions of tourists, providing opportunities for growth of the cultural travel market.

Cultural tourism has been gaining popularity in some culturally rich countries for a few years now, as it is not only feeding the wanderlust of tourists, but is also an efficient way to preserve some outdated cultures throughout the world, and cultural travel is a proper way to preserve some in danger of extinction.

Several governments are actively promoting dimming cultures through a slew of promotions that are bolstering cultural travel. The emergence of a new generation of wealthy, educated, and old tourists is also providing ample fuel for the cultural travel market.

Culture is thriving around the world but terrorism has been so devastating to several cultures that it has impeded the organic growth of cultural travel as a potential tourism experience . Natural disasters and the influx of millennial tourists have also been hindering organic growth of cultural travel as a potential tourism experience.

The government also offers subsidized tours in many parts of the world with the goal of promoting and nourishing cultural travel.

Creating a proper cultural travel network allows a location or property to develop its brand immediately. By establishing a cultural travel network, countries are not only boosting their tourism economy, but also offering an excellent platform to display a certain culture, in turn boosting demand for cultural travel.

The cultural tourism market is generating a lot of revenue for countries with rich cultures; overseas cultural extravaganzas, theme shows, and festivals are attracting millions of travelers every year for decades. East Asia, North America, Europe, and Africa are some of the regions dominating the cultural travel market.

Many governments around the world are raising their hands with local tribes and native groups in order to promote local culture. This is not only helping to empower native groups, but also boosting the business potential of the spot. Multiple tie-ups and acquisitions are taking place in this segment of tourism, benefiting the development of cultural travel .

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What are the Various Factors Driving the Cultural Travel Market?

The cultural travel market has received a lot of traction in the industry.

Millions of tourists traverse the developing tourism arena, eager to gain knowledge about a new place, seeking to expand their knowledge horizon. The cultural tourism segment welcomes a huge influx of tourists looking to embark on a journey of discovery. Cultural travel offers an opportunity for traveller’s keen to uncover the secrets behind any place in the world, increasing the adoption of cultural travel.

Culture travel enjoys ample growth amid the all-round development of the tourism industry. The cultural travel industry is also greatly benefited by the slew of promotional measures by several governments to promote dimming cultures. The emergence of a new generation of tourists, who are opulent and educated, also provides adequate fodder for the development of culture travel.

There has been a global decline in cultural travel, which can be attributed to a number of things: terrorism and natural disasters have caused many cultures to be smashed by the wrath of terrorism in the last few years; the rapid growth of millennials as tourists has slowed cultural travel as a potential tourism experience while the aforementioned factors have diminished the surge, influencing the cultural travel market share .

There has been a marked shift in the spending patterns of cultural travellers over recent years, who spend 37 percent more on travel than mainstream travellers. Hotels and luxury accommodations also earn more as cultural tourists stay longer in a cultural location. Experimental tourism is also redefining the contours of cultural travel .

What is Regional Analysis of Cultural Travel Market Share?

Italy and Germany will grow faster than the market's growth in other regions during the forecast period. The growth of the cultural travel market will be more rapid in Europe than any other region.

In this troubled economic time, culturally rich countries have been promoting this extremely rich form of tourism for the last few years. Cultural tourism does more than fulfill tourists' wanderlust; it also preserves some of the world's abrogating cultures. Cultural travel is a marriage between past and present.

In the last few years cultural travel has generated huge revenue for several culturally rich countries, and tourism destinations with a high creative content have been drawing the maximum crowd. Festivals, theme shows, and cultural extravaganzas have captivated millions and broke all barriers for decades and the trend continues. South-east Asia, North America, Europe, and Africa are some of the regions the cultural travel market dominates.

Tourism is one way to promote local cultures. Governments around the world are partnering with tribes to further local cultural development, this not only helps the locals financially, but it also makes that tourism spot a more desirable place to do business. Multiple tie-ups and business acquisitions are contributing to the adoption & proliferation of the cultural travel market .

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What is the Competition Landscape in the Cultural Travel Market?

Some of the leading companies operating in the global cultural travel market include ACE Cultural Tours, Classic Journeys, Envoy Tours, Exodus Travels Ltd., Indigenous Tourism BC, Kudu Travel Ltd., Martin Randall Travel Ltd. Nature Quest New Zealand Ltd., Odyssey World, Responsible Travel, Splitrock Environmental.

There are a number of travel agencies and institutions that organize cultural tours tailored for a particular group of people. Government-sponsored tours are also organised in various parts of the world with the aim of promoting and nourishing a particular culture.

In creating a proper network of cultural travel, a travel company can provide a platform for the promotion of a particular culture, while also boosting growth of the cultural travel market . By taking advantage of cultural travel, a travel company can instantly draw the attention of the media.

Within the cultural tourism field, trends like staying like a local, social networking, cultural gastronomy, cultural heritage tourism, and pilgrimages and religious tourism are likely to dominate growth of the cultural travel market.

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Key Segments Profiled in the Cultural Travel Market

• Domestic cultural tourism
• International cultural tourism

By Category:

• Cultural eco-tourism
• Indigenous cultural tourism
• Socio-cultural tourism
• North America
• Latin America
• Oceania 
• Middle East and Africa

Frequently Asked Questions

At what rate will the cultural travel market grow.

The global cultural travel market is set to exceed US$ 5281 Million in 2032.

Which Region is Set to Lead the Cultural travel Market?

The U.S. is projected to lead the cultural travel market in the forecast period.

Which are some of the Renowned Companies in the Cultural travel Market?

ACE Cultural Tours, Classic Journeys, Envoy Tours, Exodus Travels Ltd., Indigenous Tourism BC, and others are some of the renowned companies in the cultural travel market.

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UN Tourism | Bringing the world closer

Ethics, Culture and Social Responsibility

• Global Code of Ethics for Tourism
• Accessible Tourism

Tourism and Culture

• Women’s Empowerment and Tourism

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The convergence between tourism and culture, and the increasing interest of visitors in cultural experiences, bring unique opportunities but also complex challenges for the tourism sector.

“Tourism policies and activities should be conducted with respect for the artistic, archaeological and cultural heritage, which they should protect and pass on to future generations; particular care should be devoted to preserving monuments, worship sites, archaeological and historic sites as well as upgrading museums which must be widely open and accessible to tourism visits”

UN Tourism Framework Convention on Tourism Ethics

Article 7, paragraph 2

This webpage provides UN Tourism resources aimed at strengthening the dialogue between tourism and culture and an informed decision-making in the sphere of cultural tourism. It also promotes the exchange of good practices showcasing inclusive management systems and innovative cultural tourism experiences .  

About Cultural Tourism

According to the definition adopted by the UN Tourism General Assembly, at its 22nd session (2017), Cultural Tourism implies “A type of tourism activity in which the visitor’s essential motivation is to learn, discover, experience and consume the tangible and intangible cultural attractions/products in a tourism destination. These attractions/products relate to a set of distinctive material, intellectual, spiritual and emotional features of a society that encompasses arts and architecture, historical and cultural heritage, culinary heritage, literature, music, creative industries and the living cultures with their lifestyles, value systems, beliefs and traditions”. UN Tourism provides support to its members in strengthening cultural tourism policy frameworks, strategies and product development . It also provides guidelines for the tourism sector in adopting policies and governance models that benefit all stakeholders, while promoting and preserving cultural elements.

Recommendations for Cultural Tourism Key Players on Accessibility 

UN Tourism , Fundación ONCE and UNE issued in September 2023, a set of guidelines targeting key players of the cultural tourism ecosystem, who wish to make their offerings more accessible.

The key partners in the drafting and expert review process were the ICOMOS International Cultural Tourism Committee and the European Network for Accessible Tourism (ENAT) . The ICOMOS experts’ input was key in covering crucial action areas where accessibility needs to be put in the spotlight, in order to make cultural experiences more inclusive for all people.

This guidance tool is also framed within the promotion of the ISO Standard ISO 21902 , in whose development UN Tourism had one of the leading roles.

Download here the English and Spanish version of the Recommendations.

Compendium of Good Practices in Indigenous Tourism

The report is primarily meant to showcase good practices championed by indigenous leaders and associations from the Region. However, it also includes a conceptual introduction to different aspects of planning, management and promotion of a responsible and sustainable indigenous tourism development.

The compendium also sets forward a series of recommendations targeting public administrations, as well as a list of tips promoting a responsible conduct of tourists who decide to visit indigenous communities.

For downloads, please visit the UN Tourism E-library page: Download in English - Download in Spanish .

Weaving the Recovery - Indigenous Women in Tourism

This initiative, which gathers UN Tourism , t he World Indigenous Tourism Alliance (WINTA) , Centro de las Artes Indígenas (CAI) and the NGO IMPACTO , was selected as one of the ten most promising projects amoung 850+ initiatives to address the most pressing global challenges. The project will test different methodologies in pilot communities, starting with Mexico , to enable indigenous women access markets and demonstrate their leadership in the post-COVID recovery.

This empowerment model , based on promoting a responsible tourism development, cultural transmission and fair-trade principles, will represent a novel community approach with a high global replication potential.

Visit the Weaving the Recovery - Indigenous Women in Tourism project webpage.

Inclusive Recovery of Cultural Tourism

The release of the guidelines comes within the context of the International Year of Creative Economy for Sustainable Development 2021 , a UN initiative designed to recognize how culture and creativity, including cultural tourism, can contribute to advancing the SDGs.  

UN Tourism Inclusive Recovery Guide, Issue 4: Indigenous Communities

Sustainable Development of Indigenous Tourism

The Recommendations on Sustainable Development of Indigenous Tourism provide guidance to tourism stakeholders to develop their operations in a responsible and sustainable manner within those indigenous communities that wish to:

• Open up to tourism development, or
• Improve the management of the existing tourism experiences within their communities.

They were prepared by the UN Tourism Ethics, Culture and Social Responsibility Department in close consultation with indigenous tourism associations, indigenous entrepreneurs and advocates. The Recommendations were endorsed by the World Committee on Tourism Ethics and finally adopted by the UN Tourism General Assembly in 2019, as a landmark document of the Organization in this sphere.

Who are these Recommendations targeting?

• Tour operators and travel agencies
• Tour guides
• Indigenous communities
• Other stakeholders such as governments, policy makers and destinations

The Recommendations address some of the key questions regarding indigenous tourism:

Download PDF:

• Recommendations on Sustainable Development of Indigenous Tourism
• Recomendaciones sobre el desarrollo sostenible del turismo indígena, ESP

UN Tourism/UNESCO World Conferences on Tourism and Culture

The UN Tourism/UNESCO World Conferences on Tourism and Culture bring together Ministers of Tourism and Ministers of Culture with the objective to identify key opportunities and challenges for a stronger cooperation between these highly interlinked fields. Gathering tourism and culture stakeholders from all world regions the conferences which have been hosted by Cambodia, Oman, Türkiye and Japan have addressed a wide range of topics, including governance models, the promotion, protection and safeguarding of culture, innovation, the role of creative industries and urban regeneration as a vehicle for sustainable development in destinations worldwide.

Fourth UN Tourism/UNESCO World Conference on Tourism and Culture: Investing in future generations. Kyoto, Japan. 12-13 December 2019 Kyoto Declaration on Tourism and Culture: Investing in future generations ( English, French, Spanish, Arabic, Russian and Japanese )

Third UN Tourism/UNESCO World Conference on Tourism and Culture : For the Benefit of All. Istanbul, Türkiye. 3 -5 December 2018 Istanbul Declaration on Tourism and Culture: For the Benefit of All ( English , French , Spanish , Arabic , Russian )

Second UN Tourism/UNESCO World Conference’s on Tourism and Culture: Fostering Sustainable Development. Muscat, Sultanate of Oman. 11-12 December 2017 Muscat Declaration on Tourism and Culture: Fostering Sustainable Development ( English , French , Spanish , Arabic , Russian )

First UN Tourism/UNESCO World Conference’s on Tourism and Culture: Building a new partnership. Siem Reap, Cambodia. 4-6 February 2015 Siem Reap Declaration on Tourism and Culture – Building a New Partnership Model ( English )

UN Tourism Study on Tourism and Intangible Cultural Heritage  

The first UN Tourism Study on Tourism and Intangible Cultural Heritage provides comprehensive baseline research on the interlinkages between tourism and the expressions and skills that make up humanity’s intangible cultural heritage (ICH). 

Through a compendium of case studies drawn from across five continents, the report offers in-depth information on, and analysis of, government-led actions, public-private partnerships and community initiatives.

These practical examples feature tourism development projects related to six pivotal areas of ICH: handicrafts and the visual arts; gastronomy; social practices, rituals and festive events; music and the performing arts; oral traditions and expressions; and, knowledge and practices concerning nature and the universe.

Highlighting innovative forms of policy-making, the UN Tourism Study on Tourism and Intangible Cultural Heritage recommends specific actions for stakeholders to foster the sustainable and responsible development of tourism by incorporating and safeguarding intangible cultural assets.

UN Tourism Study on Tourism and Intangible Cultural Heritage

• UN Tourism Study
• Summary of the Study

Studies and research on tourism and culture commissioned by UN Tourism

• Tourism and Culture Synergies, 2018
• UN Tourism Study on Tourism and Intangible Cultural Heritage, 2012
• Big Data in Cultural Tourism – Building Sustainability and Enhancing Competitiveness (e-unwto.org)

Outcomes from the UN Tourism Affiliate Members World Expert Meeting on Cultural Tourism, Madrid, Spain, 1–2 December 2022

UN Tourism and the Region of Madrid – through the Regional Ministry of Culture, Tourism, and Sports – held the World Expert Meeting on Cultural Tourism in Madrid on 1 and 2 December 2022. The initiative reflects the alliance and common commitment of the two partners to further explore the bond between tourism and culture. This publication is the result of the collaboration and discussion between the experts at the meeting, and subsequent contributions.

Relevant Links

• 3RD UN Tourism/UNESCO WORLD CONFERENCE ON TOURISM AND CULTURE ‘FOR THE BENEFIT OF ALL’

Photo credit of the Summary's cover page:  www.banglanatak.com

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Global Cultural Tourism Market – Industry Trends and Forecast to 2029

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Global Cultural tourism Market, By Type (Domestic Cultural Tourism and International Cultural Tourism), Category (Cultural Eco-Tourism, Indigenous Cultural Tourism, and Socio-Cultural Tourism), Travel Type (Business Travel, Leisure Travel and Others), Country (U.S., Canada, Mexico, Brazil, Argentina, Rest of South America, Germany, France, Italy, U.K., Belgium, Spain, Russia, Turkey, Netherlands, Switzerland, Rest of Europe, Japan, China, India, South Korea, Australia, Singapore, Malaysia, Thailand, Indonesia, Philippines, Rest of Asia-Pacific, U.A.E, Saudi Arabia, Egypt, South Africa, Israel, Rest of Middle East and Africa) Industry Trends and Forecast to 2029.

Market Analysis and Insights of Cultural Tourism Market

The cultural tourism market is expected to be growing at a growth rate of 11.2% in the forecast period of 2022 to 2029 and would likely to reach an estimated value of USD 12324.33 million by end of the forecast period. Data Bridge Market Research analyses the factors responsible for fostering the growth of cultural tourism market which is currently being growing due to rise in the travel and tourism to unique destinations.

Cultural tourism is a type of tourism activity in which the primary motivation of the visitor is to learn, discover, experience, and consume tangible and intangible cultural attractions/products in a tourism destination. These attractions/products are related to a set of distinct material, intellectual, spiritual, and emotional characteristics of a society, which includes arts and architecture, historical and cultural heritage, culinary heritage, literature, music, creative industries, and living cultures with their lifestyles, value systems, beliefs, and traditions.

Increased interest in exploring wildlife, coral reefs, and pristine undisturbed natural areas is a critical factor responsible for market growth. An increase in the focus on sustainability and an increase in the market's research and development activities, among other factors are also driving the cultural tourism market. Furthermore, an increase in demand from emerging economies will create new opportunities for the cultural tourism market during the forecast period. Rise in personal disposable income as well as overall growth in infrastructure will further contribute towards the market growth of global cultural tourism market.

However, the rise in the cost of research and development activities in the market is one of the major factors that will hinder market growth and will further challenge the growth of the cultural tourism market during the forecast period. Stringent regulations laid down by the authorities after the covid-19 impact will further hinder the growth of the cultural tourism market.

This cultural tourism market report provides details of new recent developments, trade regulations, import export analysis, production analysis, value chain optimization, market share, impact of domestic and localised market players, analyses opportunities in terms of emerging revenue pockets, changes in market regulations, strategic market growth analysis, market size, category market growths, application niches and dominance, product approvals, product launches, geographic expansions, technological innovations in the market. To gain more info on cultural tourism market contact Data Bridge Market Research for an Analyst Brief, our team will help you take an informed market decision to achieve market growth. Data Bridge Market Research for an Analyst Brief, our team will help you take an informed market decision to achieve market growth.

Global Cultural Tourism Market Scope and Market Size

Cultural tourism market is segmented of the basis of type, category and travel type. The growth amongst the different segments helps you in attaining the knowledge related to the different growth factors expected to be prevalent throughout the market and formulate different strategies to help identify core application areas and the difference in your target markets.

• On the basis of type, the cultural tourism market is segmented into domestic cultural tourism and international cultural tourism
• On the basis of category, the cultural tourism market is segmented into cultural eco-tourism, indigenous cultural tourism, and socio-cultural tourism
• On the basis of travel type, the cultural tourism market is segmented into business, leisure and others.

Cultural Tourism Market Country Level Analysis

The cultural tourism market is analysed and market size insights and trends are provided by country, type, category and travel type as referenced above.

The countries covered in the cultural tourism market report are U.S., Canada and Mexico in North America, Germany, France, U.K., Netherlands, Switzerland, Belgium, Russia, Italy, Spain, Turkey, Rest of Europe in Europe, China, Japan, India, South Korea, Singapore, Malaysia, Australia, Thailand, Indonesia, Philippines, Rest of Asia-Pacific (APAC) in the Asia-Pacific (APAC), Saudi Arabia, U.A.E, Israel, Egypt, South Africa, Rest of Middle East and Africa (MEA) as a part of Middle East and Africa (MEA), Brazil, Argentina and Rest of South America as part of South America.

North America region dominate the cultural tourism market and will continue to excel its trend of dominance during the forecast period owing to the increase in the market's focus on sustainability and increase in research and development activities in this region. Asia-Pacific will register the highest CAGR for the forecast period owing to the increase in the number of millennial tourists, increased disposable income and surging infrastructural growth.

The country section of the cultural tourism market report also provides individual market impacting factors and changes in regulation in the market domestically that impacts the current and future trends of the market. Data points such as consumption volumes, production sites and volumes, import export analysis, price trend analysis, cost of raw materials, down-stream and upstream value chain analysis are some of the major pointers used to forecast the market scenario for individual countries. Also, presence and availability of global brands and their challenges faced due to large or scarce competition from local and domestic brands, impact of domestic tariffs and trade routes are considered while providing forecast analysis of the country data. Also, presence and availability of global brands and their challenges faced due to large or scarce competition from local and domestic brands, impact of domestic tariffs and trade routes are considered while providing forecast analysis of the country data.

Competitive Landscape and Cultural Tourism Market Share Analysis

The cultural tourism market competitive landscape provides details by competitor. Details included are company overview, company financials, revenue generated, market potential, investment in research and development, new market initiatives, global presence, production sites and facilities, production capacities, company strengths and weaknesses, product launch, product width and breadth, application dominance. The above data points provided are only related to the companies’ focus related to cultural tourism market.

Some of the major players operating in the cultural tourism market are Internova Travel Group, Aracari, Frosch International Travel, SARL Undiscovered Mountains France, Adventure Alternative Ltd, Intrepid Group, Rickshaw Travel Group, Steppes Travel, Australias Guide Pty. Ltd., Envoy Hostel, ACE Cultural Tours, Classic Journeys llc, Exodus Travels Limited., Kudu Travel Limited, Martin Randall Travel Ltd, Nature Quest Ltd, Hopes & Dreams Ltd, Space Island Group, Zero 2 Infinity S.L, and Odyssey World among others.

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Key Trends in Cultural Tourism: Analysis of cultural tourism key trends and opportunities

All the vital news, analysis, and commentary curated by our industry experts.

Published: December 31, 2018 Report Code: GDTT0118MI-ST

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Table of Contents

GlobalData’s "Key Trends in Cultural Tourism", report analyses the cultural tourism segment, including a discussion on the types of consumers interested in cultural tourism while traveling, how to target this market, what the future holds for the industry, as well as a deep dive into key trends in this tourism segment.

Globalization, cultural tourism provides travelers an opportunity to have more distinctive souvenir experiences, which often gives them a sense of achievement. It creates opportunities for travelers to develop their potential by actively participating in local culture courses offered by tourist providers. However, there is no one typical consumer segment given the diversity in cultural tourists – they can be a group of individuals, a family, a couple, or solo travelers. Cultural tourism can be considered a modern form of pilgrimage tourism, which represents a specific type of cultural values and consumption. In other words, pilgrimage tourism is a subset of cultural tourism as both are interlinked with ancient devotional itineraries.

– our operators must tap into this tourism trend by building packages around destinations that are globally known for their rich cultural history, such as the Caribbean, Europe, and Asia. To ensure the success of such offerings, operators must combine cultural tourism aspects with other emerging trends such as voluntourism, ecotourism and wellness, transformative, and adventure tourism. This will create a complete tourism experience, allowing the industry to benefit from word of mouth recommendations.

Reasons to Buy

– Given that the strong growth of this sector will continue in the future, capitalizing on this highly valuable market should be a goal for industry players.

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Be.CULTOUR informs the community: The new cultural tourism trends

The Covid-19 pandemic had economic and social repercussions on the tourism sector, because of which alternative forms of sustainable cultural tourism are being implemented. As highlighted in the report published by the European Commission Joint Research Centre " Behavioural changes in tourism in times of Covid- 19 ": “changing consumer preferences hold opportunities for more diversified and sustainable forms of tourism, building on Europe’s rich territorial and cultural diversity. [...] Reshaping governance towards Sustainable Smart Specialisation Strategies (S4), the model could play a key role in the post COVID-19 recovery process”.

Data analysts in the tourism sectors have already investigated on new consumer preferences ( bubble resorts , workcations , solo travel, relaxury travel, local travels – food for thought, etc.). New needs increase local journeys as the way of exploring the world with more sus tainable travel for communities and the environment , and the 'post-tourism' is emerging as self-development during and after the journey, taking authentic culture-centric experiences. The transversal approaches of the H2020 Be.CULTOUR project aim precisely to innovate identifying four additional emerging trends that serve as inspiration for the project community, attracting a promising niche of sustainable travellers: transformative travel, remote working destinations, proximity travel, post-cultural tourism. Transformative travel permanently affects travellers: it focuses on learning and educational experiences, self-reflection and self-discovery, integrating the experiences into the daily life of the visitor. Homeworking has been one of the primary effects of the pandemic and an increasing number of workers have started to look for remote working destinations . Some authorities and organisations in charge of tourism are looking into long-term attraction of this visitor’s segment, hoping that this trend will stay beyond the long-tail of the pandemic in order to support local economies without displacing any permanent residents’ jobs. Another impact of the pandemic is the increasing trend to proximity travel consisting in travelling close-by to one’s daily environment to re-discover places organising various tourist activities, living unusual experiences and responding to a need for a break from everyday life. Lastly, post-cultural tourism explores different forms of alternative travel which aim to discover authentic ‘unusual’ places. These locations are not included in conventional itineraries, but can be representative of the authenticity of some remote cultural spots, re-discovering particular places in which social and cultural innovation is developed by active local organizations, artists and innovators, turning visitors into ‘temporary residents’.

The identified emerging trends, together with the project's Innovation Areas and transversal innovation approaches to circular cultural tourism, will be the starting point to identify specific place-based and people-based strategies for the development of circular cultural tourism in the Pilot areas of the project. Each area will be thus able to identify a set of actions and strategies for circular cultural tourism, to be included in Local Action Plans, which will be some project outputs.

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The European market potential for cultural tourism

Cultural tourism is a huge opportunity and a growing trend. At least 40% of all tourists worldwide can be considered cultural tourists, and culture is one of the most important motivations for European tourists as well. Cultural tourists are more likely to travel by plane and they provide more economic benefits because they tend to stay longer than regular tourists. Cultural tourism can help to conserve tangible (material) and intangible (immaterial) heritage in your community. It offers you the opportunity to develop all kinds of creative activities and to provide tourists with authentic and genuine experiences.

Contents of this page

• Product description
• What makes Europe an interesting market for cultural tourism?
• Which European countries offer most opportunities for cultural tourism?
• Which trends offer opportunities on the European market for cultural tourism?

1. Product description

Cultural tourism refers to travel with the intent of experiencing and learning about the culture of a country or region. The cultural tourism market can be divided into two major groups. Tourists whose primary travel motivation is culture related only make up about 5-10% of all cultural tourists. These tourists are eager to learn, discover or experience local culture.

For the majority of cultural tourists, however, their primary motivation not related to culture at all. They simply like to visit cultural attractions or enjoy culture as one of the activities they undertake to complement their trip. These would be, for example, sun and beach tourists who stay at a resort in Mombasa in Kenya and visit a manyatta of the Maasai in Kenya.

Cultural tourists travel to enjoy a destination’s history and heritage, culture, lifestyle, traditions, art, music, literature, architecture and religion. The traditional cultural tourist is attracted by major cultural sites and attractions. The market for this kind of cultural tourism has grown dramatically over the past few decades, and has caused overcrowding of many of such destinations, resulting in a loss of their authentic character.

An increasing number of cultural tourists no longer feels attracted to crowded cultural attractions, instead preferring more personal, small-scale and authentic aspects of culture. Examples of this include artisanal, craft and hand-made products (tangible/material culture), and unforgettable and truly inspiring experiences that touch visitors in an emotional way and connect them with that specific place, people and culture (intangible/immaterial culture).

In short, attractions, products and experiences that are unique and that you cannot find anywhere else.

Based on the various types of interests the market can be subdivided into a number of niches, listed in table 1.

Table 1: Niche markets and specialist niche markets in cultural tourism

• Inform yourself on the niches available in cultural tourism to be able to make a clear choice on the niche market you want to focus on. CBI offers an infographic that gives a clear overview , which includes other segments and niche markets in tourism as well.
• Read the CBI studies on the niche markets within cultural tourism such as religious tourism , community-based tourism and food tourism for information about opportunities within these related markets.
• Collaborate with other parties both within and outside your community and create networks, for example with a focus on the niches as listed in table 1. Ensure that you contribute to the needs of the local community and create benefits for everyone.
• Read ‘ Kyoto Declaration on Tourism and Culture: Investing in Future Generations ’. It gives direction to innovative usage of the positive potential of cultural tourism for the support of tangible and intangible heritage, the increase of community empowerment, the generation of inclusive wealth and the strengthening of capacities.
• For financial support, you may want to join the community tourism programme initiated by AirBnB . This programme offers financial support to innovative projects in local communities that encourage tourism in new ways to strengthen communities, empower citizens and preserve and promote local culture. One category of projects to which you can apply is festivals and events: projects “preserving or celebrating local festivals and events while introducing them to a broader, appreciative audience”.

2. What makes Europe an interesting market for cultural tourism?

The European market for cultural tourism is significant. The European Union estimates that cultural tourism accounts for 40% of all European tourism . The UNWTO expects that the interest for cultural tourism among Europeans will grow and that it will remain one of the key markets in Europe. Interestingly, cultural tourists spend 38% more per day and stay 22% longer than other tourists.

However, two years after the publication of the UNWTO report, the COVID-19 pandemic caused a serious decline in international tourism and it is still uncertain if, when and how international tourism in general, and cultural tourism in particular, will recover. In the World Tourism Barometer And Statistical Annex 2021 , recently published by the UNWTO in January of this year, most panel experts expect a rebound of international tourism in Europe in the third quarter of 2021, or by 2022.

Cultural tourist profile

Cultural tourism dates back to the 1980s. Originally, cultural tourism was primarily driven by the interest of the baby boom generation to visit major cultural sites and attractions, such as museums and monuments, often travelling in groups. This generation has contributed to the strong growth of cultural tourism. The generations after them, generation Y (millennials) and generation Z (centennials ), drive the demand for more authentic, unique, small-scale and personal experiences, and the demand for more popular and everyday culture. For them it is more important to be somewhere, rather than to go somewhere. They state “we want to do it our way, not their way”. These generations prefer to travel on their own.

Figure 1: Cultural traveller’s profile

Advantages of cultural tourism

Cultural tourism does not only benefit larger corporations, but offers interesting opportunities to smaller businesses – including businesses that would otherwise be excluded from tourism. This means that cultural tourism offers the possibility to collaborate and create useful relationships with other businesses and organisations, both within and outside the tourism industry. Such relationships and partnerships can strengthen the collective pride of your own culture.

This approach to cultural tourism starts with what the community finds important and what the community wants to show. Linking it to what tourists are looking for results in a kind of compromise with a concrete encounter between two cultures.

• Review the cultural tourism offer in your community. Table 1 could help you with this.
• Try to understand the motivations of the cultural tourist and ask them how unique and authentic the cultural tourism offer is. This can help you to develop authentic experiences.
• Collaborate with other business and organisations in your community to create synergy and to better attract European tourists. Such collaboration could result in a cultural route along different places and attractions that is marketed as an arrangement to the tourists that visit your community.
• Cultural tourism is not the only trend in tourism, so think about creating cross-overs between cultural tourism and, for example, volunteer tourism, ecotourism, wellness, or adventure tourism.
• To offer your cultural offer to the market, remember that the contemporary tourists require online presence and convenience . To communicate with the market you can make use of Facebook (see for example PIRTGA ) or AirBnB (such as illustrated by a bushwalk with Maasai warriors , or a city trip to Nairobi .
• Read UNWTOs Inclusive COVID-19 recovery guide for cultural tourism , with many suggestions and tips. If you are offering community-based tourism, also read recommendations for indigenous tourism .
• If too many tourists come to your community, there is a danger that cultural tourism can cause a negative impact on culture and heritage and damage the long-term sustainability of both tourism and the cultural sectors. Therefore, it is important to define the limits of change that you consider acceptable and to manage cultural tourism properly. If you have little experience with Europeans, it is helpful to get in touch with somebody in your community who does have this experience, for example because they lived there for a while. Such a person may help you develop a product that is attractive for European tourists and bring it to their attention in a meaningful way.

3. Which European countries offer most opportunities for cultural tourism?

Germany is the largest European source market in terms of market size, followed by the United Kingdom, Italy, France, the Netherlands and Spain. Table 2 shows the percentage of residents per country who gave culture or a city trip as a reason for going on holiday , and the number of tourists leaving the country for a holiday abroad . The third column gives an indication of the market size of each country for a cultural holiday abroad. The figure clearly illustrates that the top market (Germany) is over five times larger than the smallest market (Spain).

Table 2: Key statistics of the 6 most important European markets

Germany is by far the most significant European market for cultural tourism. In 2018, 109 million German tourists went abroad for a holiday. Half of them went on holiday for cultural reasons, resulting in an estimated amount of 54 million holiday makers.

Of the six countries listed, German tourist spent the most on outbound travel. The personal expenditure of outbound German tourists was also much bigger.

Table 3: Key statistics Germany

United Kingdom

The United Kingdom is clearly the second-largest market for cultural tourism in Europe. This position is mainly caused by the large number of outbound tourists: 70 million in 2018. A share of 48% opt for a culturally motivated holiday abroad – 26% for culture in general and 22% for a city trip. This amounts to an estimated number of outbound cultural tourists of 34 million in 2018. Events were also quite popular among British holiday makers going abroad (13%).

The United Kingdom has the second-largest population (67 million), after Germany. In 2019 the country had the second-largest nominal GDP of the top 6 market countries in the European Union (€2.5 trillion), again after Germany, and the third-largest nominal GDP per capita (€28.000), after Germany and the Netherlands. In 2018 the travel expenditure of British outbound tourists amounted to €65,517 million, which was 2.4% of the GDP.

Table 4: Key statistics United Kingdom

If we look at the proportion of all outbound travellers motivated by culture, Italy is the European country that stands out with 66% of the 33 million outbound holiday makers. As opposed to the other five countries in the top 6, city trips are more popular (36%) than culture in general (30%). The number of outbound cultural tourists from Italy can be estimated at 22 million. The average length of an outbound holiday was 8.3 nights in 2018. The Italian cultural tourism market is less predictable than the other countries’ markets, because it is more fashion-driven.

In the top 6 countries, the Italian economy takes a mid-position with a nominal GDP of €1.8 trillion and a nominal GDP per capita of €30,000 in 2019. Total travel spending in 2018 had a value of €24,918 million, while personal expenditure was €17,334 million. Overall outbound tourists had a value of 1.8% of the GDP, which is the lowest of the six market countries.

Table 5: Key statistics Italy

The French market for cultural tourism is the fourth-largest. In 2018, 27 million French travellers went abroad for their holiday and 62% of them did so for cultural reasons. Among them, the interest in culture in general or in a city trip was equally divided at 31%. All in all, in 2018 about 17 million French people went on holiday abroad for cultural reasons. The average length of these holidays was 8.4 nights.

The nominal GDP (€2.4 trillion) and the nominal GDP per capita (€36,000) are also comparable to the United Kingdom. Total travel expenditure was much higher than in Italy and amounted to €39,696 million. Personal expenses in 2018 were €26,551 million. Outbound tourism had a total value of 2.1% of GDP.

Table 6: Key statistics France

Netherlands

Despite its small size, the Netherlands has a relatively large number of outbound tourists. The Dutch holiday makers show the largest interest in culture (65%), second only to the Italians (66%), but as the population is relatively small it does only result in about 15 million culturally motivated holidays abroad. Compared to the other countries in the top 6, the interest in culture in general is much bigger (39%) than the interest in city trips (26%).

Compared to the other market countries discussed in this section, the Netherlands has a small population of 17 million. In line with this, the nominal GDP is relatively small as well with €0.8 trillion, making it the smallest economy in the list. Nevertheless, the nominal GDP per capita is the highest of the six countries at €47.000. On the other hand, total travel expenditure for foreign holidays (€18,868 million) and personal expenses abroad are the lowest (€ 16,296 million). 2.8% of the GDP was spent on outbound tourism.

Table 7: Key statistics Netherlands

The market for cultural tourism in Spain is much smaller than it is in Germany, the United Kingdom, Italy, France and the Netherlands. If we take the relatively big population into account, the number of outbound holiday makers is relatively quite small with just 19 million. So despite the fact that half of these tourists goes on holiday for cultural reasons, this only results in an estimated 10 million travellers in 2018.

It’s also interesting to note that the average length of the stay is relatively short (7.8 nights), while the average spending per day seems rather high (€103). According to industry experts, it is mainly the region of Catalunya (Barcelona and environment) in which people are interested in outbound cultural tourism.

The population of Spain is 47 million. The economy of Spain ranks between Italy and the Netherlands, with a nominal GDP of €1.2 trillion. The nominal GDP per capita is the lowest of the six market countries at €26.000. The amount that all outbound tourists spend on their travel is slightly lower than it is Italy and a little higher than it is the Netherlands at €26,670. The percentage of the GDP that is spent on outbound travel is relatively low: only 1.9%.

Table 8: Key statistics Spain

• Focus on Germany or the United Kingdom if you want to enter the European cultural tourism market. The market for cultural tourism in these countries is much bigger than it is in the other European countries, so you are more likely to succeed there.
• Create your tourism product in collaboration with your clients. Cultural tourists can be considered as co-creators of the best and least impactful tourism experiences . Also read our report on how to develop your tourism product to co-create cultural products together with your guests.
• If you want to protect your culture and remain unique and authentic, do not focus on short-term benefits and prevent too much commercialisation.
• If you want to focus on cultural events, it is recommended to make use of existing festivals or try to revive past festivals, because this reduces negative impacts and makes cultural tourism more sustainable.

4. Which trends offer opportunities on the European market for cultural tourism?

From cultural tourism to creative tourism.

Cultural tourism is slowly changing into creative tourism. With creative tourism, tourists actively participate in cultural learning experiences. These could range from dyeing umbrellas in Thailand, dyeing textiles in Guatemala or making curry in Thailand, to making music in Brazil to the rhythm of samba, milonga, chamamé and chacarera. During such a holiday trip, tourists encounter things that are quite different from a trip in Europe.

Creative travel programmes allow tourists to get in touch with local people, local culture and local creativity. They allow visitors to take a souvenir back home that they made themselves and that can promote the culture to the tourists’ peers. They also lead to more opportunities for local people to acquire knowledge and skills and to earn an income.

Creative travel programmes are usually carried out by locals, for example in the role of inbound tour operator or “ground operator”. However, there are also tour operators in Europe that offer cultural tourism holidays, such as Charlies Travels in the Netherlands which offers holidays to Kenya.

A local example is the wide variety of round trips offered focusing on the "Maya Textile Route" in Guatemala, during which cultural visits of cities and museums are combined with weaving and dyeing workshops. During these workshops visitors learn how to create their own fabrics in the traditional brightly coloured threads of the “land of eternal spring”.

• Examples are the tours offered by Haute Culture Fashion or ArtGuat .
• The Blue Yonder , a tour operator in India, provides various options, including musical trails, gastronomic trails, local encounters, cultural heritage, and city breaks.
• Feynan Ecolodge in Jordan is an example of an accommodation promoting the rich Bedouin culture of the region, and exploring local archeological sites.
• In Thailand DASTA (Designated Areas for Sustainable Tourism Administration) developed a cultural tourism programme that is different from many other Asian countries. It is based on the idea that the Thai culture is unique and that unique forms of creativity are linked to it. 20 different villages offer a unique taste of Thai culture for visitors, each being linked to a particular craft or skill that demonstrates Thai creativity and is rooted in the local involvement. As part of the project a toolkit was provided which offers a step-by-step guide to developing creative tourism.

Networks are of great importance to the development of creative tourism. There are quite a few examples of creative tourism networks, such as Recria Brasil in Brazil. Local people and businesses also use platforms such as AirBnB to sell experiences. In that case you do not need a tour operator, and you establish a direct connection with the tourist in exchange for a small fee.

Creative Tourism Network is an international network that serves as a great example of collaboration across country borders. The website gives examples of creative tourism in various countries and you can become a member yourself. The network developed a “ creating creative tourism toolkit ” that is accessible online. The toolkit also provides an introduction into the ins and outs of creative tourism.

Although in Europe itself, CreaTour may offer an inspiring example of a creative tourism network. It is intended as an incubator/demonstration initiative to catalyse creative tourism in small cities and rural areas throughout Portugal. CreaTour’s website gives an overview of inspiring best practices in Portugal . A prize-winning documentary about creative tourism development in small cities and rural areas is also available.

Major trends in creative tourism :

• Taking home skills as well as souvenirs: exchange of skills between hosts and visitors, and the production of art, photos or craft objects as souvenirs
• Creative gastronomy: courses and workshops to refine the guests’ culinary skills, such as making curry in Thailand
• Creative personal space: retreats or other peaceful surroundings linked to a search for mindfulness, spirituality, including yoga experiences and meditation
• Creative work: co-working spaces and living labs as destinations for travellers who want to combine their work with their passion, which fits with the drive of remote working, the growing number of digital nomads and the increase in bleisure, which refers to travellers who combine business with leisure activities, or leisure travel with business.
• Digital creativity (needed for work but also for being able to develop one’s own content and share one’s life story; offered in major creative cities or attractive settings in nature.
• Social connectivity: creative tourism with a more explicit social and relational dimension, such as volunteer programmes directed towards particular forms of creativity useful for community development.
• Live like a (creative) local to have transformational authentic experiences; Airbnb allows hosts to provide local experiences, which may include workshops and crafts classes. A transformational experience allows a tourist to understand themselves, others and the world in a new way.
• Holidays for the creative class, not only in urban areas but also in creative clusters in rural areas; it requires the presence of trendsetters and coolhunters who can identify and promote new creative experiences
• Destinations as hubs of creative networks, the places to be for specific creative activities and/or knowledge
• Invest in slow travel, meaning travellers take more time to experience destinations more deeply and in a more laid-back way, and offer transformative experiences.
• Offer opportunities to immerse in the local culture and to ‘feel like a local’, such as opportunities to stay with a local family, indulge in the local nightlife or services that connect travellers to local tastes,
• Platforms such as EatWith or BiteMojo offer opportunities to connect travel to local tastes.
• Because young millennials yearn for unique experiences, it is recommended to approach and treat them in a personal way.
• Ensure a clear online presence. Potential visitors should be able to find you online and be able to easily access your online information.
• Invite social media influencers like influential bloggers or vloggers for a free stay so that they will write about your product or service in a style that appeals to their followers. You can find bloggers and vloggers via Typsy or YouTube .
• Link people and place through storytelling. An example of this is offered by industry expert Greg Richards in his report ‘ from Cultural to creative tourism – the role of craft’ : “When a tourist comes to my workshop, I can make up a story about how I work, and this adds value. People want to know why I have done something, how it was done”.

Health and safety measures

In response to the COVID-19 pandemic the UNWTO identified health and safety measures as the second largest trend for 2021, and it is likely that this trend will become more important in the years to come.

The COVID-19 pandemic will likely have a major impact on travellers’ attitudes towards hygiene. Safety and hygiene standards have become very important and may even become non-negotiable, because travellers simply require that this is at an appropriate standard.

Travellers will be more reluctant to travel to tourism hot spots and may need more persuasion to perceive a destination, or your business, as safe. Precautions and the way in which the initial COVID-19 outbreak was handled in your country will help convince travellers that they will be safe at a specific destination, location or service business.

It is expected that hygiene will impact the way people travel to a destination and how they move around within their destination. This applies to for example hygiene standards, whether face masks are compulsory or not, seat spacing, and many other factors. Price may become less important than hygiene and travelling in groups with strangers will probably be less attractive.

Moreover, it is likely that the COVID-19 pandemic has made more travellers aware and uncertain about travel safety, hygiene and contradicting information, and they will increasingly turn to travel experts when they want to plan a holiday trip.

• Be transparent and inform cultural tourists properly about the health and safety measures you have taken. Only then you will be able to gain their trust. Possible measures are: intensified cleaning, socially distanced seating, providing hand gel, providing accessories such as face masks, glasses and gloves (possibly branded with a logo of the destination or your business), offering contactless payment, or driverless transport.
• With reference to COVID-19 is it recommended to focus on outdoor cultural tourism activities.
• Seize the opportunity, if your business is located within a destination that is perceived as clean, safe, unspoilt or uncrowded. That may allow you to attract new or more visitors. According to Booking.com , 54% of global travellers want to play a part in reducing overtourism , and 51% is interested in swapping destinations for a lesser known, yet similar alternative.

This study was carried out on behalf of CBI by Molgo and ETFI .

Please review our market information disclaimer .

• Entering the European market for cultural tourism products

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Creative tourism is an important market in Europe. It offers Europeans the opportunity to get in touch with local people and local culture, for example by crafting their own souvenirs with textiles, ceramics or other materials, learning to cook local foods, to learn cultural dances, etc. Creative tourism therefore offers an interesting opportunity for local businesses to earn some money and at the same time to learn about the European market. Direct contact with the tourist is important. This can be achieved through creative programmes, networks or social media platforms. Recria Brasil is a good example of a programme run by governmental bodies and local businesses, but they also exist in for example Thailand, Indonesia and some African countries. Dr Greg Richards, professor in Leisure studies

Related research

• What is the demand for outbound tourism on the European market?
• What trends offer opportunities or pose threats on the European outbound tourism market?
• What are the requirements for tourism services in the European market?
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What is cultural tourism and why is it growing?

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Cultural tourism is big business. Some people seek to embark on their travels with the sole intention of having a ‘cultural’ experience, whereas others may experience culture as a byproduct of their trip. We can argue that there is some form of cultural tourism in most holidays (even when taking an all-inclusive holiday you might try to local beer, for example).

But what do we mean by the term ‘cultural tourism’? What’s it all about? In this post I will explain what is meant by the term cultural tourism, providing a range of academic definitions. I will also explain what the different types of cultural tourists are, give examples of cultural tourism activities and discuss the impacts of cultural tourism. Lastly, I will provide a brief summary of some popular cultural tourism destinations.

What is cultural tourism?

Cultural tourism is the act of travellers visiting particular destinations in order to experience and learn about a particular culture . This can include many activities such as; attending events and festivals, visiting museums and tasting the local food and drinks.

Cultural tourism can also be an unintentional part of the tourism experience, whereby cultural immersion (with the local people, their language, customs, cuisine etc) is an inevitable part of a person’s holiday.

Cultural tourism definitions

It has been suggested that tourism is the ideal arena in which to investigate the nature of cultural production (MacCannell, 1976). Tourism provides endless opportunities to learn about the way other people live, about their society and their traditions. Whether you are attending the Running of the Bulls Festival in Pamplona , visiting the pyramids in ancient Egypt , taking a tour of the tea plantations in China or enjoying the locally brewed Ouzo on your all-inclusive holiday to Greece, you will inevitably encounter some form of cultural tourism as part of your holiday experience.

The World Tourism Organisation (WTO) (1985) broadly define cultural tourism as the movements of persons who satisfy the human need for diversity, tending to raise the cultural level of the individual and giving rise to new knowledge, experience and encounters. Cultural tourism is commonly associated with education in this way, some describing it more narrowly as educational cultural tourism (e.g. Bualis and Costa, 2006; Harner and Swarbrooke, 2007; Richards, 2005).

Although a common, more specific definition has not been agreed amongst academics due to the complexity and subjectivity of the term, there do appear to be two distinct viewpoints. The first focusses upon the consumption of cultural products such as sites or monuments (Bonink, 1992; Munsters, 1994), and the second comprises all aspects of travel, where travellers learn about the history and heritage of others or about their contemporary ways of life or thought (MacIntosh and Goeldner, 1986).

Csapo (2012) pertains that the umbrella term of cultural tourism can encompass a number of tourism forms including heritage (material e.g. historic buildings and non-material e.g. literature, arts), cultural thematic routes (e.g. spiritual, gastronomic, linguistic), cultural city tourism, traditions/ethnic tourism, events and festivals, religious tourism and creative culture (e.g. performing arts, crafts).

Types of cultural tourists

In attempt to understand the scope of cultural tourism academics have developed a number of typologies, usually based upon the tourist’s level of motivation.

Bywater (1993) differentiated tourists according to whether they were culturally interested, motivated or inspired.

Culturally interested tourists demonstrate a general interest in culture and consume cultural attractions casually as part of a holiday rather than consciously planning to do so.

Culturally motivated tourists consume culture as a major part of their trip, but do not choose their destination on the basis of specific cultural experiences, whereas for culturally inspired tourists culture is the main goal of their holiday. 

A more complex typology was proposed by McKercher and Du Cros (2002), who defined tourists based upon the depth of the cultural experience sought, distinguishing them in to one of five hierarchical categories. 

The first is the purposeful cultural tourist for whom cultural tourism is their primary motive for travel. These tourists have a very deep cultural experience. 

The second category is the sightseeing cultural tourist for whom cultural tourism is a primary reason for visiting a destination, but the experience is more shallow in nature.

The serendipitous cultural tourist does not travel for cultural reasons, but who, after participating, ends up having a deep cultural tourism experience, whilst the casual cultural tourist is weakly motivated by culture and subsequently has a shallow experience. 

Lastly, the incidental cultural tourist is one who does not travel for cultural tourism reasons but nonetheless participates in some activities and has shallow experiences. 

Adapting this theory, Petroman  et al (2013) segments tourists based upon their preferred cultural activities.

The purposeful cultural tourist, described as according to Mckercher and Du Cros (2002), enjoys learning experiences that challenge them intellectually and visits history museums, art galleries, temples and heritage sites that are less known.

The tour-amateur cultural tourist is akin with the sightseeing cultural tourist above and they often travel long distances, visit remote areas, enjoy tours and wandering through the streets.

The occasional cultural tourist plays a moderate role in the decision of travelling and enjoys an insignificant cultural experience, their preferred activities being to visit attractions and temples that are easy to reach and to explore, although not to the extent that the tour-amateur cultural tourist does.

The incidental cultural tourist plays a small or no role in the decision to travel and enjoys an insignificant cultural experience, whilst visiting attractions that area within easy reach and heritage theme parks.

The last segment is the accidental cultural tourist, who plays a small or no role in the decision to travel but enjoys a deep cultural experience. This tourist type is diverse and as such has no preferred activities attributed to it. 

Importance of cultural tourism

Cultural tourism is important for many reasons. Perhaps the most prominent reason is the social impact that it brings.

Cultural tourism can help reinforce identities, enhance cross cultural understanding and preserve the heritage and culture of an area. I have discussed these advantages at length in my post The Social Impacts of Tourism , so you may want to head over there for more detail.

Cultural tourism can also have positive economic impacts . Tourists who visit an area to learn more about a culture or who visit cultural tourism attraction, such as museums or shows, during their trip help to contribute to the economy of the area. Attractions must be staffed, bringing with it employment prospects and tertiary businesses can also benefit, such as restaurants, taxi firms and hotels.

Furthermore, for those seeking a deep cultural experience, options such as homestays can have positive economic benefits to the members of the community who host the tourists.

Read also: Overtourism explained: What, why and where

Personally, I think that one of the most important benefits of cultural tourism is the educational aspect. Tourists and hosts alike can learn more about different ways of life. This can help to broaden one’s mind, it can help one to think differently and to be more objective. These are qualities that can have many positive effects on a person and which can contribute to making them more employable in the future.

Cultural tourism activities

Whether a tourist is seeking a deep cultural experience or otherwise, there are a wide range of activities that can be classified as cultural tourism. Here are a few examples:

• Staying with a local family in a homestay
• Having a tour around a village or town
• Learning about local employment, for example through a tour of a tea plantation or factory
• Undertaking volunteer work in the local community
• Taking a course such as cooking, art, embroidery etc
• Visiting a museum
• Visiting a religious building, such as a Mosque
• Socialising with members of the local community
• Visiting a local market or shopping area
• Trying the local food and drink
• Going to a cultural show or performance
• Visiting historic monuments

Impacts of cultural tourism

There are a range of impacts resulting from cultural tourism activities, both good and bad. Here are some of the most common examples:

Positive impacts of cultural tourism

Revitalisation of culture and art.

Some destinations will encourage local cultures and arts to be revitalised. This may be in the form of museum exhibitions, in the way that restaurants and shops are decorated and in the entertainment on offer, for example.

This may help promote traditions that may have become distant.

Preservation of Heritage

Many tourists will visit the destination especially to see its local heritage. It is for this reason that many destinations will make every effort to preserve its heritage.

This could include putting restrictions in place or limiting tourist numbers, if necessary. This is often an example of careful tourism planning  and sustainable tourism management.

This text by Hyung You Park explains the principles of heritage tourism in more detail.

Negative impacts of cultural tourism

Social change.

Social change is basically referring to changes in the way that society acts or behaves. Unfortunately, there are many changes that come about as a result of tourism that are not desirable.

There are many examples throughout the world where local populations have changed because of tourism. Perhaps they have changed the way that they speak or the way that they dress. Perhaps they have been introduced to alcohol through the tourism industry or they have become resentful of rich tourists and turned to crime. These are just a few examples of the negative social impacts of tourism.

Read also: Business tourism explained: What, why and where

Globalisation and the destruction of preservation and heritage.

Globalisation is the way in which the world is becoming increasingly connected. We are losing our individuality and gaining a sense of ‘global being’, whereby we more and more alike than ever before.

Globalisation is inevitable in the tourism industry because of the interaction between tourists and hosts, which typically come from different geographic and cultural backgrounds. It is this interaction that encourage us to become more alike.

Standardisation and Commercialisation

Similarly, destinations risk standardisation in the process of satisfying tourists’ desires for familiar facilities and experiences.

While landscape, accommodation, food and drinks, etc., must meet the tourists’ desire for the new and unfamiliar, they must at the same time not be too new or strange because few tourists are actually looking for completely new things (think again about the toilet example I have previously).

Tourists often look for recognisable facilities in an unfamiliar environment, like well-known fast-food restaurants and hotel chains. Tourist like some things to be standardised (the toilet, their breakfast, their drinks, the language spoken etc), but others to be different (dinner options, music, weather, tourist attractions etc).

Loss of Authenticity 

Along similar lines to globalisation is the loss of authenticity that often results from tourism.

Authenticity is essentially something that is original or unchanged. It is not fake or reproduced in any way.

The Western world believe that a tourist destination is no longer authentic when their cultural values and traditions change. But I would argue is this not natural? Is culture suppose to stay the same or it suppose to evolve throughout each generation? 

Take a look at the likes of the long neck tribe in Thailand or the Maasai Tribe in Africa. These are two examples of cultures which have remained ‘unchanged’ for the sole purpose of tourism. They appear not to have changed the way that they dress, they way that they speak or the way that they act in generations, all for the purpose of tourism.

You can learn more about what is authenticity in tourism here or see some examples of staged authenticity in this post.

Culture clashes

Because tourism involves movement of people to different geographical locations cultural clashes can take place as a result of differences in cultures, ethnic and religious groups, values, lifestyles, languages and levels of prosperity.

Read also: Environmental impacts of tourism

The attitude of local residents towards tourism development may unfold through the stages of euphoria, where visitors are very welcome, through apathy, irritation and potentially antagonism when anti-tourist attitudes begin to grow among local people. This is represented in Doxey’s Irritation Index, as shown below.

Tourist-host relationships

Culture clashes can also be exasperated by the fundamental differences in culture between the hosts and the tourists.

There is likely to be economic inequality between locals and tourists who are spending more than they usually do at home. This can cause resentment from the hosts towards the tourists, particularly when they see them wearing expensive jewellery or using plush cameras etc that they know they can’t afford themselves.

Further to this, tourists often, out of ignorance or carelessness, fail to respect local customs and moral values. 

There are many examples of ways that tourists offend the local population , often unintentionally. Did you know that you should never put your back to a Buddha? Or show the sole of your feet to a Thai person? Or show romantic affection in public in the Middle East?

Cultural tourism destinations

Whilst many would argue that cultural tourism is ingrained to some extent in travel to any country, there are some particular destinations that are well-known for their ability to provide tourists with a cultural experience.

Cultural tourism in India

It is impossible not to visit India and experience the culture. Even if you are staying in a 5 star Western all-inclusive hotel in Goa, you will still test Indian curries, be spoken to by Indian workers and see life outside of the hotel on your transfer to and from the airport.

For most people who travel to India, however, cultural tourism is far more than peeking outside of the enclave tourism bubble of their all-inclusive hotel.

Thousands of international tourists visit the Taj Mahal each year. Many more people visit the various Hindu and Buddhist temples scattered throughout the country as well as the various Mosques. Some visit the famous Varanassi to learn about reincarnation.

Most tourists who visit India will try the local dal, eat the fresh mutton and taste chai.

All of these activities are popular cultural tourism activities.

Cultural tourism in Thailand

Thailand is another destination that offers great cultural tourism potential. From the Buddhist temples and monuments and the yoga retreats to homestays and village tours, there are ample cultural tourism opportunities in Thailand .

Cultural tourism in Israel

Israel is popular with religious tourists and those who are taking a religious pilgrimage, as well as leisure tourists. I visited Israel and loved travelling around to see the various sights, from Bethlehem to Jerusalem . I’m not religious in any way, but I loved learning about the history, traditions and cultures.

Cultural tourism in New York

New York is a city that is bustling with culture. It is world famous for its museums and you can learn about anything from World War Two to the Twin Towers here.

Many would argue that shopping is ingrained in the culture of those who live in New York and many tourists will take advantage of the wide selection of products on offer and bargains to be had on their travels to New York.

You can also treat yourself to watching a traditional West End show, trying some of the famous New York Cheesecake and enjoying a cocktail in Times Square!

Cultural tourism in Dubai

Dubai might not be the first destination that comes to mind when you think of cultural tourism, but it does, in fact, have a great offering.

What I find particular intriguing about Dubai is the mix of old and new. One minute you can be exploring the glitz and glamour of the many high-end shopping malls and skyscrapers and the next you can be walking through a traditional Arabian souk.

Cultural tourism: Conclusion

As you can see, there is big business in cultural tourism. With a wide range of types of cultural tourists and types of cultural tourism experiences, this is a tourism sector that has remarkable potential. However, as always, it is imperative to ensure that sustainable tourism practices are utilised to mitigate any negative impacts of cultural tourism.

If you are interested in learning more about topics such as this subscribe to my newsletter ! I send out travel tips, discount coupons and some material designed to get you thinking about the wider impacts of the tourism industry (like this post)- perfect for any tourism student or keen traveller!

Further reading

Want to learn more about cultural tourism? See my recommended reading list below.

• Cultural Tourism – A textbook illustrating how heritage and tourism goals can be integrated in a management and marketing framework to produce sustainable cultural tourism. 
• Deconstructing Travel: Cultural Perspectives on Tourism – This book provides an easily understood framework of the relationship between travel and culture in our rapidly changing postmodern, postcolonial world.
• Re-Investing Authenticity: Tourism, Place and Emotions – This ground-breaking book re-thinks and re-invests in the notion of authenticity as a surplus of experiential meaning and feeling that derives from what we do at/in places.
• The Business of Tourism Management – an introduction to key aspects of tourism, and to the practice of managing a tourism business. 
• Managing Sustainable Tourism – tackles the tough issues of tourism such as negative environmental impact and cultural degradation, and provides answers that don’t sacrifice positive economic growth.
• Tourism Management: An Introduction – An introductory text that gives its reader a strong understanding of the dimensions of tourism, the industries of which it is comprised, the issues that affect its success, and the management of its impact on destination economies, environments and communities.
• Responsible Tourism: Using tourism for sustainable development – A textbook about the globally vital necessity of realising sustainable tourism.

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What is Cultural Tourism and Why is It Important?

Tourism trends come and go. What was once deemed as a necessity in travel and tourism may not be a necessity today. So what is cultural tourism and why is it important? Let’s dive in!

How is Culture Defined?

In order to understand cultural tourism, we must first understand what constitutes culture. 

Culture is rooted in many complexities and many inner workings. On the surface level, culture can be defined through symbols, words, gestures, people, rituals and more. 

However, the core of culture is in its values. 

The way a culture perceives itself or stays preserved is through a set of shared values. 

Maybe its an ode to ancestry and tradition or a new breadth of 

However, the core of culture is in its values.

Whether it’s an ode to ancestry or creating a new set of values as time evolves, it can be also be held true to the 

Whether it’s an ode to ancestry or creating a new set of values as time evolves, cultural tourism is uprooted in holding and preserving cultures through traditions and heritage.  [1]

What is Cultural Tourism?

Adopted by the UNWTO General Assembly in 2017, Cultural Tourism is defined as the following: “A type of tourism activity in which the visitor’s essential motivation is to learn, discover, experience and consume tangible and intangible cultural attractions/products in a tourism destination.”

The main aim of cultural tourism is to improve the quality and livelihood of the local people who are committed to preserving cultural heritage and traditions. 

This can be through the purchase of locally made goods, initiatives through local food and the learning of recipes, 

This can be through the purchase of locally made goods, initiatives to learn how to cook local recipes and supporting local inbound operators who have a good knowledge of the cities they are operating in. 

This can be done through the following six aspects:

• Handcrafted Goods and Visual Art
• Social Practices
• Rituals and Festive Events
• Oral Traditions

Imagine visiting one of our destinations: Jordan, Tunisia, Kyrgyzstan, Uzbekistan or Tanzania. 

Imagine being able to experience all six of these aspects of cultural tourism all created in one package.

Where Can You Practice Cultural Tourism?

Jordan .

From the North to the South, Jordan’s landscapes and its people are ready to welcome you to each and every experience. 

In the North, experience the gastronomy of locally preserved recipes and take your hand at being able to learn how to cook yourself. 

Take your hand at handcrafted goods like making baskets out of wheat straws or learn the art of traditional weaving in Madaba. 

In the South, practice in rituals in the desert by learning about the infamous Bedouin tea, take some words and practices that are so pertinent to those in the South. 

See our packages in Jordan

Underground colonies, history and a rich culture are just waiting for you to learn about. 

Visit an artist in Gabes who has taken traditional methods of papermaking and carried it to the present today by honoring raw and organic materials pertinent to the atmosphere of Tunisia’s landscape. 

Then have an opportunity to stay in local accommodation in underground colonies which stay cool during the summer and warm in the winter.

You can also experience Amazigh history and the different languages present in Tunisia today that trace back to civilizations many years ago. 

See our packages in Tunisia

Uzbekistan 

One of Central Asia’s unknown wonders

Uzbekistan is located on the Silk Road and holds centuries of history that trace back to the Islamic Golden Age. It holds a unique architectural background and since it holds history between the Persian Empire and the Soviet Union, you can see a contradiction between both styles, all in one place. 

See our packages in Uzbekistan

Kyrgyzstan 

Where nature is a non-negotiable

With its beautiful nature, with over 2,000 lakes, Kyrgyzstan is another Central Asian wonder that holds beautiful fairytale naturescapes and semi-nomadic living. 

Kyrygz people still adhere to ancient civilizations and honor their ancestors by living in Yurts and sharing natural practices such as horseback riding and traditional old games, like Kok Boro and eagle hunting. 

See our packages in Kyrgyzstan 

Everything is “pole pole” in Tanzania

From visiting indigeneous tribes to participating in rituals to mother nature, Tanzanian people practice the “pole pole” lifestyle, which means slowly slowly in Swahili. 

With an intersection of different cultures and practiced rituals, Tanzania has become such a hub for many people to get together and enjoy the lifestyle and indigenous cultures. 

See our packages in Tanzania

Why is Cultural Tourism Important?

Cultural tourism is a travel and tourism trend that is here to stay. With more and more accessibility to the world and the people in it, there is peak interest in being able to immersively travel. 

• Peaks an interest to immerse yourself in a particular culture
• Creates meanings, stories and understanding between host and guest
• Share cultural practices and be part of the preservation of cultural heritage
• Gain a full understanding a culture without commodification 

What better way to honor a destination than by practicing in allowing something to be immortal. 

Also, if you’re interested in learning more about experiential tourism, check out this article. 

What are some cultural touristic experiences you are looking forward to trying?

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Visual culture and the Moscow Metro

James Andrews first rode the Moscow Metro in the 1980s as an undergraduate student studying in the former Soviet Union.

Now after 35 years, the metro is taking him on a new journey: documenting how its iconic public spaces reveal the story of Moscow itself as the city evolved under Joseph Stalin and his Soviet and post-Soviet successors.

This May, Andrews, professor of history, gave a public lecture on his new research project at the Kennan Institute in Washington, D.C. The Kennan Institute is part of the Woodrow Wilson Center, where Andrews was a former senior resident fellow.

The talk, which has been made available on YouTube, was so well-received that Andrews immediately received an additional invitation to present at the Jordan Center for the Advanced Study of Russia at New York University.

What makes the Moscow Metro a fascinating subject for a historian? More people ride the Moscow Metro each day than the New York City Subway and London Tube combined, yet its history is relatively unknown, Andrews said.

“Everyone has a story about the metro, but there has never been a book in English about its history,” Andrews said. “Many of my generation spent an endless amount of time on the metro. Before people had cell phones, you would always say, ‘Well, we’ll meet on the platform at this station.’ Everyone spent time traveling through this cavernous system. It’s a labyrinth really, but at the same time people don’t know much about its history in detail.”

Andrews’ previous books focus on the history of Russian science, technology and the Soviet space program. His new book project on the metro is another opportunity to study iconic Soviet technology, as well as visual culture.

The original metro stations, built with deep shaft tunneling methods beginning in 1932, had airy open ceilings with gorgeous bas-relief architecture—a canvas that Stalin used to create a public art monument to socialism.

“Socialist countries had a tendency to produce technologies that they could adorn with stories,” Andrews said. “Their metro was started in the 1930s under Stalin, and they invested a lot of money in it. It was important for two reasons: there was a utilitarian nature. The crowds were incredible in Moscow. They needed better public transportation. People had been flooding in from the countryside during collectivization. The other thing was to come up with a monument to socialism. That’s why they hired all these architects to decorate, and they decorated each station thematically.”

In the years after Stalin’s death, Nikita Khrushchev issued an edict rejecting the metro’s flamboyant architectural style in favor of a pre-fabricated, practical style, Andrews said. At the same time all over the city, de-Stalinization was happening, and street signs, busts of Stalin and station names were changed or removed.

“The irony is Stalin funded it,” Andrews said. “It’s a Stalin-era display technology project, but by the Khrushchev era they were erasing Stalin’s name from it.”

Andrews has had unlimited access to Moscow’s architectural archives, including many original photographic negatives, and will return to Russia next summer to research political archives.

“The Bolsheviks liked to document everything, but I was shocked at how many photographs they had taken of all these projects, documenting every stage and how well they were preserved,” he said.

Throughout his research, he has uncovered more stories hidden within familiar metro spaces.

One Russian architectural archivist told Andrews about being born in the metro in 1942, during a time when its underground stations housed makeshift hospitals, military meetings and even cultural events such as film nights.

Public spaces bear new stories over time, and Andrews is closely following the story told by newly constructed metro stations. New stations are bringing back marble-laden aesthetics and cultural themes that highlight famous Russian figures like chemist Dmitri Mendeleev or writer Fyodor Dostoyevsky, he said.

“I think the story tells us now that during Putin’s era you see a resurgence of Russian nationalism and Russian themes,” he said. “Not every station can be imploded into this reductive narrative, but it points again to how the narrative of the metro stations changes as the politics of Russian change to some extent and the city itself.”

And it shows how the Moscow Metro has a seemingly endless amount of track for a historian to travel.

“What I love about the project is there is a political history to it, a technological history, a social history, an engineering element, and an artistic element,” Andrews said. “It’s a multi-disciplinary study, which is both fascinating to me and challenging.”

Things to Do in Elektrostal, Russia - Elektrostal Attractions

Things to do in elektrostal.

• 5.0 of 5 bubbles
• 4.0 of 5 bubbles & up
• Good for a Rainy Day
• Good for Kids
• Good for Big Groups
• Adventurous
• Budget-friendly
• Hidden Gems
• Good for Couples
• Honeymoon spot
• Good for Adrenaline Seekers
• Things to do ranked using Tripadvisor data including reviews, ratings, photos, and popularity.

1. Electrostal History and Art Museum

2. Statue of Lenin

3. Park of Culture and Leisure

4. museum and exhibition center.

5. Museum of Labor Glory

7. Galereya Kino

8. viki cinema, 9. smokygrove.

10. Gandikap

11. papa lounge bar, 12. karaoke bar.

• Statue of Lenin
• Electrostal History and Art Museum
• Park of Culture and Leisure
• Museum and Exhibition Center
• Museum of Labor Glory

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40 facts about elektrostal.

Written by Lanette Mayes

Modified & Updated: 02 Mar 2024

Reviewed by Jessica Corbett

Elektrostal is a vibrant city located in the Moscow Oblast region of Russia. With a rich history, stunning architecture, and a thriving community, Elektrostal is a city that has much to offer. Whether you are a history buff, nature enthusiast, or simply curious about different cultures, Elektrostal is sure to captivate you.

This article will provide you with 40 fascinating facts about Elektrostal, giving you a better understanding of why this city is worth exploring. From its origins as an industrial hub to its modern-day charm, we will delve into the various aspects that make Elektrostal a unique and must-visit destination.

So, join us as we uncover the hidden treasures of Elektrostal and discover what makes this city a true gem in the heart of Russia.

Key Takeaways:

• Elektrostal, known as the “Motor City of Russia,” is a vibrant and growing city with a rich industrial history, offering diverse cultural experiences and a strong commitment to environmental sustainability.
• With its convenient location near Moscow, Elektrostal provides a picturesque landscape, vibrant nightlife, and a range of recreational activities, making it an ideal destination for residents and visitors alike.

Known as the “Motor City of Russia.”

Elektrostal, a city located in the Moscow Oblast region of Russia, earned the nickname “Motor City” due to its significant involvement in the automotive industry.

Home to the Elektrostal Metallurgical Plant.

Elektrostal is renowned for its metallurgical plant, which has been producing high-quality steel and alloys since its establishment in 1916.

Boasts a rich industrial heritage.

Elektrostal has a long history of industrial development, contributing to the growth and progress of the region.

Founded in 1916.

The city of Elektrostal was founded in 1916 as a result of the construction of the Elektrostal Metallurgical Plant.

Located approximately 50 kilometers east of Moscow.

Elektrostal is situated in close proximity to the Russian capital, making it easily accessible for both residents and visitors.

Known for its vibrant cultural scene.

Elektrostal is home to several cultural institutions, including museums, theaters, and art galleries that showcase the city’s rich artistic heritage.

A popular destination for nature lovers.

Surrounded by picturesque landscapes and forests, Elektrostal offers ample opportunities for outdoor activities such as hiking, camping, and birdwatching.

Hosts the annual Elektrostal City Day celebrations.

Every year, Elektrostal organizes festive events and activities to celebrate its founding, bringing together residents and visitors in a spirit of unity and joy.

Has a population of approximately 160,000 people.

Elektrostal is home to a diverse and vibrant community of around 160,000 residents, contributing to its dynamic atmosphere.

Boasts excellent education facilities.

The city is known for its well-established educational institutions, providing quality education to students of all ages.

A center for scientific research and innovation.

Elektrostal serves as an important hub for scientific research, particularly in the fields of metallurgy, materials science, and engineering.

Surrounded by picturesque lakes.

The city is blessed with numerous beautiful lakes, offering scenic views and recreational opportunities for locals and visitors alike.

Well-connected transportation system.

Elektrostal benefits from an efficient transportation network, including highways, railways, and public transportation options, ensuring convenient travel within and beyond the city.

Famous for its traditional Russian cuisine.

Food enthusiasts can indulge in authentic Russian dishes at numerous restaurants and cafes scattered throughout Elektrostal.

Home to notable architectural landmarks.

Elektrostal boasts impressive architecture, including the Church of the Transfiguration of the Lord and the Elektrostal Palace of Culture.

Offers a wide range of recreational facilities.

Residents and visitors can enjoy various recreational activities, such as sports complexes, swimming pools, and fitness centers, enhancing the overall quality of life.

Provides a high standard of healthcare.

Elektrostal is equipped with modern medical facilities, ensuring residents have access to quality healthcare services.

Home to the Elektrostal History Museum.

The Elektrostal History Museum showcases the city’s fascinating past through exhibitions and displays.

A hub for sports enthusiasts.

Elektrostal is passionate about sports, with numerous stadiums, arenas, and sports clubs offering opportunities for athletes and spectators.

Celebrates diverse cultural festivals.

Throughout the year, Elektrostal hosts a variety of cultural festivals, celebrating different ethnicities, traditions, and art forms.

Electric power played a significant role in its early development.

Elektrostal owes its name and initial growth to the establishment of electric power stations and the utilization of electricity in the industrial sector.

Boasts a thriving economy.

The city’s strong industrial base, coupled with its strategic location near Moscow, has contributed to Elektrostal’s prosperous economic status.

Houses the Elektrostal Drama Theater.

The Elektrostal Drama Theater is a cultural centerpiece, attracting theater enthusiasts from far and wide.

Popular destination for winter sports.

Elektrostal’s proximity to ski resorts and winter sport facilities makes it a favorite destination for skiing, snowboarding, and other winter activities.

Promotes environmental sustainability.

Elektrostal prioritizes environmental protection and sustainability, implementing initiatives to reduce pollution and preserve natural resources.

Home to renowned educational institutions.

Elektrostal is known for its prestigious schools and universities, offering a wide range of academic programs to students.

Committed to cultural preservation.

The city values its cultural heritage and takes active steps to preserve and promote traditional customs, crafts, and arts.

Hosts an annual International Film Festival.

The Elektrostal International Film Festival attracts filmmakers and cinema enthusiasts from around the world, showcasing a diverse range of films.

Encourages entrepreneurship and innovation.

Elektrostal supports aspiring entrepreneurs and fosters a culture of innovation, providing opportunities for startups and business development.

Offers a range of housing options.

Elektrostal provides diverse housing options, including apartments, houses, and residential complexes, catering to different lifestyles and budgets.

Home to notable sports teams.

Elektrostal is proud of its sports legacy, with several successful sports teams competing at regional and national levels.

Boasts a vibrant nightlife scene.

Residents and visitors can enjoy a lively nightlife in Elektrostal, with numerous bars, clubs, and entertainment venues.

Promotes cultural exchange and international relations.

Elektrostal actively engages in international partnerships, cultural exchanges, and diplomatic collaborations to foster global connections.

Surrounded by beautiful nature reserves.

Nearby nature reserves, such as the Barybino Forest and Luchinskoye Lake, offer opportunities for nature enthusiasts to explore and appreciate the region’s biodiversity.

Commemorates historical events.

The city pays tribute to significant historical events through memorials, monuments, and exhibitions, ensuring the preservation of collective memory.

Promotes sports and youth development.

Elektrostal invests in sports infrastructure and programs to encourage youth participation, health, and physical fitness.

Hosts annual cultural and artistic festivals.

Throughout the year, Elektrostal celebrates its cultural diversity through festivals dedicated to music, dance, art, and theater.

Provides a picturesque landscape for photography enthusiasts.

The city’s scenic beauty, architectural landmarks, and natural surroundings make it a paradise for photographers.

Connects to Moscow via a direct train line.

The convenient train connection between Elektrostal and Moscow makes commuting between the two cities effortless.

A city with a bright future.

Elektrostal continues to grow and develop, aiming to become a model city in terms of infrastructure, sustainability, and quality of life for its residents.

In conclusion, Elektrostal is a fascinating city with a rich history and a vibrant present. From its origins as a center of steel production to its modern-day status as a hub for education and industry, Elektrostal has plenty to offer both residents and visitors. With its beautiful parks, cultural attractions, and proximity to Moscow, there is no shortage of things to see and do in this dynamic city. Whether you’re interested in exploring its historical landmarks, enjoying outdoor activities, or immersing yourself in the local culture, Elektrostal has something for everyone. So, next time you find yourself in the Moscow region, don’t miss the opportunity to discover the hidden gems of Elektrostal.

Q: What is the population of Elektrostal?

A: As of the latest data, the population of Elektrostal is approximately XXXX.

Q: How far is Elektrostal from Moscow?

A: Elektrostal is located approximately XX kilometers away from Moscow.

Q: Are there any famous landmarks in Elektrostal?

A: Yes, Elektrostal is home to several notable landmarks, including XXXX and XXXX.

Q: What industries are prominent in Elektrostal?

A: Elektrostal is known for its steel production industry and is also a center for engineering and manufacturing.

Q: Are there any universities or educational institutions in Elektrostal?

A: Yes, Elektrostal is home to XXXX University and several other educational institutions.

Q: What are some popular outdoor activities in Elektrostal?

A: Elektrostal offers several outdoor activities, such as hiking, cycling, and picnicking in its beautiful parks.

Q: Is Elektrostal well-connected in terms of transportation?

A: Yes, Elektrostal has good transportation links, including trains and buses, making it easily accessible from nearby cities.

Q: Are there any annual events or festivals in Elektrostal?

A: Yes, Elektrostal hosts various events and festivals throughout the year, including XXXX and XXXX.

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Visual culture and the Moscow Metro

James Andrews first rode the Moscow Metro in the 1980s as an undergraduate student studying in the former Soviet Union.

Now after 35 years, the metro is taking him on a new journey: documenting how its iconic public spaces reveal the story of Moscow itself as the city evolved under Joseph Stalin and his Soviet and post-Soviet successors.

This May, Andrews, professor of history, gave a public lecture on his new research project at the Kennan Institute in Washington, D.C. The Kennan Institute is part of the Woodrow Wilson Center, where Andrews was a former senior resident fellow.

The talk, which has been made available on YouTube, was so well-received that Andrews immediately received an additional invitation to present at the Jordan Center for the Advanced Study of Russia at New York University.

What makes the Moscow Metro a fascinating subject for a historian? More people ride the Moscow Metro each day than the New York City Subway and London Tube combined, yet its history is relatively unknown, Andrews said.

“Everyone has a story about the metro, but there has never been a book in English about its history,” Andrews said. “Many of my generation spent an endless amount of time on the metro. Before people had cell phones, you would always say, ‘Well, we’ll meet on the platform at this station.’ Everyone spent time traveling through this cavernous system. It’s a labyrinth really, but at the same time people don’t know much about its history in detail.”

Andrews’ previous books focus on the history of Russian science, technology and the Soviet space program. His new book project on the metro is another opportunity to study iconic Soviet technology, as well as visual culture.

The original metro stations, built with deep shaft tunneling methods beginning in 1932, had airy open ceilings with gorgeous bas-relief architecture—a canvas that Stalin used to create a public art monument to socialism.

“Socialist countries had a tendency to produce technologies that they could adorn with stories,” Andrews said. “Their metro was started in the 1930s under Stalin, and they invested a lot of money in it. It was important for two reasons: there was a utilitarian nature. The crowds were incredible in Moscow. They needed better public transportation. People had been flooding in from the countryside during collectivization. The other thing was to come up with a monument to socialism. That’s why they hired all these architects to decorate, and they decorated each station thematically.”

In the years after Stalin’s death, Nikita Khrushchev issued an edict rejecting the metro’s flamboyant architectural style in favor of a pre-fabricated, practical style, Andrews said. At the same time all over the city, de-Stalinization was happening, and street signs, busts of Stalin and station names were changed or removed.

“The irony is Stalin funded it,” Andrews said. “It’s a Stalin-era display technology project, but by the Khrushchev era they were erasing Stalin’s name from it.”

Andrews has had unlimited access to Moscow’s architectural archives, including many original photographic negatives, and will return to Russia next summer to research political archives.

“The Bolsheviks liked to document everything, but I was shocked at how many photographs they had taken of all these projects, documenting every stage and how well they were preserved,” he said.

Throughout his research, he has uncovered more stories hidden within familiar metro spaces.

One Russian architectural archivist told Andrews about being born in the metro in 1942, during a time when its underground stations housed makeshift hospitals, military meetings and even cultural events such as film nights.

Public spaces bear new stories over time, and Andrews is closely following the story told by newly constructed metro stations. New stations are bringing back marble-laden aesthetics and cultural themes that highlight famous Russian figures like chemist Dmitri Mendeleev or writer Fyodor Dostoyevsky, he said.

“I think the story tells us now that during Putin’s era you see a resurgence of Russian nationalism and Russian themes,” he said. “Not every station can be imploded into this reductive narrative, but it points again to how the narrative of the metro stations changes as the politics of Russian change to some extent and the city itself.”

And it shows how the Moscow Metro has a seemingly endless amount of track for a historian to travel.

“What I love about the project is there is a political history to it, a technological history, a social history, an engineering element, and an artistic element,” Andrews said. “It’s a multi-disciplinary study, which is both fascinating to me and challenging.”

Published: June 17, 2016