cultural tourism resources

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

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.

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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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Cutting Edge | Bringing cultural tourism back in the game

The growth of cultural tourism

People have long traveled to discover and visit places of historical significance or spiritual meaning, to experience different cultures, as well as to learn about, exchange and consume a range of cultural goods and services. Cultural tourism as a concept gained traction during the 1990s when certain sub-sectors emerged, including heritage tourism, arts tourism, gastronomic tourism, film tourism and creative tourism. This took place amidst the rising tide of globalization and technological advances that spurred greater mobility through cheaper air travel, increased accessibility to diverse locations and cultural assets, media proliferation, and the rise of independent travel. Around this time, tourism policy was also undergoing a shift that was marked by several trends. These included a sharper focus on regional development, environmental issues, public-private partnerships, industry self-regulation and a reduction in direct government involvement in the supply of tourism infrastructure. As more cultural tourists have sought to explore the cultures of the destinations, greater emphasis has been placed on the importance of intercultural dialogue to promote understanding and tolerance. Likewise, in the face of globalization, countries have looked for ways to strengthen local identity, and cultural tourism has also been engaged as a strategy to achieve this purpose. Being essentially place-based, cultural tourism is driven by an interest to experience and engage with culture first-hand. It is backed by a desire to discover, learn about and enjoy the tangible and intangible cultural assets offered in a tourism destination, ranging from heritage, performing arts, handicrafts, rituals and gastronomy, among others.

Cultural tourism is a leading priority for the majority of countries around the world -featuring in the tourism policy of 90% of countries, based on a 2016 UNWTO global survey . Most countries include tangible and intangible heritage in their definition of cultural tourism, and over 80% include contemporary culture - film, performing arts, design, fashion and new media, among others. There is, however, greater need for stronger localisation in policies, which is rooted in promoting and enhancing local cultural assets, such as heritage, food, festivals and crafts. In France, for instance, the Loire Valley between Sully-sur-Loire and Chalonnes , a UNESCO World Heritage site, has established a multidisciplinary team that defends the cultural values of the site, and advises the authorities responsible for the territorial development of the 300 km of the Valley.

While cultural tourism features prominently in policies for economic growth, it has diverse benefits that cut across the development spectrum – economic, social and environmental. Cultural tourism expands businesses and job opportunities by drawing on cultural resources as a competitive advantage in tourism markets. Cultural tourism is increasingly engaged as a strategy for countries and regions to safeguard traditional cultures, attract talent, develop new cultural resources and products, create creative clusters, and boost the cultural and creative industries. Cultural tourism, particularly through museums, can support education about culture. Tourist interest can also help ensure the transmission of intangible cultural heritage practices to younger generations.

StockSnap, Pixabay

Cultural tourism can help encourage appreciation of and pride in local heritage, thus sparking greater interest and investment in its safeguarding. Tourism can also drive inclusive community development to foster resiliency, inclusivity, and empowerment. It promotes territorial cohesion and socioeconomic inclusion for the most vulnerable populations, for example, generating economic livelihoods for women in rural areas. A strengthened awareness of conservation methods and local and indigenous knowledge contributes to long-term environmental sustainability. Similarly, the funds generated by tourism can be instrumental to ensuring ongoing conservation activities for built and natural heritage.

The growth of cultural tourism has reshaped the global urban landscape over the past decades, strongly impacting spatial planning around the world. In many countries, cultural tourism has been leveraged to drive urban regeneration or city branding strategies, from large-sized metropolises in Asia or the Arab States building on cultural landmarks and contemporary architecture to drive tourism expansion, to small and middle-sized urban settlements enhancing their cultural assets to stimulate local development. At the national level, cultural tourism has also impacted planning decisions, encouraging coastal development in some areas, while reviving inland settlements in others. This global trend has massively driven urban infrastructure development through both public and private investments, impacting notably transportation, the restoration of historic buildings and areas, as well as the rehabilitation of public spaces. The expansion of cultural city networks, including the UNESCO World Heritage Cities programme and the UNESCO Creative Cities Network, also echoes this momentum. Likewise, the expansion of cultural routes, bringing together several cities or human settlements around cultural commonalities to stimulate tourism, has also generated new solidarities, while influencing economic and cultural exchanges between cities across countries and regions.

Despite tourism’s clear potential as a driver for positive change, challenges exist, including navigating the space between economic gain and cultural integrity. Tourism’s crucial role in enhancing inclusive community development can often remain at the margins of policy planning and implementation. Rapid and unplanned tourism growth can trigger a range of negative impacts, including pressure on local communities and infrastructure from overtourism during peak periods, gentrification of urban areas, waste problems and global greenhouse gas emissions. High visitor numbers to heritage sites can override their natural carrying capacity, thus undermining conservation efforts and affecting both the integrity and authenticity of heritage sites. Over-commercialization and folklorization of intangible heritage practices – including taking these practices out of context for tourism purposes - can risk inadvertently changing the practice over time. Large commercial interests can monopolize the benefits of tourism, preventing these benefits from reaching local communities. An excessive dependency on tourism can also create localized monoeconomies at the expense of diversification and alternative economic models. When mismanaged, tourism can, therefore, have negative effects on the quality of life and well-being of local residents, as well as the natural environment.

These fault lines became more apparent when the pandemic hit – revealing the extent of over-dependence on tourism and limited structures for crisis prevention and response. While the current situation facing tourism is unpredictable, making it difficult to plan, further crises are likely in the years to come. Therefore, the pandemic presents the opportunity to experiment with new models to shape more effective and sustainable alternatives for the future.

hxdyl, Getty Images Pro

Harnessing cultural tourism in policy frameworks

From a policy perspective, countries around the world have employed cultural tourism as a vehicle to achieve a range of strategic aims. In Panama, cultural tourism is a key component of the country’s recently adopted Master Plan for Sustainable Tourism 2020-2025 that seeks to position Panama as a worldwide benchmark for sustainable tourism through the development of unique heritage routes. Cultural tourism can be leveraged for cultural diplomacy as a form of ‘soft power’ to build dialogue between peoples and bolster foreign policy. For instance, enhancing regional cooperation between 16 countries has been at the heart of UNESCO’s transnational Silk Roads Programme, which reflects the importance of culture and heritage as part of foreign policy. UNESCO has also partnered with the EU and National Geographic to develop World Heritage Journeys, a unique travel platform that deepens the tourism experience through four selected cultural routes covering 34 World Heritage sites. Also in Europe, cultural tourism has been stimulated through the development of cultural routes linked to food and wine , as well as actions to protect local food products, such as through labels and certificates of origin. The Emilia-Romagna region in Italy, for example, produces more origin-protected food and drink than any other region in the country. One of the regions' cities Parma - a UNESCO Creative City (Gastronomy) and designated Italian Capital for Culture (2020-2021) - plans to resume its cultural activities to boost tourism once restrictions have eased. Meanwhile, Spain has recently taken steps to revive its tourism industry through its cities inscribed on the UNESCO World Heritage List . In this regard, the Group of the 15 Spanish World Heritage Cities met recently to discuss the country's Modernization and Competitiveness Plan for the tourism sector. Cultural tourism has progressively featured more prominently in the policies of Central Asian and Eastern European countries, which have sought to revive intangible heritage and boost the creative economy as part of strategies to strengthen national cultural identity and open up to the international community. In Africa, cultural tourism is a growing market that is driven by its cultural heritage, crafts, and national and regional cultural events. Major festivals such as Dak-Art in Senegal, Bamako Encounters Photography Biennial in Mali, Sauti za Busara in United Republic of Tanzania, Pan-African Festival of Cinema and Television of Ouagadougou in Burkina Faso, and Chale Wote Street Art Festival in Ghana are just a handful of vibrant and popular platforms in the continent that share cultural expressions, generate income for local economies and strengthen Pan-African identity.

Countries are increasingly seeking alliances with international bodies to advance tourism. National and local governments are working together with international entities, such as UNESCO, UNWTO and OECD in the area of sustainable tourism. In 2012, UNESCO’s Sustainable Tourism Programme was adopted, thereby breaking new ground to promote tourism a driver for the conservation of cultural and natural heritage and a vehicle for sustainable development. In 2020, UNESCO formed the Task Force on Culture and Resilient Tourism with the Advisory Bodies to the 1972 World Heritage Convention (ICOMOS, IUCN, ICCROM) as a global dialogue platform on key issues relating to tourism and heritage management during and beyond the crisis. UNESCO has also collaborated with the UNWTO on a set of recommendations for inclusive cultural tourism recovery from the COVID-19 crisis. In response to the crisis, the Namibian Government, UNESCO and UNDP are working together on a tourism impact study and development strategy to restore the tourism sector, especially cultural tourism.

UNESCO has scaled up work in cultural tourism in its work at field level, supporting its Member States and strengthening regional initiatives. In the Africa region, enhancing cultural tourism has been reported as a policy priority across the region. For example, UNESCO has supported the Government of Ghana in its initiative Beyond the Return, in particular in relation to its section on cultural tourism. In the Pacific, a Common Country Assessment (CCA) has been carried out for 14 SIDS countries, with joint interagency programmes to be created building on the results. Across the Arab States, trends in tourism after COVID, decent jobs and cultural and creative industries are emerging as entry points for different projects throughout the region. In Europe, UNESCO has continued its interdisciplinary work on visitor centres in UNESCO designated sites, building on a series of workshops to strengthen tourism sustainability, community engagement and education through heritage interpretation. In the Latin America and the Caribbean region, UNESCO is working closely with Member States, regional bodies and the UN system building on the momentum on the International Year of Creative Economy for Sustainable Development, including through Creative Cities, and the sustainable recovery of the orange economy, among others.

BS1920, Pixabay

In the context of the 2030 Agenda for Sustainable Development, tourism has the potential to contribute, directly or indirectly, to all of the 17 Sustainable Development Goals (SDGs). Tourism is directly mentioned in SDGs 8, 12 and 14 on inclusive and sustainable economic growth, sustainable consumption and production (SCP) and the sustainable use of oceans and marine resources, respectively. This is mirrored in the VNRs put forward by countries, who report on cultural tourism notably through the revitalization of urban and rural areas through heritage regeneration, festivals and events, infrastructure development, and the promotion of local cultural products. The VNRs also demonstrate a trend towards underlining more sustainable approaches to tourism that factor in the environmental dimensions of tourism development.

Several countries have harnessed cultural tourism as a policy panacea for economic growth and diversification. As part of Qatar's National Vision 2030 strategy, for example, the country has embarked on a development plan that includes cultural tourism through strengthening its culture-based industries, including calligraphy, handicrafts and living heritage practices. In the city of Abu Dhabi in the UAE, cultural tourism is part of the city’s plan for economic diversification and to steer its domestic agenda away from a hydrocarbon-based economy. The Plan Abu Dhabi 2030 includes the creation of a US$27 billion cultural district on Saadiyat Island, comprising a cluster of world-renowned museums, and cultural and educational institutions designed by international star architects to attract tourism and talent to the city. Since 2016, Saudi Arabia has taken decisive action to invest in tourism, culture and entertainment to reduce the country’s oil dependency, while also positioning the country as a global cultural destination. Under the 2020 G20 Saudi Presidency, the UNWTO and the G20 Tourism Working Group launched the AlUla Framework for Inclusive Community Development through Tourism to better support inclusive community development and the SDGs. The crucial role of tourism as a means of sustainable socio-economic development was also underlined in the final communique of the G20 Tourism Ministers in October last.

Siem Reap, Cambodia by nbriam

On the other hand, cultural tourism can catalyse developments in cultural policy. This was the case in the annual Festival of Pacific Arts (FestPac) that triggered a series of positive policy developments following its 2012 edition that sought to strengthen social cohesion and community pride in the context of a prolonged period of social unrest. The following year, Solomon Islands adopted its first national culture policy with a focus on cultural industries and cultural tourism, which resulted in a significant increase in cultural events being organized throughout the country.

When the pandemic hit, the geographic context of some countries meant that many of them were able to rapidly close borders and prioritize domestic tourism. This has been the case for countries such as Australia and New Zealand. However, the restrictions have been coupled by significant economic cost for many Small Island Developing States (SIDS) whose economies rely on tourism and commodity exports. Asia Pacific SIDS, for example, are some of the world’s leading tourist destinations. As reported in the Tracker last June , in 2018, tourism earnings exceeded 50% of GDP in Cook Islands, Maldives and Palau and equaled approximately 30% of GDP in Samoa and Vanuatu. When the pandemic hit in 2020, the drop in British tourists to Spain’s Balearic Islands resulted in a 93% downturn in visitor numbers , forcing many local businesses to close. According to the World Economic Outlook released last October, the economies of tourism-dependent Caribbean nations are estimated to drop by 12%, while Pacific Island nations, such as Fiji, could see their GDP shrink by a staggering 21% in 2020.

Socially-responsible travel and ecotourism have become more of a priority for tourists and the places they visit. Tourists are increasingly aware of their carbon footprint, energy consumption and the use of renewable resources. This trend has been emphasized as a result of the pandemic. According to recent survey by Booking.com, travelers are becoming more conscientious of how and why they travel, with over two-thirds (69%) expecting the travel industry to offer more sustainable travel options . Following the closures of beaches in Thailand, for example, the country is identifying ways to put certain management policies in place that can strike a better balance with environmental sustainability. The  UNESCO Sustainable Tourism Pledge  launched in partnership with Expedia Group focuses on promoting sustainable tourism and heritage conservation. The pledge takes an industry-first approach to environmental and cultural protection, requiring businesses to introduce firm measures to eliminate single-use plastics and promote local culture. The initiative is expanding globally in 2021 as a new, more environmentally and socially conscious global travel market emerges from the COVID-19 context.

Senja, Norway by Jarmo Piironen

Climate change places a heavy toll on heritage sites, which exacerbates their vulnerability to other risks, including uncontrolled tourism. This was underlined in the publication “World Heritage and Tourism in a Changing Climate” , published by UNESCO, UNEP and the Union of Concerned Scientists, which analyses the consequences of climate change on heritage, and its potential to permanently change or destroy a site’s integrity and authenticity. Extreme weather events, safety issues and water shortages, among others, can thwart access to sites and hurt the economic livelihoods of tourism service providers and local communities. Rising sea levels will increasingly impact coastal tourism, the largest component of the sector globally. In particular, coral reefs - contributing US$11.5 billion to the global tourism economy – are at major risk from climate change.

Marine sites are often tourist magnets where hundreds of thousands of annual visitors enjoy these sites on yachts and cruise ships. In the case of UNESCO World Heritage marine sites – which fall under the responsibility of governments - there is often a reliance on alternative financing mechanisms, such as grants and donations, and partnerships with non-governmental organizations and/or the private sector, among others. The West Norwegian Fjords – Geirangerfjord and Nærøyfjord in Norway derives a substantial portion of its management budget from sources other than government revenues. The site has benefited from a partnership with the private sector company Green Dream 2020, which only allows the “greenest” operators to access the site, and a percentage of the profits from tours is reinjected into the long-term conservation of the site. In iSimangaliso in South Africa, a national law that established the World Heritage site’s management system was accompanied by the obligation to combine the property’s conservation with sustainable economic development activities that created jobs for local people. iSimangaliso Wetland Park supports 12,000 jobs and hosts an environmental education programme with 150 schools. At the Great Barrier Reef in Australia, where 91% of all local jobs are linked to the Reef, the Coral Nurture Programme undertakes conservation through planting coral, and promotes local stewardship and adaptation involving the whole community and local tourist businesses.

Grafner, Getty Images

With borders continuing to be closed and changeable regulations, many countries have placed a focus on domestic tourism and markets to stimulate economic recovery. According to the UNWTO, domestic tourism is expected to pick up faster than international travel, making it a viable springboard for economic and social recovery from the pandemic. In doing so it will serve to better connect populations to their heritage and offer new avenues for cultural access and participation. In China, for example, the demand for domestic travel is already approaching pre-pandemic levels. In Russian Federation, the Government has backed a programme to promote domestic tourism and support small and medium-sized enterprises, as well as a cashback scheme for domestic trips, which entitles tourists to a 20% refund for their trip. While supporting domestic tourism activities, the Government of Palau is injecting funds into local businesses working in reforestation and fishing in the spirit of building new sustainable models. The measures put in place today will shape the tourism to come, therefore the pandemic presents an opportunity to build back a stronger, more agile and sustainable tourism sector.

Local solutions at the helm of cultural tourism

While state-led policy interventions in cultural tourism remain crucial, local authorities are increasingly vital stakeholders in the design and implementation of cultural tourism policies. Being close to the people, local actors are aware of the needs of local populations, and can respond quickly and provide innovative ideas and avenues for policy experimentation. As cultural tourism is strongly rooted to place, cooperating with local decision-makers and stakeholders can bring added value to advancing mutual objectives. Meanwhile, the current health crisis has severely shaken cities that are struggling due to diminished State support, and whose economic basis strongly relies on tourism. Local authorities have been compelled to innovate to support local economies and seek viable alternatives, thus reaffirming their instrumental role in cultural policy-making.

Venice, Oliver Dralam/Getty Images

Cultural tourism can be a powerful catalyst for urban regeneration and renaissance, although tourism pressure can also trigger complex processes of gentrification. Cultural heritage safeguarding enhances the social value of a place by boosting the well-being of individuals and communities, reducing social inequalities and nurturing social inclusion. Over the past decade, the Malaysian city of George Town – a World Heritage site – has implemented several innovative projects to foster tourism and attract the population back to the city centre by engaging the city’s cultural assets in urban revitalization strategies. Part of the income generated from tourism revenues contributes to conserving and revitalizing the built environment, as well as supporting housing for local populations, including lower-income communities. In the city of Bordeaux in France , the city has worked with the public-private company InCité to introduce a system of public subsidies and tax exemption to encourage the restoration of privately-owned historical buildings, which has generated other rehabilitation works in the historic centre. The city of Kyoto in Japan targets a long-term vision of sustainability by enabling local households to play an active role in safeguarding heritage by incrementally updating their own houses, thus making the city more resilient to gentrification. The city also actively supports the promotion of its intangible heritage, such as tea ceremonies, flower arrangement, seasonal festivals, Noh theatre and dance. This year marks the ten-year anniversary of the adoption of the UNESCO Recommendation on the Historic Urban Landscape (HUL). The results of a UNESCO survey carried out among Member States in 2019 on its implementation show that 89% of respondents have innovative services or tourism activities in place for historic areas, which demonstrates a precedence for countries to capitalize on urban cultural heritage for tourism purposes.

Cultural tourism has been harnessed to address rural-urban migration and to strengthen rural and peripheral sub-regions. The city of Suzhou – a World Heritage property and UNESCO Creative City (Crafts and Folk Art) - has leveraged its silk embroidery industry to strengthen the local rural economy through job creation in the villages of Wujiang, located in a district of Suzhou. Tourists can visit the ateliers and local museums to learn about the textile production. In northern Viet Nam, the cultural heritage of the Quan họ Bắc Ninh folk songs, part of the Representative List of the Intangible Cultural Heritage of Humanity, is firmly rooted in place and underlined in its safeguarding strategies in 49 ancient villages, which have further inspired the establishment of some hundreds of new Quan họ villages in the Bắc Ninh and Bắc Giang provinces.

Many top destination cities are known for their iconic cultural landmarks. Others create a cultural drawcard to attract visitors to the city. France, the world's number one tourist destination , attracts 89 million visitors every year who travel to experience its cultural assets, including its extensive cultural landmarks. In the context of industrial decline, several national and local governments have looked to diversify infrastructure by harnessing culture as a new economic engine. The Guggenheim museum in Bilbao in Spain is one such example, where economic diversification and unemployment was addressed through building a modern art museum as a magnet for tourism. The museum attracts an average of 900,000 visitors annually, which has strengthened the local economy of the city. A similar approach is the Museum of Old and New Art (MONA), established in 2011 by a private entrepreneur in the city of Hobart in Australia, which has catalysed a massive increase of visitors to the city. With events such as MONA FOMA in summer and Dark MOFO in winter, the museum staggers visitor volumes to the small city to avoid placing considerable strain on the local environment and communities. Within the tourism sector, cultural tourism is also well-positioned to offer a tailored approach to tourism products, services and experiences. Such models have also supported the wider ecosystems around the iconic cultural landmarks, as part of “destination tourism” strategies.

Destination tourism encompasses festivals, live performance, film and festive celebrations as drawcards for international tourists and an economic driver of the local economy. Over the past three decades, the number of art biennials has proliferated. Today there are more than 300 biennials around the world , whose genesis can be based both on artistic ambitions and place-making strategies to revive specific destinations. As a result of COVID-19, many major biennials and arts festivals have been cancelled or postponed. Both the Venice Architecture and Art Biennales have been postponed to 2022 due to COVID-19. The Berlin International Film Festival will hold its 2021 edition online and in selected cinemas. Film-induced tourism - motivated by a combination of media expansion, entertainment industry growth and international travel - has also been used for strategic regional development, infrastructure development and job creation, as well to market destinations to tourists. China's highest-grossing film of 2012 “Lost in Thailand”, for example, resulted in a tourist boom to Chiang Mai in Thailand, with daily flights to 17 Chinese cities to accommodate the daily influx of thousands of tourists who came to visit the film’s location. Since March 2020, tourism-related industries in New York City in the United States have gone into freefall, with revenue from the performing arts alone plunging by almost 70%. As the city is reliant on its tourism sector, the collapse of tourism explains why New York’s economy has been harder hit than other major cities in the country. Meanwhile in South Africa, when the first ever digital iteration of the country’s annual National Arts Festival took place last June, it also meant an estimated US$25.7 million (R377 million) and US$6.4 million (R94 million) loss to the Eastern Cape province and city of Makhanda (based on 2018 figures), in addition to the US$1.4 million (R20 million) that reaches the pockets of the artists and supporting industries. The United Kingdom's largest music festival, Glastonbury, held annually in Somerset, recently cancelled for the second year running due to the pandemic, which will have ripple effects on local businesses and the charities that receive funding from ticket sales.

Similarly, cancellations of carnivals from Santa Cruz de Tenerife in the Canary Islands to Binche in Belgium has spurred massive losses for local tourism providers, hotels, restaurants, costume-makers and dance schools. In the case of the Rio de Janeiro Carnival in Brazil, for instance, the city has amassed significant losses for the unstaged event, which in 2019 attracted 1.5 million tourists from Brazil and abroad and generated revenues in the range of US$700 million (BRL 3.78 billion). The knock-on effect on the wider economy due to supply chains often points to an estimated total loss that is far greater than those experienced solely by the cultural tourism sector.

Guggenheim Museum Bilbao, Spain by erlucho

Every year, roughly 600 million national and international religious and spiritual trips take place , generating US$18 billion in tourism revenue. Pilgrimages, a fundamental precursor to modern tourism, motivate tourists solely through religious practices. Religious tourism is particularly popular in France, India, Italy and Saudi Arabia. For instance, the Hindu pilgrimage and festival Kumbh Mela in India, inscribed in 2017 on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity, attracts over 120 million pilgrims of all castes, creeds and genders. The festival is held in the cities of Allahabad, Haridwar, Ujjain and Nasik every four years by rotation. Sacred and ceremonial sites have unique significance for peoples and communities, and are often integral to journeys that promote spiritual well-being. Mongolia, for example, has around 800 sacred sites including 10 mountains protected by Presidential Decree, and lakes and ovoos, many of which have their own sutras. In the case of Mongolia, the environmental stewardship and rituals and practices connected with these sacred places also intersects with longstanding political traditions and State leadership.

Cities with a vibrant cultural scene and assets are not only more likely to attract tourists, but also the skilled talent who can advance the city’s long-term prospects. Several cities are also focusing on developing their night-time economies through the promotion of theatre, concerts, festivals, light shows and use of public spaces that increasingly making use of audio-visual technologies. Situated on Chile’s Pacific coast, the city of Valparaíso, a World Heritage site, is taking steps to transform the city’s night scene into a safe and inclusive tourist destination through revitalizing public spaces. While the economies of many cities have been weakened during the pandemic, the night-time economy of the city of Chengdu in China, a UNESCO Creative City for Gastronomy, has flourished and has made a significant contribution to generating revenue for the city, accounting for 45% of citizen’s daily expenditure.

The pandemic has generated the public’s re-appropriation of the urban space. People have sought open-air sites and experiences in nature. In many countries that are experiencing lockdowns, public spaces, including parks and city squares, have proven essential for socialization and strengthening resilience. People have also reconnected with the heritage assets in their urban environments. Local governments, organizations and civil society have introduced innovative ways to connect people and encourage creative expression. Cork City Council Arts Office and Creative Ireland, for example, jointly supported the art initiative Ardú- Irish for ‘Rise’ – involving seven renowned Irish street artists who produced art in the streets and alleyways of Cork.

Chengdu Town Square, China by Lukas Bischoff

Environment-based solutions support integrated approaches to deliver across the urban-rural continuum, and enhance visitor experiences by drawing on the existing features of a city. In the city of Bamberg, a World Heritage site in Germany, gardens are a key asset of the city and contribute to its livability and the well-being of its local population and visitors. More than 12,000 tourists enjoy this tangible testimony to the local history and environment on an annual basis. Eighteen agricultural businesses produce local vegetables, herbs, flowers and shrubs, and farm the inner-city gardens and surrounding agricultural fields. The museum also organizes gastronomic events and cooking classes to promote local products and recipes.

In rural areas, crafts can support strategies for cultural and community-based tourism. This is particularly the case in Asia, where craft industries are often found in rural environments and can be an engine for generating employment and curbing rural-urban migration. Craft villages have been established in Viet Nam since the 11th century, constituting an integral part of the cultural resources of the country, and whose tourism profits are often re-invested into the sustainability of the villages. The craft tradition is not affected by heavy tourist seasons and tourists can visit all year round.

Indigenous tourism can help promote and maintain indigenous arts, handicrafts, and culture, including indigenous culture and traditions, which are often major attractions for visitors. Through tourism, indigenous values and food systems can also promote a less carbon-intensive industry. During COVID-19, the Government of Canada has given a series of grants to indigenous tourism businesses to help maintain livelihoods. UNESCO’s Intergovernmental Committee for the Protection and Promotion of the Diversity of Cultural Expressions announced that it will grant, through the International Fund for Creative Diversity (IFCD), US$70,000 dollars to Mexican indigenous cultural enterprises, which will support indigenous enterprises through training programmes, seed funding, a pre-incubation process and the creation of an e-commerce website.

Tourism has boosted community pride in living heritage and the active involvement of local communities in its safeguarding. Local authorities, cultural associations, bearers and practitioners have made efforts to safeguard and promote elements as they have understood that not only can these elements strengthen their cultural identity but that they can also contribute to tourism and economic development. In recent years, there has been a growing interest in the role of intellectual property and in the regulation of heritage. In the field of gastronomy, a lot of work has been done in protecting local food products, including the development of labels and certification of origin. Member States are exploring the possibilities of geographical indication (GI) for cultural products as a way of reducing the risk of heritage exploitation in connection to, for example, crafts, textiles and food products, and favouring its sustainable development.

The pandemic has brought to the forefront the evolving role of museums and their crucial importance to the life of societies in terms of health and well-being, education and the economy. A 2019 report by the World Health Organization (WHO) examined 3,000 studies on the role of the arts in improving health and well-being, which indicated that the arts play a major role in preventing, managing and treating illness. Over the past decade the number of museums has increased by 60%, demonstrating the important role that museums have in national cultural policy. Museums are not static but are rather dynamic spaces of education and dialogue, with the potential to boost public awareness about the value of cultural and natural heritage, and the responsibility to contribute to its safeguarding.

Data presented in UNESCO's report "Museums Around the World in the Face of COVID-19" in May 2020 show that 90% of institutions were forced to close, whereas the situation in September-October 2020 was much more variable depending on their location in the world. Large museums have consistently been the most heavily impacted by the drop in international tourism – notably in Europe and North America. Larger museums, such as Amsterdam’s Rijksmuseum and Vienna’s Kunsthistorisches Museum have reported losses between €100,000 and €600,000 a week. Smaller museums have been relatively stable, as they are not as reliant on international tourism and have maintained a closer connection to local communities. In November, the Network of European Museum Organisations (NEMO) released the results of a survey of 6,000 museums from 48 countries. Of the responding museums, 93% have increased or started online services during the pandemic. Most larger museums (81%) have increased their digital capacities, while only 47% of smaller museums indicated that they did. An overwhelming majority of respondents (92.9%) confirm that the public is safe at their museum. As reported in the Tracker last October, the world’s most visited museum, the Louvre in France (9.3 million visitors annually) witnessed a ten-fold increase in traffic to its website. Yet while digital technologies have provided options for museums to remain operational, not all have the necessary infrastructure, which is the case for many museums in Africa and SIDS.

New technologies have enabled several new innovations that can better support cultural tourism and digital technologies in visitor management, access and site interpretation. Cultural tourists visiting cultural heritage sites, for example, can enjoy educational tools that raise awareness of a site and its history. Determining carrying capacity through algorithms has helped monitor tourist numbers, such as in Hạ Long Bay in Viet Nam. In response to the pandemic, Singapore’s Asian Civilizations Museum is one of many museums that has harnessed digital technologies to provide virtual tours of its collections, thus allowing viewers to learn more about Asian cultures and histories. The pandemic has enhanced the need for technology solutions to better manage tourism flows at destinations and encourage tourism development in alternative areas.

Shaping a post-pandemic vision : regenerative and inclusive cultural tourism

As tourism is inherently dependent on the movement and interaction of people, it has been one of the hardest-hit sectors by the pandemic and may be one of the last to recover. Travel and international border restrictions have led to the massive decline in tourism in 2020, spurring many countries to implement strategies for domestic tourism to keep economies afloat. Many cultural institutions and built and natural heritage sites have established strict systems of physical distancing and hygiene measures, enabling them to open once regulations allow. Once travel restrictions have been lifted, it will enable the recovery of the tourism sector and for the wider economy and community at large.

While the pandemic has dramatically shifted the policy context for cultural tourism, it has also provided the opportunity to experiment with integrated models that can be taken forward in the post-pandemic context. While destinations are adopting a multiplicity of approaches to better position sustainability in their plans for tourism development, there is no one-size-fits-all solution.

A comprehensive, integrated approach to the cultural sector is needed to ensure more sustainable cultural tourism patterns. Efforts aimed at promoting cultural tourism destinations should build on the diversity of cultural sub-sectors, including cultural and heritage sites, museums, but also the creative economy and living heritage, notably local practices, food and crafts production. Beyond cultural landmarks, which act as a hotspot to drive the attractiveness of tourism destinations, and particularly cities, cultural tourism should also encompass other aspects of the cultural value chain as well as more local, community-based cultural expressions. Such an integrated approach is likely to support a more equitable distribution of cultural tourism revenues, also spreading tourism flows over larger areas, thus curbing the negative impacts of over-tourism on renowned cultural sites, including UNESCO World Heritage sites. This comprehensive vision also echoes the growing aspiration of visitors around the world for more inclusive and sustainable tourism practices, engaging with local communities and broadening the understanding of cultural diversity.

As a result of the crisis, the transversal component of cultural tourism has been brought to the fore, demonstrating its cross-cutting nature and alliance with other development areas. Cultural tourism – and tourism more broadly – is highly relevant to the 2030 for Sustainable Development and its 17 SDGs, however, the full potential of cultural tourism for advancing development – economic, social and environmental - remains untapped. This is even though cultural tourism is included in a third of all countries’ VNRs, thus demonstrating its priority for governments. Due the transversal nature of cultural tourism, there is scope to build on these synergies and strengthen cooperation between ministries to advance cooperation for a stronger and more resilient sector. This plays an integral role in ensuring a regenerative and inclusive cultural tourism sector. Similarly, tourism can feature as criteria for certain funding initiatives, or as a decisive component for financing cultural projects, such as in heritage or the cultural and creative industries.

Houses in Amsterdam, adisa, Getty, Images Pro

Several countries have harnessed the crisis to step up actions towards more sustainable models of cultural tourism development by ensuring that recovery planning is aligned with key sustainability principles and the SDGs. Tourism both impacts and is impacted by climate change. There is scant evidence of integration of climate strategies in tourism policies, as well as countries’ efforts to develop solid crisis preparedness and response strategies for the tourism sector. The magnitude and regional variation of climate change in the coming decades will continue to affect cultural tourism, therefore, recovery planning should factor in climate change concerns. Accelerating climate action is of utmost importance for the resilience of the sector.

The key role of local actors in cultural tourism should be supported and developed. States have the opportunity to build on local knowledge, networks and models to forge a stronger and more sustainable cultural tourism sector. This includes streamlining cooperation between different levels of governance in the cultural tourism sector and in concert with civil society and private sector. Particularly during the pandemic, many cities and municipalities have not received adequate State support and have instead introduced measures and initiatives using local resources. In parallel, such actions can spur new opportunities for employment and training that respond to local needs.

Greater diversification in cultural tourism models is needed, backed by a stronger integration of the sector within broader economic and regional planning. An overdependence of the cultural sector on the tourism sector became clear for some countries when the pandemic hit, which saw their economies come to a staggering halt. This has been further weakened by pre-existing gaps in government and industry preparedness and response capacity. The cultural tourism sector is highly fragmented and interdependent, and relies heavily on micro and small enterprises. Developing a more in-depth understanding of tourism value chains can help identify pathways for incremental progress. Similarly, more integrated – and balanced – models can shape a more resilient sector that is less vulnerable to future crises. Several countries are benefiting from such approaches by factoring in a consideration of the environmental and socio-cultural pillars of sustainability, which is supported across all levels of government and in concert with all stakeholders.

abhishek gaurav, Pexels

Inclusion must be at the heart of building back better the cultural tourism sector. Stakeholders at different levels should participate in planning and management, and local communities cannot be excluded from benefitting from the opportunities and economic benefits of cultural tourism. Moreover, they should be supported and empowered to create solutions from the outset, thus forging more sustainable and scalable options in the long-term. Policy-makers need to ensure that cultural tourism development is pursued within a wider context of city and regional strategies in close co-operation with local communities and industry. Businesses are instrumental in adopting eco-responsible practices for transport, accommodation and food. A balance between public/ private investment should also be planned to support an integrated approach post-crisis, which ensures input and support from industry and civil society.

The COVID-19 crisis has highlighted the essential role of museums as an integral component of societies in terms of well-being, health, education and the economy. Digitalization has been a game-changer for many cultural institutions to remain operational to the greatest extent possible. Yet there are significant disparities in terms of infrastructure and resources, which was underscored when the world shifted online. Museums in SIDS have faced particular difficulties with lack of access to digitalization. These imbalances should be considered in post-crisis strategies.

The pandemic presents an occasion to deeply rethink tourism for the future, and what constitutes the markers and benchmarks of “success”. High-quality cultural tourism is increasingly gaining traction in new strategies for recovery and revival, in view of contributing to the long-term health and resilience of the sector and local communities. Similarly, many countries are exploring ways to fast track towards greener, more sustainable tourism development. As such, the pandemic presents an opportunity for a paradigm shift - the transformation of the culture and tourism sectors to become more inclusive and sustainable. Moreover, this includes incorporating tourism approaches that not only avoid damage but have a positive impact on the environment of tourism destinations and local communities. This emphasis on regenerative tourism has a holistic approach that measures tourism beyond its financial return, and shifts the pendulum towards focusing on the concerns of local communities, and the wellbeing of people and planet.

Entabeni Game Reserve in South Africa by SL_Photography

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Environmental and Cultural Tourism Resources: Problems and Implications for their Management

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The present paper aims at presenting and analysing the problems and implications arising from the use and management of environmental and cultural resources in tourist areas — two groups of resources which directly affect the particular demand and supply characteristics in most tourist areas world-wide. Examples of such resources include: monuments, traditional settlements, cultural events, traditionally produced local products, areas of archaeological, cultural or historic interest, areas of special natural beauty, national parks, ecological parks, wetlands, coasts, mountains, areas with a rich or rare flora and fauna.

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Tsartas, P. (2000). Environmental and Cultural Tourism Resources: Problems and Implications for their Management. In: Briassoulis, H., van der Straaten, J. (eds) Tourism and the Environment. Environment & Assessment, vol 6. Springer, Dordrecht. https://doi.org/10.1007/978-94-015-9584-1_12

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Cultural Tourism: Definitions, Types, Advantages & Disadvantages, or Stakeholders of Cultural Tourism

Cultural tourism is a rapidly growing segment within the global travel industry, catering to individuals seeking to immerse themselves in local populations’ customs, traditions, and lifestyles. It combines the elements of leisure with an authentic experience of a destination’s unique historical, architectural, artistic, and culinary aspects. As a result, this form of tourism allows travellers to gain a deeper appreciation and understanding of different societies and their cultural characteristics.

In recent years, the demand for cultural tourism has been on the rise as more people are interested in exploring foreign customs and cultural experiences beyond the typical tourist attractions. This trend fosters cross-cultural connections and mutual understanding and creates positive economic and social impacts on local communities. By preserving and showcasing their traditions, local people have the opportunity to generate income and employment while maintaining a sense of pride in their cultural heritage.

With the increasing focus on sustainability and responsible tourism practices, cultural tourism sets itself apart by emphasizing the importance of engaging with local communities, adhering to ethical standards and minimizing negative impacts on the environment. As such, it presents a viable option for tourists who wish to expand their horizons while also contributing positively to the places they visit.

Table of Contents

Understanding cultural tourism.

Cultural tourism is a significant and growing aspect of the global tourism industry. The United Nations World Tourism Organization (UNWTO ) defines cultural tourism as the movement of people to cultural attractions away from their normal residence, with the intention of gathering new information and experiences that satisfy their cultural needs. It encompasses various activities undertaken by tourists to explore and experience different cultures, customs, and traditions.

One of the key aspects of cultural tourism is the opportunity it provides visitors to learn and engage with local communities, their history, and their way of life. This tourism is more than just visiting heritage sites or attending cultural events; it involves understanding and experiencing how people from different cultures live, express themselves through art, and maintain their traditions.

Cultural tourism fosters mutual understanding and respect between people from different cultural backgrounds. It encourages dialogue and exchange, breaking down social and cultural barriers and contributing to more tolerant societies. This form of tourism is an essential aspect of sustainable tourism development, as it seeks to preserve precious heritage for future generations while supporting economic growth for local communities.

As the tourism industry continues to grow, the demand for unique and authentic experiences increases. Cultural tourism serves to meet this demand by offering visitors the opportunity to immerse themselves in various cultural settings, fostering a deeper understanding of the world and its diverse cultures.

Importance of Cultural Tourism

Cultural tourism plays a significant role in society as it helps preserve and promote the values, beliefs, traditions, and heritage that define a particular culture. It allows individuals and communities to exhibit unique perspectives on arts, rituals, folklore, music, literature, language, oral traditions, and other cultural elements. Cultural tourism serves as a bridge between societies, aiding in fostering mutual respect, tolerance, and understanding among various cultures.

Economic benefits are also apparent through cultural tourism. Visitors contribute to the local economy, supporting local businesses and sustaining host communities’ cultural products and experiences. By engaging in cultural tourism, visitors gain an authentic understanding of indigenous and local cultures, empowering them to appreciate the rich diversity and uniqueness of the world.

Furthermore, cultural tourism helps preserve cultural heritage, vital for maintaining a sense of identity and continuity for future generations. This preservation and promotion of different cultures provide a sense of pride and belonging for people who are part of those traditions. In turn, this enhances cultural exchange, allowing individuals to learn about other ways of life while appreciating their values and beliefs.

Cultural tourism also supports the sustainability of performing arts and other creative industries. Through various interactions with artists and performers, visitors can develop an appreciation for a wide range of artistic expressions, contributing to the overall vitality of the art world.

Through the development of cultural tourism, a society can showcase its cultural heritage while contributing to its economic prosperity. By embracing the importance of cultural tourism, we can foster a greater understanding, appreciation, and celebration of the rich tapestry of customs, beliefs, and traditions that make up the world’s diverse cultures.

Types of Cultural Tourism

Cultural tourism allows travellers to immerse themselves in the history, heritage, and traditions of different places around the world. This form of tourism can be categorized into several types, each offering a unique way for visitors to experience and appreciate local cultures.

One type of cultural tourism is Historical and Heritage Tourism . This focuses on exploring sites related to a region’s past, such as ancient archaeological sites, monuments, and museums. It can instil a sense of wonder and appreciation for past civilizations’ achievements and teach travellers about the history of the places they visit.

Moving to the artistic side, Arts Tourism highlights the creative aspects of a culture. Tourists visit galleries, theatres, and concerts to experience local art, music, dance, and drama. It allows them to understand different communities’ aesthetic and expressive tendencies, opening their minds to new perspectives and forms of creativity.

Religious and Spiritual Tourism is another common form, where tourists visit religious sites, such as temples, churches, and mosques, or engage in spiritual practices like meditation and yoga. This type of cultural tourism can provide insights into various societies’ belief systems and rituals, fostering understanding and tolerance among people of different faiths.

However, culture isn’t just about history, arts, and religion but also daily life. Ethno and Indigenous Tourism involves tourists visiting and interacting with indigenous communities to learn about their customs, way of life, and unique perspectives on the world. This type of cultural tourism encourages empathy and cross-cultural understanding while emphasising respect for indigenous people’s rights and dignity.

Lastly, Culinary and Agritourism put emphasis on local food and drink traditions, as well as the agricultural practices that underpin them. This type of tourism can include attending food festivals, partaking in cooking classes or workshops, and visiting farms, vineyards, or breweries. Culinary experiences help tourists understand the richness of a region’s flavours and the relationship between local communities and their land and resources.

In summary, cultural tourism comes in various forms, appealing to different interests and tastes. It offers travellers a chance to explore and interact with diverse cultures, fostering connections and understanding among people around the world.

Forms of Cultural Tourism

Cultural tourism offers a wide range of experiences for travellers who seek to immerse themselves in different cultures, traditions, and ways of life. Various forms of cultural tourism cater to different interests and preferences.

Museums and galleries play a significant role in cultural tourism as they showcase a certain location’s history, art, and culture. Examples include art galleries displaying local and international masterpieces and museums featuring exhibits about the history and development of a specific region or theme.

Monuments and historic sites attract cultural tourists interested in exploring the past. Famous landmarks, archaeological sites, and heritage buildings tell the stories of civilizations and cultures that once thrived. UNESCO World Heritage Sites are often at the top of travellers’ lists, representing the world’s most significant cultural and natural heritage.

Architecture as a form of cultural tourism exposes tourists to varying architectural styles and meanings. Walking tours, cityscapes, and visits to iconic buildings provide a deeper understanding of a city’s architectural design’s cultural, social, and political influences.

Festivals and special events are another important aspect of cultural tourism, highlighting a particular community’s local customs and practices. These may include carnivals, parades, performances, traditional dances, and food festivals that provide a unique insight into the cultural identity of a place.

Gastronomy and cuisine play an integral role in the cultural tourism experience, as they allow tourists to savour the flavours and ingredients unique to a location. Local markets, food tours, cooking classes, and traditional restaurants all offer opportunities to appreciate the culinary heritage of a destination.

Shopping for crafts and textiles is a popular form of cultural tourism, as it allows travellers to bring home tangible memories of their journeys. Local artisans may showcase their talents through handmade textiles, pottery, jewellery, and other crafts, reflecting their community’s cultural heritage and artistic expression.

Cultural tourism encompasses diverse experiences, enabling travellers to engage with their chosen destination’s rich history, art, architecture, events, cuisine, and crafts. By exploring these varied aspects, visitors can deepen their understanding and appreciation of the world’s unique cultural landscapes.

Tangible and Intangible Cultural Attractions

Cultural tourism often focuses on two major aspects: tangible and intangible cultural attractions. These attractions shape a destination’s identity, providing depth and context for visitors and facilitating cultural exchange. This section will explore various facets of tangible and intangible attractions, comprehensively understanding their significance and diversity.

Tangible cultural attractions encompass elements of history, arts, and architecture that visitors can physically experience. Notable examples include monuments, visual art, and crafts that showcase local communities’ unique skills and traditions. Such attractions often reflect centuries of evolution and showcase the ingenuity of a region’s inhabitants. By visiting these sites and engaging with these art forms, travellers gain firsthand insights into the cultural heritage of their destination.

On the other hand, intangible cultural attractions comprise the non-material aspects of a culture that contribute to its unique characteristics and traditions. Music, social practices, festive events, and customs are some of the intangible elements that enrich the cultural landscape of a tourist destination. Interaction with local people plays a crucial role in understanding the region’s intangible cultural attractions, as they act as custodians of these traditions and their oral histories.

A dynamic interplay exists between tangible and intangible cultural attractions, creating a vibrant, multi-dimensional experience for tourists. For instance, the physical structure in architectural landmarks represents the tangible aspect, while the stories, legends, and rituals connected to the site contribute to its intangible allure. This symbiotic relationship reflects the essential interdependence between culture’s material and immaterial aspects.

In conclusion, tangible and intangible cultural attractions are indispensable pillars of cultural tourism. They provide an enriching experience for visitors and play a vital role in preserving and promoting a destination’s unique cultural heritage. Both aspects should be regarded with equal importance and cultivated to ensure a comprehensive and engaging experience for travellers seeking to explore a destination’s cultural offerings.

Advantages of Cultural Tourism

Cultural tourism provides a unique opportunity for individuals to immerse themselves in a particular society’s history, traditions, and customs. In doing so, they can develop a deeper understanding and appreciation of the diverse cultures that make up the world.

One significant advantage of cultural tourism is its potential to boost local economies. Tourist expenditures in local businesses such as hotels , restaurants, and shops can contribute to the growth and development of a region. Additionally, cultural tourism can create jobs, especially for local artisans, performers, and guides who offer authentic cultural experiences to visitors.

Another benefit of cultural tourism is the preservation and revitalization of cultural heritage. By attracting tourists interested in learning about and experiencing different traditions, communities are encouraged to preserve and maintain their cultural assets, such as historic sites, museums, and festivals. This helps ensure that future generations can continue to enjoy and learn from these valuable resources.

Cultural tourism also fosters cross-cultural understanding and appreciation. As people engage with diverse cultures, they may develop a broader perspective and a greater respect for cultural differences. This can lead to increased tolerance and harmony among different societies.

However, it is important to be aware of the potential disadvantages of cultural tourism. For instance, there may be issues related to overcrowding, environmental impact, or the commodification of cultural traditions. This makes it crucial to manage cultural tourism responsibly, ensuring it benefits both the tourists and the host communities.

Disadvantages of Cultural Tourism

Cultural tourism has gained popularity in recent years, drawing visitors from around the globe to experience and appreciate diverse cultures. However, this type of tourism also brings several disadvantages that must be considered.

One significant drawback of cultural tourism is the potential for commodification of cultures. As communities open their doors to tourists, they risk losing the authenticity and uniqueness of their cultural identity. Traditional practices and artefacts may be tailored to appeal to the tourist market, diluting their cultural significance.

Moreover, cultural tourism can put pressure on resources and spaces used by local communities. The influx of tourists may lead to overcrowding and increased competition for essential amenities. This could negatively impact the quality of life for local residents and strain the available infrastructure.

Another issue is the potential for environmental degradation resulting from cultural tourism. Some tourist activities may involve access to sensitive natural areas, leading to erosion, pollution, or disturbance of wildlife habitats. The construction of tourist facilities and infrastructure can also threaten the environment.

Lastly, cultural tourism can contribute to the unequal distribution of economic benefits. While some members of the community may profit from tourism-related businesses, others may not be able to participate in or benefit from these enterprises. This could exaggerate income disparities and create economic imbalances within communities.

In conclusion, despite cultural tourism’s numerous benefits to travellers and host communities, it is crucial to acknowledge and address its potential negative aspects. To ensure the long-term success of cultural tourism, policies and practices must be implemented that prioritize the protection of cultural and environmental resources and promote equitable distribution of economic benefits.

Cultural Tourism Destinations

Cultural tourism is a popular type of travel that allows visitors to immerse themselves in various destinations’ history, heritage, and traditions. Throughout the world, numerous places provide rich cultural experiences for travellers. Here, we explore a few notable cultural tourism destinations.

China is a vast and diverse country with a history dating back thousands of years. One can explore the architectural wonders of the Great Wall, the Terracotta Army in Xi’an, or the magnificent Forbidden City in Beijing. Visiting local markets and trying traditional cuisine also adds to the cultural experience in China.

India is another top destination for cultural tourism, offering many historical sites and vibrant traditions. The Taj Mahal in Agra, a UNESCO World Heritage Site, is a must-see with its iconic marble mausoleum. Another popular destination is Rajasthan , where the colourful cities and the royal palaces, such as the spectacular City Palace of Jaipur, offer a glimpse into the past.

France , specifically Paris , provides visitors with rich art, architecture, and cuisine. Iconic sites such as the Louvre, Notre Dame Cathedral, and the Eiffel Tower showcase the country’s artistic and architectural achievements throughout history.

Similarly, Spain is renowned for its rich cultural heritage with attractions such as the Alhambra in Granada, the Park Güell in Barcelona, designed by Gaudí, and the Prado Museum in Madrid.

Turkey , especially Istanbul , offers an intricate blend of European and Asian influences, with historic sites such as the Hagia Sophia, the Blue Mosque, and the Topkapı Palace. Moreover, the open-air bazaars and Turkish baths deliver an authentic cultural experience.

Italy , the birthplace of the Renaissance, is brimming with artistic and architectural masterpieces. Cities like Rome, Florence, and Venice are steeped in history, allowing visitors to marvel at landmarks like the Colosseum, St. Peter’s Basilica, or the Uffizi Gallery.

The beautiful island of Bali in Indonesia is known for its lush landscapes, Hindu temples, and vibrant arts scene, making it an excellent location for immersing oneself in the culture of the region.

Uzbekistan has gained attention recently as tourism grows along the Silk Road route. Visitors can admire the stunning architecture and mosaics of cities such as Samarkand, Bukhara, and Khiva, which capture the rich heritage of the ancient trading route.

In conclusion, cultural tourism invites travellers to explore fascinating destinations across the globe. While each location offers unique experiences, they provide a deeper understanding of human history, traditions, and heritage.

Stakeholders of Cultural Tourism

Cultural tourism is a multi-faceted industry that brings value to travellers in search of authentic experiences and to a myriad of stakeholders. From local communities to government bodies and from small businesses to environmental conservation efforts, cultural tourism can shape economies and lifestyles in both positive and negative ways. This guide delves into the key stakeholders in the cultural tourism sector, exploring their roles, impacts, and interconnected interests.

Tourists: The Heart of the Industry

Arguably, tourists are the backbone of cultural tourism. Whether they are history enthusiasts seeking out ancient ruins or gastronomes on the hunt for authentic local cuisine, tourists drive demand and shape the landscape of the tourism industry. They often seek enriching experiences that can offer a deep understanding of local cultures.

Local Communities: The Soul of the Destination

Local communities provide the lived experience that many cultural tourists seek. These people preserve the traditions, language, and heritage sites that form the basis of cultural tourism. Unfortunately, they can also bear the brunt of poorly managed tourism through cultural commodification and environmental degradation.

Government Bodies: The Framework Providers

Local and national governments play an instrumental role in regulating and promoting cultural tourism. They invest in infrastructure, enforce zoning laws, and facilitate public services like safety and sanitation that are vital to the tourism industry.

Tourism Boards and Agencies: The Promoters

Tourism boards, often funded by governments, are responsible for marketing a destination’s cultural assets to the world. These bodies work closely with other stakeholders to develop tourism packages, advertise local attractions, and even set guidelines for responsible tourism.

Tour Operators and Travel Agents: The Experience Curators

Specializing in delivering personalized experiences, these businesses are intermediaries between tourists and destinations. They can make or break the quality of the cultural tourism experience through their choices of local partnerships, itineraries, and guides.

Cultural Institutions: The Keepers of Heritage

Museums, art galleries, and historical sites are essential touchpoints for cultural tourists. They collaborate closely with various stakeholders to ensure that cultural assets are preserved and made accessible to the public.

Artisans and Performers: The Artistic Impressions

Artisans and performers add texture to the cultural fabric of a destination. These stakeholders benefit from increased visibility and economic opportunities , providing tourists a gateway to the authentic local culture.

Small Business Owners: The Local Economy Boosters

From restaurants and cafes to souvenir shops, small businesses see a surge in revenue when cultural tourism is thriving. They form a vital part of the local economy, providing services that enrich the tourist experience.

Academics and Researchers: The Thought Leaders

Cultural tourism is a field ripe for academic inquiry, touching upon anthropology, economics, and sociology disciplines. Research in this area can help shape policies that benefit tourists and local communities.

NGOs: The Advocates of Sustainability

Organizations that focus on cultural or environmental conservation often align with the interests of responsible cultural tourism. They act as watchdogs and advocates, ensuring that tourism practices are sustainable and ethical.

Real Estate Developers: The Infrastructure Builders

Though not directly related to the culture, real estate is essential in accommodating the influx of tourists, especially in booming destinations. They must balance business interests with responsible development.

Media: The Influencers

Media outlets, including travel bloggers and journalists, have a significant role in shaping public perception of a destination. Their storytelling can amplify the benefits or expose the pitfalls of cultural tourism.

The Environment: The Unspoken Stakeholder

Although not a traditional “stakeholder,” the environment stands to be significantly affected by tourism activities. Sustainable practices must be adopted to preserve the natural and cultural landscapes that attract visitors in the first place.

Understanding the intricate web of stakeholders in cultural tourism is the first step in creating an industry that benefits all. As cultural tourism evolves, stakeholders must actively dialogue to ensure sustainable and enriching experiences for everyone involved.

Cultural Tourism Experience

Cultural tourism experiences provide a unique opportunity for travellers to immerse themselves in the local culture, customs, and traditions of the places they visit. These immersive travel experiences enable tourists to understand the heritage and identity of the communities they encounter.

One popular way to experience cultural tourism is through homestays. These accommodations offer the chance to live with a local family, providing a firsthand glimpse into their daily lives and customs. The cultural exchange within a homestay environment can be transformative, offering insights that would otherwise remain veiled during a typical sightseeing vacation.

Another important aspect of cultural tourism is engaging with the local communities, participating in their events and festivals, and learning about their history and heritage through interactions with the people there. These experiences enable travellers to connect meaningfully with locals, fostering mutual appreciation and understanding of different cultures.

Cultural experiences often focus on different dimensions, such as:

• Arts and crafts: Exploring local artisans’ craftsmanship and heritage by visiting workshops, galleries, and markets.
• Cuisine: Sampling regional culinary specialities can offer a taste of local culture, traditions, and history.
• Religious sites: Visiting places of worship offers insight into the spiritual beliefs and practices of the area.
• Performing arts: Engaging with local music, dance, and theatre performances can reveal unique cultural perspectives and expressions.

Cultural tourism emphasizes responsible travel and encourages visitors to respect and appreciate the local customs, traditions, and the natural environment while exploring new destinations. Tourists can create unforgettable memories by connecting with people from different backgrounds and gaining a deeper understanding of their practices and values, fostering greater global empathy and cultural appreciation.

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What is cultural tourism?

According to the United Nations World Tourism Organization, cultural tourism is “movements of persons for essentially cultural motivations such as study tours, performing arts and cultural tours, travel to festivals and other cultural events, visits to sites and monuments, travel to study nature, folklore or art, and pilgrimages.”

We expand this definition to encompass the participation of visitors in cultural activities whether those activities are the primary purpose of their travel or not.

Why should my organization take action on cultural tourism?

Cultural tourism is big business in Florida. Our state attracts more than 100 million visitors per year, and 65% of those visitors take part in at least one cultural activity. 

These visitors spend more on their trips and stay longer than other visitors.

Creating a plan to attract cultural tourism can do more than affect your bottom line, it can also help define your area as a cultural and artistic destination.

Why would a visitor come to my area?

Travelers look for an “authentic experience,” and your community has its own special attributes that set it apart from others. These features include your history, traditions, and yes, your arts and culture.

Your community has a story to tell, and finding an engaging way to tell that tale is one way to attract visitors. Tools are available for creating an inventory of community assets.  A few of them are found as links in this toolkit.

Where to begin?

That’s up to you!  Engage with other organizations and individuals in your area, or simply measure the effect visitors have on your own organization. The important thing to do is to start somewhere . You don’t even have to spend any money.

How do I approach my local Destination Marketing Organization (DMO)or Convention & Visitors Bureau (CVB)?

Sometimes arts and cultural organizations may be daunted at the idea of approaching the local DMO or CVB.  Arts and cultural organizations create value for tourists by offering experiences that cannot be found elsewhere.

You have a product that your DMO can sell… and their goal is to sell your area to visitors. You may find that showing them how many visitors take advantage of your services will catch the DMO’s interest. You may find that the excellent quality of your work will excite them as much as you know it will excite tourists.  Finding your way in may be difficult, but it can be done.

Remember, bring them a quality product and show them how they can use it to their own advantage.

Another helpful step is to integrate the boards of directors of DMO/CVB’s with the boards of arts and cultural organizations.  If a member of the DMO board is interested in arts and culture, there may be an opportunity for expanding their interest by having a conversation regarding an upcoming project or event. 

In addition, if you have someone from the tourism industry on your board, they may be able to provide some useful guidance and new ideas for promoting cultural tourism in the community.

What can I measure that relates to cultural tourism?

You can always start small in measurements. Try collecting the zip codes of your patrons as a way to find out how many of them traveled to your event or activity.  Think of what you want to accomplish, and ask yourself some important questions:

            “Why do we do what we do?”

            “Why do people take advantage of my current offerings?”

            “For what reasons are we funded?”

            “What change are we trying to create in our community?”

These questions and others like them can help you decide what to measure and how to measure it.

Once you have your numbers, analyze them and look at how you can improve what you’re doing.

Once you’ve implemented a change, no matter how small, measure again to see if you’ve achieved the outcome you wanted.

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Can cultural tourism resources become a development feature helping rural areas to revitalize the local economy under the epidemic? An exploration of the perspective of attractiveness, satisfaction, and willingness by the revisit of Hakka cultural tourism

This study aims to analyze the impact of attractiveness, satisfaction, and willingness to revisit in the perception of cultural tourism tourists and whether cultural tourism could be a remedy to revitalize rural economic development under the epidemic, using the Hakka settlement in Hukeng town as a case study. In this study, a mixed research method is applied to collect 670 questionnaires by snowball sampling and used SPSS 26.0 statistical software to conduct basic statistical validation and Pearson product-moment correlation coefficient (PPMCC) validation; the semi-structured is also used semi-structured interviews to collect the opinions of six experts and scholars, and the final results were examined by multivariate validation. The researchers found the following dimensions to be attractive for tourists to experience cultural tourism: rural scenery, heritage museums and cultural goods, low spending, use of media marketing, planning for proper tourism information, and public transportation construction effectiveness. However, there is also a need to improve the current situation of rural tourism transportation and transportation facilities, inject young development manpower, improve the knowledge and skills of the elderly to start their businesses, develop business opportunities, and stabilize prices, and improve the quality and satisfaction of tourists to promote the desire to travel. The higher the attractiveness, the higher the satisfaction, and the stronger the willingness to revisit.

1 Introduction

With the development of technology and the improvement of quality of life, people’s desire for leisure and tourism is increasing [ 1 ]. Although the tourism industry and development characteristics vary from country to country, and the supporting technologies and techniques are being improved, the ease of communication through the Internet has allowed countries to influence and learn from each other when making tourism decisions, resulting in less and less differences in tourism decisions and industrial development models across countries, and the disappearance of unique differences in tourism destinations, which also affects tourists’ willingness to travel [ 2 ]. Therefore, it is important to explore the characteristics of tourism, develop new tourism resources, and establish different tourism models to provide tourists with new options.

Culture is a process of human cultivation [ 3 ], which can be described as a state or habit of people’s mind [ 4 ] and can be seen as a state of the intellectual development of life and art [ 5 ]. Cultural tourism refers to the development of tourism activities characterized by local habits, language, and other humanities and arts-related resources and can be seen as a form of tourism on a spiritual level [ 5 , 6 ]. As the quality of life for people improves, their spiritual and cultural needs no longer remain at a purely intellectual level, and due to shorter travel times, more and more people wish to explore or travel to experience or understand the charm of different ethnic cultures [ 5 , 7 ]. Therefore, cultural-themed tourism activities that utilize the language, humanities, art, architecture, and other relevant cultural characteristics of local ethnic groups are gradually becoming the trend of future tourism development [ 6 , 7 , 8 , 9 ].

The Hakka people originated in China and are an important branch of the Han Chinese in the south. Initially, they migrated from the middle and lower reaches of the Yellow River to Guangdong, Fujian, and Jiangxi in China to escape from wars and disasters to struggle for their new life. During their long-term survival and adaptation, a Hakka culture with different languages, cultures, arts, and customs was formed [ 10 ]. The Hakka settlement in Hukeng, Yongding District, Longyan City, Fujian Province, is one of the Hakka settlements in China. In addition to the Hakka language, food, drama, music, dance, handicrafts, and folk festivals, there are 1,560 Fujian Tulous, which is currently listed as one of the World Heritage Sites [ 11 ]. In addition to attracting 1,501,000 tourists and generating $1,154,400,000 in business opportunities in 2018 [ 12 ], Hakka culture has contributed to a 14% increase in demand for cultural tourism in China, generating an estimated $418,377,000,000 in profits [ 13 ]. This indicates that Hakka cultural tourism activities have a strong potential for development. It is evident that, to improve the economic situation in rural areas and develop future tourism, promoting tourism activities with the theme of local cultural resources will be one of the development options for future tourism decisions.

However, although the promotion of rural tourism with local cultural resources is an emerging potential development option and business opportunity, the global tourism industry has been hit with the impact of the epidemic [ 14 , 15 ]. The development characteristics of the products and activities of tourism attractions do not vary much from country to country [ 16 ]. The environmental risks of tourism are relatively high [ 17 ]. In addition, tourism policy development and planning are full of ideals, but due to differences in people, events, and things, the effectiveness of policy development and promotion can be lacking, and these changes are usually found after a period of policy development and promotion [ 18 ], and various problems are detrimental to the development of the tourism market at this stage.

Tourism activity is a behavior and a phenomenon [ 19 ], while cultural tourism activity is a theme of activity with a predominantly spiritual dimension [ 3 , 4 , 5 , 6 ]. Although the phenomenon of tourism activity is very active, it is not easy to actually involve people in tourism activities. The factors that motivate people to go to tourism activities need to be stimulated by certain attractive factors of the tourist place, which create the desire to travel in people’s minds [ 20 ]. Moreover, tourism is expected to be sustainable, and the most direct and effective way to build sustainable tourist places depends on the positive experience perceptions of tourists and their future consumption intentions [ 56 ]. Therefore, by providing actual participants’ personal experiences of local tourism characteristics, decision effectiveness, and tourism desires, it can help understand and improve the current tourism development dilemma [ 18 , 21 , 22 ], enhance people’s desire to travel, and improve tourism markets.

Studies have confirmed that the higher the attractiveness of tourism [ 23 , 24 ], the higher the willingness to consume, the higher the positive satisfaction with tourism, then the higher the willingness to consume [ 25 , 26 ], the stronger the positive feelings about the overall planning of the tourist place, and the higher the approval of the decision to develop the tourist place [ 16 , 22 – 28 ]. Therefore, to understand the potential of using culture to develop tourism industries in rural areas, it is important to explore tourists’ perceptions of the attractiveness of tourist places, understand their feelings after the tourism experience, and seek their perceived willingness to revisit, which will help analyze the possibility of using Hakka or other established ethnic cultures to develop tourism activities and industries in rural areas.

The use of cultural features or activities for tourism development has gradually become one of the mainstays of the tourism market, and related cultural tourism studies have gradually begun to receive attention [ 16 , 22 – 31 ]. Many researchers have explored the attractiveness of cultural tourism [ 32 , 33 ] and tourist satisfaction [ 34 , 35 ], respectively, and many have studied tourism attractiveness, satisfaction, and willingness to travel [ 16 , 22 – 28 ]. Although there has been a gradual increase in the number of studies exploring tourism-related issues with the Hakka theme [ 4 – 40 , 56 ], no studies analyzing the attractiveness, satisfaction, and willingness to revisit Hakka culture tourism in the field of rural tourism market development have been found. Therefore, the researchers believe that it would be a meaningful topic to explore the feasibility of using Hakka culture to promote rural tourism activities from the perspective of tourists in terms of tourism attractiveness, satisfaction, and willingness to revisit.

Therefore, this article took Hukeng town as a case study of Hakka cultural tourism to understand the current situation of Hakka cultural tourism development by tourists’ perceptions of the attractiveness, satisfaction, and willingness to revisit for local tourism development. The results of the case study are then used to infer and analyze whether Hakka cultural tourism can be a decision option for rural revitalization tourism development under the epidemic. The researchers hope that the results of this project and analysis can help local governments and villages make better decisions in the future, as well as raise the importance of Hakka culture or cultural tourism issues and fill the gaps in related literature and research fields. The results of this study can also serve as a reference for other countries or villages with the same or different ethnic cultural characteristics and ultimately develop emerging rural tourism markets and sustain human culture. These are the main objectives of this study.

2 Literature review

2.1 hakka culture and tourism.

The global economy and industries have been hit hard by the epidemic [ 14 , 15 ], the tourism market has shrunk [ 17 ], and the difference between the types of tourism and industrial products has gradually decreased [ 16 ], which is not conducive to the revitalization of the tourism market.

Culture is a community habit of life where people share the same spiritual and intellectual consensus, the same artistic and customary perceptions and values [ 3 , 4 , 5 ]. Cultural tourism is the development of tourism activities and industries as a tourism phenomenon and a long-term constructed way of life, using language, humanities, and other characteristic resources as attractions [ 5 , 6 ]. Cultural tourism, because of its economic, affordable, and diversified characteristics [ 16 ], would be a favorable option for tourism policy planning to re-enhance village development and revitalize the tourism market for a tourism industry that is currently under-priced due to a shrinking market, and for rural areas that are in urgent need of economic development and environmental improvement.

There are many different ethnic groups and different cultures. The Hakka, originally one of the Han Chinese, originated from the lower reaches of the Yellow River in China but have evolved into a unique linguistic and cultural group through war, natural disasters, and struggles over time, and their footprints have even spread around the world [ 10 , 41 – 44 ]. Hakka cultural tourism is the development of unique tourism activities based on the themes of Hakka culture and history, life and cuisine, art and architecture, and the construction of tourism activities or products as a tourism characteristic and behavior pattern [ 10 – 13 , 38 – 40 ]. Hakka tourism development and research has a history of 26 years, and its research issues have gradually moved from vague regional economics [ 42 ] to the analysis of local architecture and historical and cultural characteristics [ 45 , 46 ], as well as the current development status of village economic construction [ 47 ] and culture and education [ 48 ], and have gradually increased the importance of operational marketing [ 49 ], consumer experience [ 50 ], international marketing [ 51 ], ecological and environmental impacts [ 52 ], and cultural sustainability [ 53 ], among other important topics. It is evident that there is a wealth of experience and sound countermeasures for the development and research of Hakka cultural tourism.

Therefore, under the current epidemic, it is a feasible decision to carry out tourism promotion activities with Hakka culture as the theme to attract tourists’ consumption, promote industrial revitalization, restore the glory of the tourism industry, and improve the current situation of rural development.

2.2 Travel intentions

The intention is an individual’s prediction of whether to perform a future behavior [ 54 ]. It is also a desire to anticipate or plan a future behavior and can determine the decision of the likelihood of the implementation of that plan [ 55 ]. Conversely, travel intention is the frequency and type of potential purchase behavior of an individual to engage in tourism activities and the likelihood of a tourist to visit a destination [ 56 ].

Tourism destination choice is related to tourists’ attitudes, cognitive-behavioral control, and past behavior [ 56 , 57 ]. The main determinants of travel intentions lie in the subjective image of the destination by the tourist, which can also be considered a consumer behavior [ 57 ]. Consumers usually set the important attributes of each destination based on their preferences and then select several attributes of their personal preferences as evaluation criteria for choosing a destination [ 58 ]. The desire to travel to a destination can also be influenced by the image of the destination or the perceived effects of the actual experience [ 59 ]. Often, travel intentions can be seen as a form of loyalty and can therefore be used to understand decisions, such as whether visitors want to travel again, simply share their experiences, or are willing to actively recruit others to spend time with them [ 56 – 59 ].

It can be seen that tourism intention theory can be used to analyze the effects of tourism development in a region [ 55 – 59 ], i.e., whether tourists are willing to visit, simply share their experiences, or actively invite others to spend money with them.

2.3 Tourism attractiveness and travel intentions

Tourism attractiveness is a motivation that induces tourists to leave their place of residence and motivates them to travel to their destination [ 60 ]. Although tourism attractiveness has both push and pull effects, both are potentially influential factors in stimulating tourists’ planning behavior, as they may satisfy tourists internally or externally [ 61 ].

The factors that influence tourism attractiveness are quite diverse. Tourism attractiveness can be understood at the level of natural resources, human resources, tourism facilities, events, special events, and psychology [ 62 ]; it can also be analyzed in terms of the natural environment, geo-relations, culture, tourism environment, policy, and price [ 63 ]; and it is more explored in terms of components, such as environmental landscape, cultural characteristics, cultural and creative products, tourism facilities, spatial capacity, marketing and promotion, tourism information, and price [ 64 ]. In addition, a more comprehensive study was conducted in terms of environmental landscape, cultural characteristics, cultural and creative products, tourism facilities, spatial capacity, marketing and promotion, tourism information, and price [ 64 ]. In addition, more comprehensive and detailed answers can be obtained by exploring the landscape, climate, flora and fauna resources, general environment, history, museums, rural landscape, food, specialties, festivals, accommodation, facilities, public toilets, parking lots, open spaces, and media marketing [ 62 – 64 ]. Studies have also confirmed that the higher the attractiveness of tourism, the stronger the desire of tourists to revisit [ 59 , 62 – 65 ].

It can be seen that by analyzing the environmental landscape, cultural characteristics, cultural and creative products, tourism facilities, spatial capacity, marketing and promotion, tourism information, and prices and then exploring the issues of landscape, climate, flora and fauna resources, overall environment, history, museums, rural landscape, food, specialties, festivals, accommodation, facilities, public toilets, parking lots, rest spaces, and media marketing, tourists can analyze the local tourism image of the development effect. Then, through the analysis of tourism attractiveness and willingness to revisit, we can understand the key factors that influence tourists’ willingness to revisit local tourism.

2.4 Travel satisfaction and travel intentions

Tourist satisfaction refers to the role of product performance in the formation of customer satisfaction, the result of which is generated by the comparison between the consumer’s expectations and the tourist experience on the spot [ 66 ]. It can be said that tourist satisfaction is the result of mutual evaluation of tourists’ motivation and actual experience.

Tourist satisfaction is the pleasure that results from the fulfillment of tourists’ needs [ 67 ]. Usually, tourists judge whether they can be personally satisfied after experiencing the effectiveness of the development of the landscape, infrastructure, environment, and social services of the tourist destination [ 68 ]. Tourist satisfaction is influenced by personal purpose, personal expectations, and external environment [ 22 – 28 ]; subjective factors affecting tourist satisfaction can also be considered in terms of personal attributes, tourism activities, tourism motivations, tourism preferences, and attitudes [ 56 – 59 ]. The effectiveness of tourism development can be better understood in terms of environmental landscape, cultural characteristics, cultural and creative products, tourism facilities, spatial capacity, marketing and promotion, tourism information, and prices [ 16 , 22 – 28 , 66 – 68 ]. Among them, a more comprehensive and detailed answer can be obtained by exploring the aspects of landscape, climate, flora and fauna resources, general environment, history, museums, rural landscape, food, specialties, festivals, accommodation, facilities, public toilets, parking lots, open spaces, and media marketing. Studies have also confirmed that the higher the satisfaction of visitors, the stronger the desire to revisit [ 16 , 22 – 28 ].

According to tourist satisfaction theory [ 22 – 28 , 56 – 59 , 67 , 68 ], tourist satisfaction can be classified at the level of environmental landscape, cultural characteristics, cultural and creative products, tourism facilities, spatial capacity, marketing and promotion, tourism information, and price and then explored in terms of the landscape, climate, flora and fauna resources, overall environment, history, museums, rural landscape, food, specialties, festivals, accommodations, facilities, public toilets, parking lots, open spaces, and media marketing to analyze visitors’ perceptions of the effectiveness of the development of local tourism decisions. Further analysis in terms of tourist satisfaction and willingness to revisit can be used to understand the key factors that influence the effectiveness of local tourism development on tourists’ willingness to travel.

3 Research methods

3.1 research framework and hypotheses.

The purpose of this article is to understand whether Hakka cultural tourism can be a possible decision-making planning option for rural revitalization tourism development under the epidemic by analyzing the tourists’ perceptions of local tourism development in terms of attractiveness, satisfaction, and willingness to revisit, taking Hukeng town as a case study and Hakka cultural tourism as a theme. The current status of Hakka culture and Hakka cultural tourism research and development was firstly obtained through the literature [ 10 – 13 , 41 – 52 ], and then the theoretical basis and research framework were determined by referring to and compiling the relevant literature on tourism attractiveness [ 60 – 65 ], satisfaction [ 16 , 22 – 28 , 56 – 59 , 66 – 68 ], and willingness to travel [ 54 – 59 ], as shown in Figure 1 .

The research structure.

H1: There is consistency in tourists’ perceptions of the attractiveness of cultural tourism.

H2: There is consistency in tourists’ perceptions of cultural tourist satisfaction.

H3: There is consistency in tourists’ perceptions of the desire to revisit cultural tourism.

H4: There is a positive and significant relationship between attractiveness and perceived desire to revisit.

H5: There is a positive and significant relationship between satisfaction and perception of desire to revisit.

3.2 Research process, tools, and analysis

The purpose of this study was to analyze tourists’ perceptions of local tourism development in terms of attractiveness, satisfaction, and willingness to revisit. The questionnaire instrument was developed with reference to the relevant literature on tourism attractiveness [ 60 – 65 ], satisfaction [ 16 , 22 – 28 , 56 – 59 , 66 – 68 ], and willingness to travel [ 54 – 59 ]. The questionnaire was divided into four parts: the first part was background information, including gender (male, female), age (under 20, 21–30, 31–40, 41–50, 51–60, 61+), and education level (below middle school, high school vocational, college and university, graduate), and the next parts were attractiveness, satisfaction, and willingness to revisit. The questions on tourism attractiveness were referenced from [ 60 – 65 ] and the questions on satisfaction were referenced from [ 16 , 22 – 28 , 56 – 59 , 66 – 68 ], with 30 questions each, including the sub-structures of natural environment and landscape, human/historical and cultural characteristics, tourism facilities, tourism service facilities, location and capacity, media perception, tourism information and environmental safety, and travel prices. Three questions on tourism intention were developed based on relevant literature [ 54 – 59 ] with a 5-point Likert scale (1 for very dissatisfied and 5 for very satisfied) used for the questionnaire design. The questions compiled for the questionnaire are shown in Table 1 .

Overview of the questionnaire on tourism attractiveness, satisfaction, and willingness to revisit

Next, six experts with leisure or tourism backgrounds were invited to content validate the preliminary questionnaire to confirm the validity of the questions, as shown in Table 2 .

Respondent’s background information and an overview of the interview outline

One hundred pretest questionnaires were first collected in May 2020, and the reliability of the questions was collected and analyzed using the SPSS for Windows 22.0 statistical package. The scale was suitable for confirmatory factor analysis when the Kaiser–Meyer–Olkin value was higher than 0.06 and the p -value in Bartlett’s test was less than 0.01 ( p < 0.01) [ 69 ]. When the coefficient α is greater than 0.60, it indicates good reliability of the questionnaire [ 70 ] and can be used as a formal question for subsequent analysis and exploration. The results of the analysis showed that all questions had α values greater than 0.6, so all questions could be retained and could be used for subsequent analysis. The results of the relevant analyses are shown in Table 3 .

Questionnaire analysis of perceptions of tourism attractiveness, satisfaction and willingness to revisit

3.3 Analysis methods and limitations

The aim of this study was to analyze the impact of cultural tourism attractiveness, satisfaction, and willingness to revisit, using the Hakka settlement in Hukeng Township as a case study and whether cultural tourism can be a remedy to revitalize the economic development of rural areas under the epidemic. In this study, a mixed research approach was used, starting with a quantitative survey and using a convenience sampling method for the field survey. However, due to the risk of epidemic infection, a snowball sampling method was used to collect the questionnaire data using an online questionnaire platform. A total of 670 valid questionnaires were obtained, and basic statistical tests and PPMCC analysis were performed using SPSS 26.0 statistical software. Six scholars, tourists, and residents were interviewed through semi-structured interviews to provide their opinions on the results of the questionnaire analysis. After that, all data were organized in a rigorous, orderly, and logical manner, and then the valuable information was summarized through a synthesis, organization, and collation method [ 71 ]. Finally, the data were examined in a multi-data and multi-perspective manner through a multivariate validation method [ 72 , 73 ].

Due to the impact of the epidemic and the limitations of time, funding, sample size, and sample background information, the present study may suffer from errors and shortcomings in the number of questionnaires, research methods, and analysis of results. Recommendations are provided at the end of this article for subsequent researchers to revise and explore.

3.4 Ethical considerations

This study was conducted in a Hakka settlement in Hukeng Town, Longyan Yongding District, with tourists as the target population. Data were collected using a mixed research method, combining the convenience sampling method and the snowball sampling method for questionnaire distribution and sampling. All respondents were participants in tourism activities in the Hakka settlement of Hukeng Town, Longyan Yongding District, or people who had practical experience and insight into Hakka cultural tourism. Therefore, all respondents were recorded and data were collected after they were informed of the current development of the study, agreed and understood the purpose of the study, and agreed to cooperate in providing relevant data under the condition of anonymity and knowledge. Therefore, the study design and data collection process were ethical [ 74 , 75 ].

3.5 Analysis and discussion

The researchers distributed a total of 800 questionnaires and finally obtained 670 formal questionnaires, with an effective recovery rate of 83.7%. The data were examined using SPSS software, basic statistical tests, and Pearson correlation analysis.

3.6 Basic information analysis

The 670 valid questionnaires were analyzed by statistical analysis. The gender of the visitors was mostly male (51.3%); the age group of 21–30 years old was the most common (32.1%); the education level of college or university was the most common (30.9%), as shown in Table 4 .

Sample background analysis

3.7 Analysis of attractiveness, satisfaction, and travel intentions of cultural tourism

3.7.1 analysis of tourism attractiveness.

The dimensions of tourism attractiveness include environmental landscape, cultural characteristics, cultural and creative products, tourism facilities, space capacity, marketing and promotion, tourism information, and prices [ 59 , 62 – 65 ] and can be explored in terms of scenery, climate, plant and animal resources, overall environment, history, museums, rural landscape, food, specialty products, festivals, accommodation, facilities, public toilets, parking, leisure space, media marketing, and other issues. According to the statistical analysis, the highest score in the environmental landscape issues was for beautiful scenery (3.73) and the lowest score was for environmental comfort (3.54); the highest score in the cultural characteristics issues was for traditional cuisine (3.62) and the lowest score was for rural scenery (3.55); the highest score in the cultural and creative products issues was for DIY experience activities (3.6) and the lowest score was for special itineraries and activities (3.48); and the highest score in the tourism facilities issues was for lighting equipment (3.62) and the planning of public toilets (3.54) was the lowest; in the spatial capacity issues, the accessibility of nearby scenic spots (3.61) were the highest and the parking lot capacity (3.55) was the lowest; in the marketing and promotion issues, Internet marketing (3.6) was the highest and the combination of school resources (3.5) was the lowest; in the tourism information issues, the tourist service center was the highest (3.59) and the emergency and medical equipment (3.55) was the lowest; in the price issues, the price was the lowest; and in the price issues, the price of renting transportation (3.56) was the highest and the number of attractions without tickets (3.47) was the lowest, as shown in Table 5 .

Analysis of the perception of cultural tourism attractiveness

It can be seen that tourists considered local cultural tourism to be more attractive in terms of traditional special cuisine, DIY experience activities, quality of lighting, accessibility to nearby scenic spots, Internet marketing, community associations and service center services, and price of rented transportation; while environmental comfort, rural landscape, special itineraries and activities, public toilet planning, parking capacity, combination of school resources, emergency and medical equipment, and the planning of no-ticket attractions were less attractive. The results are not consistent with Hypothesis 1.

3.7.2 Tourist satisfaction analysis

Tourist satisfaction includes dimensions, such as environmental landscape, cultural characteristics, cultural and creative products, tourism facilities, space capacity, marketing and promotion, tourism information, and prices [ 16 , 22 – 28 , 66 – 68 ], and can be explored in terms of scenery, climate, plant and animal resources, overall environment, history, museums, rural landscape, food, specialty products, festivals, accommodation, facilities, public toilets, parking and open space, and media marketing. Statistical analysis showed that scenery (3.63) was the highest and climate (3.55) was the lowest in the environmental landscape issues; heritage museums (3.6) were the highest and specialty food (3.56) was the lowest in the cultural characteristics issues; specialty products (3.56) were the highest and DIY experience (3.53) was the lowest in the cultural and creative products issues; tourism information (3.66) was the highest and lighting equipment (3.58) was the lowest in the tourism facilities issues; public transportation convenience (3.64) was the highest and parking lot capacity (3.58) was the lowest in the spatial capacity issue; mass media (3.59) was the highest and school resource combination (3.55) was the lowest in the marketing and promotion issue; signage and interpretive facilities (3.64) were the highest and community association service center services (3.56) were the lowest in the tourism information issues; and scenic spot prices (3.6) were the highest and the number of attractions without tickets (3.55) is the lowest in the price issues, as shown in Table 6 .

Descriptive statistical analysis of satisfaction

It can be seen that tourists felt good about the effectiveness of the current cultural tourism development planning in terms of scenery, heritage museums, special merchandise, tourism information, public transportation convenience, mass media, signage, interpretation facilities, and scenic spot price management; however, they felt poorly about climate, specialty food, DIY experience, lighting, parking lot capacity, school resource integration, community association service center services, and the planning of no-ticket attractions. The results are inconsistent with Hypothesis 2.

3.7.3 Analysis of revisit willingness

Intention to travel is a possible decision that can predict or plan whether to make a trip in the future [ 54 , 55 ], and the willingness to revisit may depend on loyalty to the attraction or tourist activity [ 55 ], usually resulting in the idea of revisiting, bringing a companion, or sharing information [ 56 , 57 ]. Statistical analysis showed that the willingness to participate in tourism activities again (3.65) was the highest and the willingness to visit again (3.59) was the lowest, as shown in Table 7 .

Descriptive statistical analysis of revisit willingness

It can be seen that after actually experiencing the post-cultural tourism activities, the tourists thought that if cultural activities were held in the future, they would have a higher influence on their willingness to revisit, but if only a visit was arranged, their willingness to revisit was low.

3.8 Correlation analysis of attractiveness, satisfaction, and willingness to revisit for Hakka cultural tourism

3.8.1 correlation analysis of tourism attractiveness and willingness to revisit.

Tourism attractiveness can induce a motivation for tourists to leave their place of residence and travel [ 60 ], and the higher the generated attractiveness, the greater the desire of tourists to revisit [ 59 , 62 – 65 ]. The PPMCC analysis showed that attractiveness had a significant effect on the desire to revisit ( p < 0.01), with the highest effect of environmental landscape on revisiting (0.708), participating in activities (0.724), and sharing experiences (0.655), as shown in Table 8 . The results were consistent with Hypothesis 4.

Correlation analysis of attractiveness and the willingness to revisit

Note: ** p < 0.01.

It shows that there is a correlation between tourism attractiveness and willingness to revisit, and the environmental landscape has the greatest impact. This indicates that the higher the attractiveness of Hakka cultural tourism, the stronger the willingness of tourists to revisit and spend, especially the effectiveness of environmental landscape planning. The results are useful for rural areas to develop planning objectives for emerging rural industries.

3.8.2 Correlation analysis of satisfaction and willingness to revisit

Satisfaction is a consumer’s evaluation of the product experience [ 66 ], and the higher the satisfaction level, the stronger the desire to revisit [ 16 , 22 – 28 ]. The PPMCC analysis revealed that there was a significant effect between satisfaction and willingness to revisit ( p < 0.01), with the highest effect of environmental landscape on revisiting (0.695), participating in activities (0.675), and sharing experiences (0.652), as shown in Table 9 . The results are consistent with Hypothesis 5.

Correlation analysis of satisfaction and the willingness to revisit

It can be seen that there is a correlation between tourist satisfaction and willingness to revisit, and the influence of the environmental landscape is the highest. This means that the higher the level of tourist satisfaction with the cultural tourism experience, the stronger the willingness of tourists to revisit and spend, especially if the environmental landscape planning is effective. These results may contribute to the creation of conditions for sustainable economic development in rural areas.

4 Discussion

4.1 the attractiveness of cultural tourism development in rural areas.

Tourism attractiveness can motivate tourists to leave home and spend money outside [ 59 , 62 – 65 ], and understanding the attractiveness of scenic tourism features can reveal even more the main motivation that tends to make tourists go and spend money. However, our analysis found that tourists’ perceptions of the attractiveness of local Hakka cultural tourism features are different.

Travel is one of the ways to relax during the COVID-19 epidemic when people’s mobility is restricted, their mood is depressed, and their quality of life and physical and mental health deteriorate [ 17 , 20 , 22 ]. Culture is the exchange and consensus of people’s ideas and knowledge. Hakka culture originates from a Han branch of China with traditional Han culture, rituals, and customs, as well as unique human history, food, art, and architecture. In addition, the slow pace of rural life, fresh environment, spacious roads, low cost of living, and affable residents are good images that tourists expect. Therefore, tourists find the local Hakka cultural tourism attractive in terms of the planning of special traditional cuisines, DIY experience activities, quality of lighting equipment, accessibility to nearby scenic spots, online marketing, services of community associations and service centers, and prices of rented transportation.

However, the general impression in rural areas is a low level of tourism facilities and public infrastructure, few local medical institutions, and a low level of sophistication in tourism decision-making. In addition, the urgent need for rural residents to enrich their income to improve their economic situation has resulted in criticism of the difference in the quality and price of tourism activities compared to surrounding goods. As a result, the attractiveness of the environment, rural landscape, special itineraries and activities, public toilet planning, parking capacity, integration of school resources, emergency and medical facilities, and non-ticketed attractions are low.

4.2 Satisfaction of cultural tourism development in rural areas

Tourist satisfaction refers to the comparison and evaluation between the expected experience goals and the actual experience of tourists when they travel to the village [ 16 , 22 – 28 ]. The analysis revealed that tourists’ satisfaction with the effectiveness of local Hakka cultural tourism development was not equally perceived.

We believe that although the epidemic has had a huge impact on tourism, rural areas are characterized by a low level of development, a long history, and a rich culture and tourism development is one of the major development industries in each country. To promote the effectiveness of tourism decisions, efforts have been made to improve transportation, use the media for marketing, establish tourism visitor centers, strengthen tourism development research, establish tourism signs, improve safety, establish inspection agencies and regulations, control prices, and protect consumer rights. Therefore, tourists think that the current Hakka cultural tourism development plan is effective in scenic spots, heritage museums, special commodities, tourist information, public transportation convenience, mass media, signage, interpretation facilities, and scenic price planning.

Although rural areas are rich in nature, with a pleasant climate and vast land resources, the changeable weather has become a major obstacle to tourism activities. In addition, the aging population and limited expertise and skills in local settlements have affected the development of cultural and creative products. The remote areas are too extensive and the quality and quantity of lighting facilities are poor. In addition, the local economy needs to be upgraded and residents want a significant amount of income to improve their standard of living. This creates business opportunities and increases consumption chances but also leads to an overabundance of commercial platforms, making tourists feel more stressed and even uncomfortable when spending money on tourism. As a result, visitors feel poorly about the local climate, specialty foods, DIY experiences, lighting, parking capacity, integration of school resources, community association service center services, non-ticketed attractions, and other features and development effectiveness.

4.3 Visitors’ willingness to revisit for cultural tourism development in rural areas

Revisit willingness is a prediction of consumers’ desire to plan another trip to participate in potential consumption behaviors such as travel activities and spending after the experience [ 54 – 56 ]. The stronger the desire to revisit, the higher the chance of planning or engaging in future consumption behaviors [ 56 , 57 ]. However, our analysis revealed that tourists’ perceptions of their willingness to revisit after participating in the Hakka cultural tourism experience were not the same.

We believe that because the Hakka culture and history, life style, cuisine, art, and architecture are still quite different and attractive, tourists consider local cultural activities as an incentive to revisit after their cultural tourism experience.

However, due to the similarity between Hakka culture and Han culture, the status and quality of rural landscape planning still needs to be improved. Therefore, tourists will not be willing to come if the future planning is purely cultural tourism routes.

4.4 Cultural tourism attractiveness, tourist satisfaction, and revisit willingness

The attractiveness of tourism provides tourists with motivation to visit [ 16 , 22 – 28 , 56 – 59 , 66 – 68 ]. On the other hand, satisfaction enhances positive feelings after a trip [ 60 – 65 ]. The higher the attractiveness of the trip, the stronger the desire to revisit [ 59 , 62 – 65 ]. The higher the travel satisfaction, the stronger the desire to revisit [ 16 , 22 – 28 ]. In our analysis, we found that tourists’ perceptions of travel attractiveness, satisfaction, and desire to revisit were positively correlated after planned and actual participation in Hakka cultural tourism.

We conclude that although Hakka culture originated from the Han Chinese, it has formed a unique Hakka language and cultural group under the influence of long-term migration, adaptation, and changing times and has produced independent cultural characteristics, such as human history, life and food, and art and architecture, which are highly valued by people. For people who are physically and mentally exhausted by the epidemic, exposure to different cultures, such as history, life and food, art, and architecture, is important to relax, increase knowledge, and broaden their horizons. Therefore, the tourist attractiveness, satisfaction, and willingness to re-tourist home cultural tourism activities show a correlation effect. Among them, the environmental landscape has the greatest influence, the higher the tourist attractiveness, the higher the satisfaction after the actual experience, and the stronger the willingness to revisit.

5 Conclusion

For the local government in this case

First, local governments should dig deeper into Hakka cultural resources and promote them through large-scale ethnic festivals or humanistic biographical performances. It is necessary to develop humanistic entertainment programs and build or maintain characteristic buildings and landscapes to strengthen the image of cultural tourism. To fill the talent gap for rural development, young people should be attracted or brought in from neighboring schools to work in related industries.

For enterprises

Local enterprises should maintain the existing natural ecology and rural environment, make good use of media marketing, and actively develop cultural peripheral products. In addition, humanistic experiences should be used to develop short-term tourism experiences to strengthen tourists’ identification with and love for local culture.

Follow-up research

It is recommended to first collect questionnaire information from residents to analyze differences in perceptions from the perspectives of different stakeholders. Physical and mental health or other questions could be used to enhance and track the impact of local development effectiveness. Relevant issues can also be applied to other ethnic groups, countries, and other regions to complete the research gap.

Author contributions: Conceptualization, HHL; methodology, HHL and JCL; validation, HHL, JCL, and IYC; formal analysis, HHL and JCL; investigation, IYC and SYL; funding acquisition, YHT and SYL; data curation HHL; writing – original draft preparation, HHL and IYC; writing – review and editing, HHL; visualization, HHL and IYC; supervision, HHL and YHT; project administration, TYL. All authors have read and agreed to the published version of the manuscript.

Conflict of interest: Authors state no conflict of interest.

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Creating the right conditions for, and engaging in, cultural tourism can bring new resources to the community. To help you get started, we have collected links to reports, toolkits, and associations related to the topic of cultural and heritage tourism.

REPORTS & TOOLKITS

• Arts & the Economy: Using Arts and Culture to Stimulate State Economic Development - National Governors Association, Jan. 2009
• State of Texas Tourism Partners - Texas Commission on the Arts
• Cultural Tourism Toolkit - Texas Commission on the Arts
• Cultural Heritage Tourism Survival Toolkit - National Trust for Historic Preservation
• Heritage Tourism Guidebook - Texas Historical Commission

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Home > Books > Tourism

Marketing Cultural Resources as a Tourism Product

Submitted: 20 June 2020 Reviewed: 03 September 2020 Published: 23 September 2020

DOI: 10.5772/intechopen.93869

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This chapter presents the marketing aspect of cultural tourism resources by taking evidence from Sidama, Southern Ethiopia. It identifies the major cultural tourism resources of Sidama, and assesses their market readiness state through the lenses of tourists. It also presents the profile of cultural tourists visiting endowments in Sidama using descriptive research approach. Brief introduction of marketing approaches to cultural tourism and a review of literature on cultural tourism products and cultural tourists is also provided. As to its significance, the chapter offers analysis of cultural tourism assets and their marketability as a tourism product in a developing destination context. Practical implications for sound cultural tourism marketing are also discussed in the chapter.

• cultural tourism
• cultural tourism products

Author Information

Amare yaekob chiriko *.

• MA in Tourism and Development, Hawassa University, Hawassa, Ethiopia

*Address all correspondence to: [email protected];, [email protected]

1. Introduction

Tourism has experienced unprecedented growth over recent years and in 2020, international tourist arrivals are expected to exceed 1.6 billion [ 1 ]. Cultural Tourism’s popularity is continuously increasing on a faster pace than most of the other tourism segments, faster than the growth rate of tourism worldwide [ 2 ]. Because culture is a key tourism asset [ 3 ]; the unique cultural offer provided by destinations has become a major driver and motivation for visitors worldwide, inspiring millions of tourists to visit new destinations each year [ 4 ].

According to [ 5 ], cultural tourism includes the unique features of a place which reflect its culture, history, or environment, and by their experiential nature, promote the rich tapestry of cultural traditions, ethnic backgrounds and landscapes. A cultural resource can be defined as any cultural feature, tangible (material) or intangible (non-material), available within a country, region or area, which makes a positive contribution to cultural tourism [ 6 ]. These resources are not cultural tourism commodities unless they transform themselves into products that could be consumed by tourists [ 7 ] because, in a marketing concept, a product is considered as anything that can be offered to a market for attention, acquisition, use or consumption that might satisfy a want or need [ 8 ]. Hence when culture as a product is brought into transaction in the market, it therefore is useful to analyze what is transferred to the consumer by the seller [ 9 ].

Although cultures exist independently and for reasons other than tourism, there is a clear role for tourism in the process of expressing culture and cultural difference [ 10 ]. Because marketing is a social and managerial process by which individuals and groups obtain what they need and want through creating, offering and exchanging the products of value with others [ 8 ]; the concept of product scope is extended to include anything, which is capable of satisfying a need. Culture as product would be consumed to satisfy the enhancement of knowledge need of tourists, who own the product culture during their experience of immersion in a cultural context [ 9 ].

Hence, cultural tourism product can be defined as anything that can be offered to tourists for participating in cultural tourism to satisfy their cultural needs and wants by using the cultural tourism resource as basis [ 5 ]. According to [ 11 ], the cultural tourism product can be defined as a composition of the core product and the additional product, being the general tourism product elements and the related tourist services (general tourist facilitates and services; and transportation infrastructure). In order to attract more tourists, cultural tourism providers always position their products uniquely by focusing on their core cultural element, whose elements include cultural tourism destination, cultural environment or cultural events which involve the special cultural themes and unique characteristics [ 7 ].

Though the emergence of cultural tourism as a social phenomenon and as an object of academic study can be traced back to the surge in post-World War 2 leisure travel, modern cultural tourism has only been studied in detail since the 1980s [ 12 ], after being recognized as a tourism category by the ICOMOS Charter of Cultural Tourism in 1976 [ 13 ]. Limited interest had been shown by academics, particularly in the social sciences, regarding the relationship between tourism and cultural heritage. However, over recent years, the inter-relationships between tourism and culture have attracted considerable scholarly attention [ 14 ].

Although the concept of culture appears to be complicated and multifaceted, it has been examined in a number of academic disciplines [ 9 ]. According to him, though such disciplines as anthropology, sociology, philosophy and management have analyzed the relationship between tourism and culture as a symbiotic combination generating cultural products or commoditized culture, little attention has been directed to the analysis of the characteristics of culture from a marketing view when culture becomes a product.

The first organized cultural tourism survey was conducted by European Association for Tourism and Leisure Education (ATLAS) in 1991 when it launched transnational cultural tourism project in Europe [ 13 ], Since then, interest has been growing in cultural tourism studies focusing on analysis of profile and behavior of cultural tourists, covering several destinations across Europe, US and Asia. Especially in Europe, several research publications [ 15 , 16 , 17 ] have come up on national, regional and local level cultural tourism scenarios, using ATLAS survey as a springboard. In Asia cultural tourism was studied in the context of religious tourism [ 18 ] while it drew attention in Africa from heritage and indigenous perspective [ 19 ].

After conducting baseline research on inter-linkages between tourism and intangible cultural heritage, [ 4 ] urged policy makers and academia for further research on marketing of cultural products in order to foster tourism development through the promotion of cultural heritages. Furthermore, [ 1 ] points to a number of areas of future cultural tourism issues including commoditization and marketing of culture. Out of global studies, research findings indicate that only gastronomy and culinary heritage are fairly well promoted by National Tourism Authorities (NTAs), while products based on oral traditions or knowledge of the universe require more attention [ 4 ].

This study focuses on the marketability of cultural tourism resources of Sidama. Sidama people are among the 86 nations and nationalities in Ethiopia, with their own culture and tradition. They their own unique administrative system called Luwa which plays an important role in solving every aspect of problems in the nation. The people of Sidama also have their own date counting method, calendar. The new year day, which is decided by traditional astrologers called ayanto, is called fiche, and was registered in 2015 by UNESCO as intangible cultural heritage. The new year fiche cambalala is colorfully celebrated in the state capital Hawassa and other parts of the area [ 20 ].

In Sidama, the extent of turning cultural endowments into marketable tourism products has not been researched. Little research work exists regarding promotion, in local and international media, of the cultural resources of local communities. Though fiche cambala , Sidama’s new year, is registered by UNESCO, the intangible products of rural lifestyle, music, dancing, local status, and other customs have not been assessed in academic enquiry with regard to their market readiness to end users and the profile of cultural tourists consuming them. Tourism related research works conducted in Sidama and its surroundings have focused on identification of cultural potentials; and conservation of heritages [ 21 ]. These studies, while capitalizing on exploratory aspects tourism and related sectors inquiry, have failed to specifically address culture and cultural tourism from a marketing perspective. This study was conducted to partly fill the gap apparent in this regard. The study objectives were two-fold: (1) to assess the market readiness of cultural tourism products of Sidama; and (2) to identify the major cultural tourists consuming cultural tourism products of Sidama.

2. Literature review

2.1 cultural tourism products.

The tourism product is complex as the varied elements of service, hospitality, free choice, consumer involvement, and consumption of experiences must be actualized in some way [ 22 ]. According to [ 23 ] people do not buy products for the sake of the product itself, they buy them for the benefits they provide or the problems they solve. Hence any discussion of products must be made from the perspectives of consumer.

From marketing perspective, the term product is defined as anything that can be offered to a market for attention, acquisition, use or consumption that might satisfy a need or want [ 24 ]; and by applying this to tourism context, [ 5 ] defined cultural tourism products as anything that can be offered to tourists for participating in cultural tourism to satisfy their cultural needs and wants by using the cultural tourism resource as basis”. According to [ 11 ], the cultural tourism product is composed of two products. First there is the core product, which is the major cultural tourism supply (monuments, cultural events, local culture and etc.) and the related specific cultural tourist services, such as information and education. Secondly there exists the additional product, which includes the general tourism product elements and the related tourist services (general tourist facilitates and services and transportation infrastructure).

Further extending the definition provided by [ 11 , 23 ] conceptually viewed products as having three levels: a core product which specifies the benefits of use, a tangible product which transforms these benefits into something to be consumed, and an augmented product that adds extra value.

According to them, the core product is the most important feature for it describes the core benefit or solution provided by its use. As they contend,

“It answers the questions of ‘what personal needs is the product really satisfying’ and ‘what benefits does it offer ME’? …… The appeal of adopting a marketing approach is that the core problem being solved can vary widely, even for largely similar products. This variation enables different providers to position their product uniquely according to the benefits being promoted.” ([ 23 ], p. 155).

The tangible product according to them represents the physical manifestation of the core product that facilitates the need satisfaction. They give examples detailing,

“It is the historic fort that is entered, the battlefield site that is visited, the museum that is seen, the cultural tour that is joined, or the festival that is attended. The tangible product is not the core experience provided. It is the means by which the core need can be satisfied.” ([ 23 ], p. 155).

The final level in their classification constitutes augmented products, which provide additional features above and beyond the tangible product that add value and facilitate easier satisfaction of the core need. It could be something such as a free shuttle to and from the hotel, the provision of umbrellas for rainy days, a souvenir at the end of a tour, or a money back guarantee.

Slightly different approach developed by [ 9 ], which is called ‘product culture model’ views cultural tourism products in terms of four elements. These are essence of product , which the consumer receives to fulfill a need; real product , which encompasses those features that distinguish a product from those in the market; processed real product, where marketing interventions via promotional materials are done; and additional product , which explain the additional benefits and services added to the core one. At the heart of the model is real product , which encompasses the five product lines: tangible symbolic representations, intangible symbolic representations, staged symbolic representations, replicated symbolic representations, and transferable symbolic representations.

It can be concluded that though several cultural tourism product definitions and models exist [ 19 ], almost all of them place culture at the heart of the models with learning being the major core product.

2.2 Cultural tourists

Cultural tourists are an easily recognizable market niche [ 25 ]; and in wide body of literature [ 23 , 26 , 27 , 28 , 29 ], they are highly regarded as visitors who tend to stay longer, spend more and travel in low seasons. In addition to this, they are also older, better educated, and more affluent than the traveling public as a whole [ 13 ] where women constitute a significant share. Furthermore, cultural tourists join in more activities than other tourists [ 26 ]. However, according to [ 30 ], these characteristics do not reliably represent cultural tourists; and as a result of this, there are several cultural tourism typologies [ 12 ].

The majority of cultural tourist typologies that exist these days are either adopted or elaborated versions of framework developed by [ 23 ]. This typology, which was tested in Hong Kong in 1999 and adopted widely by governmental and quasi-governmental agencies, identifies five types of cultural tourists based on centrality of trip purpose and depth of experience at destinations. First there is the purposeful cultural tourist to whom cultural tourism is the primary motive for visiting a destination, and the individual has a deep cultural experience. Then they identified the sightseeing cultural tourist to whom cultural tourism is a primary or major reason for visiting a destination, but the experience is shallower. The serendipitous cultural tourist is the one who does not travel for cultural tourism reasons, but who, after participating, ends up having a deep cultural tourism experience; while to the casual cultural tourist, cultural tourism is a weak motive for visiting a destination, and the resultant experience is shallow. Finally there is the incidental cultural tourist, who tourist does not travel for cultural tourism reasons but nonetheless participates in some activities and has shallow experiences. They concluded that most cultural tourists at a multi-product destination can be classified as casual or incidental; and that the share of purposeful cultural tourists at most places is quite small, meaning products must be geared for a tourist seeking a shallower experience.

These categorizations of cultural tourists reflect the difference between formal and more informal modes of learning [ 12 ]. This classification scheme by [ 23 ] is more comprehensive in that it incorporated deeper discussions on cultural tourist typology efforts that had been conducted previously [ 31 , 32 ] who entirely emphasized on motivation aspect. [ 31 ] for example identified three types of cultural tourists: the genuine cultural tourist, who chooses a holiday because of its cultural opportunities; the culturally inspired tourist, who makes a once in a life visit to a specific site or attraction; and the culturally attracted tourist, who would like a few cultural attractions at destination they choose for other reasons. This classification was more or less similar to ATLAS study that identified ‘specific’ and ‘general’ cultural tourists [ 26 , 33 ].

3. Methodology

Sidama Region is one of the 14 administrative states in Ethiopia. The region covers a total area of 72,000 square kilometers and is located in southern hemisphere around Equator in Horn of Africa at 6°14’N and 7°18’N latitude and 37°92′E and 39°19′E [ 20 ]. With the population of over 4 million inhabitants, the administrative structure of Sidama region constitutes 21 woredas (districts), 532 rural kebeles (counties) and 4 town administrations. With over 592, 539 households, the region has a population density 452p/km 2 , which makes it one of the mostly densely populated areas in the state [ 20 ]. The cultural and ethnographical riches of Sidama make it attractive to academic and industrial inquiries and this is the major reason the researcher was drawn to the study area ( Figure 1 ).

Map of Sidama region, Ethiopia.

This research adopted a descriptive research design employing a survey-based quantitative research approach. This is because quantitative approaches are common in cultural tourism research and have been in use since [ 34 ] work on the motivations of American cultural travelers. As [ 11 ] contend, the practice of conducting surveys of cultural tourists is well established in destinations around the world. This is mainly because of the advantages surveys provide in studying visitor activities, motivations, behavior and expenditure patterns. Surveys are also a useful means of monitoring trends over time. Several surveys in cultural tourism involve visitors and in most cases, foreign tourists [ 11 ].

Because including whole population in surveys is impossible or unfeasible due to factors associated with data management and cost [ 11 ], taking samples becomes a necessity. As the subjects of this study were international tourists to Sidama Zone, convenient sampling method was employed to target them. This was done with the view to catch cultural tourists as representatively as possible given the limited international visitor flow the area. Across the survey, questionnaire was administered to 375 international tourists who visited Sidama zone during the study period. The sample size of was determined by applying the [ 35 ] formula, n = N/1 + N(α 2 ); Where, n = Expected Sample Size, N = Population Size and α = Level of Confidence Interval 0.05 or 95% level of confidence, out of 8100 international tourists who visited Sidama in 2015/16 based on the data obtained [ 20 ].

The questionnaire was designed either as an interviewer-assisted or self- completion one; and questions were translated in to German and French in addition to original English versions. International tourists were approached for data collection after trips to cultural tourist villages and other cultural attractions in Sidama and on fiche cambalala festival. The data collection was conducted between January and October 2018 as these months embrace most cultural festivals which attract international tourists [ 20 ].

Data analysis was conducted on 302 questionnaires after 7 of them had been excluded because of partial completion out of a 309 collected papers. The data was analyzed using statistical Packages for Social Sciences (SPSS) version 22; and tables have been used to present outputs of processed data.

4. Results and discussion

4.1 demographic profile of tourists.

The inbound tourism market to Sidama is largely comprised by German and American tourists which together account for about 48% of the total sample. This is because Germany and USA are the leading tourist generating countries internationally [ 1 ] and according to Ministry of Culture and Tourism, Ethiopia also receives tourists from these countries in bulk [ 36 ]. Ethiopian Diaspora who constitute a significant portion of the county’s inbound tourism [ 36 ] largely live in these countries. Hence the same logical proportion is represented in tourist flow to Sidama. About 29% of tourists are from European countries other than Germany. Tourists in this group include nationals from Belgium, Denmark, France, Greece, Hungary, Netherlands, Norway, Slovakia, Spain, Sweden, Switzerland, Turkey and United Kingdom, which is a manifestation that traditional powers of USA and Europe remain the main tourist sources for Ethiopia in general and Sidama in particular, as opposed to other mature destinations receiving tourists from emerging BRICS, Arab and other Asian markets.

The gender distribution in the survey showed that the number of females exceeds that of males. According to Silberberg [ 32 ], women constitute an important part of cultural tourism market and this works for Sidama, an area endowed with cultural riches [ 21 ]. The survey also agrees with [ 26 ] observation that older tourists prefer cultural sites than the youth and children. With increase in age, people’s interest in culture increases prompting them to explore historic things and develop a greater understanding of the past [ 37 ] ( Table 1 ).

Respondent demographics.

Cultural tourists are better educated and more affluent than the traveling public [ 13 ]; and the same has been evidenced in the survey with about 71% of tourists attending graduate and/or postgraduate degree programs. This confirms the contention of [ 23 ] that there is direct correlation between education level and interest in such activities as cultural and heritage tourism. According to them, the desire to learn about things beyond one’s own backyard, to learn about alternative lifestyles and cultures, and to experience different things is directly related to educational levels. As illustrated by [ 38 ], cultural enrichment and self-enlightment inspire a better-educated global public. However, findings from the survey appear to be at odds with tourism literature that suggests cultural tourists tend to stay longer at a destination. Only about 3% of them have length of longer than 5 nights, which could be explained by lack of developed festivals and cultural routes in Sidama [ 21 ].

Tourist demographics in the survey reveal the exact resemblance of inbound visitors of Ethiopia in terms of nationality, gender, age, educational level and travel experiences.

4.2 Cultural tourism products of Sidama

This section presents the major cultural endowments in Sidama zone which are developed to a certain extent in order to be consumed by visitors in general and cultural tourists in particular. Discussion of major cultural attractions and perceived level of market readiness by tourists is provided. Survey and the resulting narrative discussion is based on sources from promotional booklet published by [ 20 ].

4.2.1 Fiche cambalala festival

In past, it is believed that Sidama nation had different political, cultural and ideological structure of its own, one of the major manifestations of this being fiche cambalala [ 20 ]. According to the zone’s department, fiche cambalala is a new year celebration and stands out as one of the most interesting holidays of Sidama. As it marks change of the nation’s calendar, it is celebrated in great feast and community rituals. All community members involve in washing away the old year by reciprocal change of meals in hamlet. The festival, which lasts nearly for two weeks, is believed to have been celebrated for about 2000 years and features the making and playing of cultural songs; dancing and chanting on various market places [ 21 ]. Fiche cambalala is often performed in two levels: household and community level. Household level celebration involves feast with neighbors and beatification of girls, boys and the elderly by home-made jewelries. At community level, locals, led by the elderly called cimeye, head to Gudumale Park in Hawassa to perform thanksgiving ceremony.

Local astrologers called ayyantos determine the date of new year by investigating the positions, movement, color, volume, directions of moon and stars. This is often done one month ahead of the festival as community elders begin month-long fasting. Declaration of the first day of first day of New Year ( fiche ) will be announced when the ayantos see close approximation of the moon to five constellations of stars with defined movements in relation to each other and to the moon [ 20 ]. The celebration at Hawassa Gudemale Park features the eve ( fiixaari hawarro ) and first day of the New Year ( cambalala ) where horsemen; boys, girls and the elderly appear decorated with jewelleries. Once the festival is over, there comes post cambalala event featuring elders’ dancing on “ shashiga ” day and girls playing “ hore ” dance.

The major finding from the survey is that fiche cambalala festival, Sidama’s new year celebration stands out cultural icon of the area (see Table 2 ). With a mean value of 4.61, fiche cambalala is judged by tourists as the most market-ready attraction of Sidama zone. Possible explanations for this include its registration in UNESCO under intangible cultural heritage in 2016 and the associated level of planning and marketing to the festival at varying levels. It is common among destinations that UNESCO registered heritages often attract more tourists and generate higher spending than non-registered counterparts [ 1 ].

Market readiness of cultural tourism products.

4.2.2 Sidama-Hanafa cultural tourist village

This tourist village is located 325 km South East of Addis Ababa, the nation’s capital, around Yirgalem town. The village was set up for community based tourism by Sidama Communication, Culture, and Tourism Department; and features specially designed tourist facilities that cater to benefit women, youth, and the physically handicapped section of society in the area. The village boasts such services as production and processing of Sidama cultural foods; traditional coffee ceremony; coffee collection; village trekking; bird watching; and hot and cold mineral spring water facilities. According to the department, the village provides tourists with participatory activities where they can take part in coffee collection, production and serving; and water fetching from nearby streams. Tourists can also experience guided excursions of nearby localities [ 20 ]. A mean value of 3.77 indicates that the village is among the tourist spots of the zone and its market readiness state relatively matches tourists’ judgment of a developed cultural tourist product. This confirms the contention that in cultural attractions of developing countries, products which offer collective and one-stop experience often get market appeal advantages over those with single attraction resources [ 3 ].

4.2.3 Sidama cultural house

Like many other traditional houses in Ethiopia, Sidama cultural house features two types of housing construction: highland and lowland houses [ 20 ]. There exists no much difference in house set up, style and interior design, except for the purpose they are built for (lowland houses are built with much ventilation openings). While both houses have heelicho (a pillar at the center), the highland house ( sheeka ) features the wall and its roof is constructed from the ground to the top, with the splinted bamboo wafted together like a basket. The lowland house has wooden walls with roofs thatched from the top to the ground with grass and its waft bamboo is wafted with sheath called “ honce ” [ 20 ]. With a mean value of 2.77, traditional Sidama house exhibits a modest level market readiness as a cultural product in the eyes of international tourists. Because the ultimate purpose of cultural tourists is learning [ 9 ], tourists prefer to visit tangible heritages out of which they make learning of concepts like construction. Traditional house of Sidama stands out to be a good example of this sort at the zone.

4.2.4 Built cultural resources

Attractions other than fiche cambalala festival, the Hanafa-Cultural village and Sidama traditional house stand at varying levels of market readiness stage as perceived by tourists. Among these are built resources which include Sidama Cultural Centre and Gudumale Park. Sidama Cultural Centre boasts resources in similar standings with Hanafa cultural tourist village; and exhibits collection of traditional costumes, cultural and historical ornaments. Currently the center serves as a mini-museum of Sidama. It lies on a huge park featuring statues of the zone’s heroes who lost their lives fighting for independence and freedom from ethnic oppression. The center also has an exhibition and bazaar staging corridor and a meeting hall decorated by paintings reflecting Sidama cultural clothes and other traditional riches [ 20 ]. The Centre does not match a minimum cultural tourist product state of market readiness as perceived by the tourists. An arithmetic mean value of 2.33 is a good indication here. Another tangible attraction belonging to this category is the Gudumale Park. An extensive park at the north-western shore of Lake Hawassa, Gudumale is the main venue of event staging for fiche cambalala festival [ 20 ]. It is also fenced with colorful walls and colons which demonstrate the different jewelries worn by girls, boys and the elderly in Sidama. Gudumale Park often hosts large-scale religious and sporting gatherings [ 21 ]. However, with a mean score of 1.47, it is rated not ready for market to be consumed as a cultural tourism product.

4.2.5 Countryside cultural resources

This category of resources includes traditional music and dancing; cultural foods and drinks; and traditional dresses. As product development and marketing normally go hand-in-hand, poor efforts exerted from development stage appear to hamper the amount and volume of marketing works in Sidama [ 21 ] and hence the result is poorly marketed countryside resources. Traditional music for example falls among these poorly marketed components. Despite a considerable growth and spread in the volume of production and promotion of authentic music in Ethiopia in general and Southern Ethiopia in particular [ 21 ], their packaging does not match the current demands of cultural tourists. Traditional dances (3.04), which are often performed and presented in fiche cambalala festival and other cultural events, seem to be at better market readiness than the music (1.54). This could be due to the participatory nature of dancing activities and their role in helping tourists get immersed in the culture being visited [ 39 ]. Other resources under this category include traditional foods and drinks which are served mostly in traditional restaurants in Hawassa and the surrounding towns. While dishes like Bursame , Chukame and Omolcho, all products of enset (false banana leaf common in Southern Ethiopia), are widely available in restaurants in Hawassa, traditional drinks are seldom served in bars. The short length of stay coupled with absence of tour packages involving cultural nights led to this modest level market readiness of traditional foods and drinks, which are rated with 3.11 mean score. Cultural dresses and other souvenirs do not make up a major part of tourist itinerary in Sidama, and mean value of 1.79 shows their market readiness as a tourism product is far below tourists’ expectation. The presentation and perception of cultural clothes and souvenirs as icons of culture in developed destinations [ 33 ], is not a case in Sidama.

4.2.6 Intangible cultural resources

Turning the discussion to the intangibles category, we find Sidama languages, arts and literature, which normally draw attention of learning-minded tourists [ 33 ]. These attractions, which are very difficult to measure and quantify [ 25 ], are regularly presented in Annual Sidama Cultural Symposium held every year in Hawassa. This resource appears to be of modest market readiness stage as a cultural tourism product with a mean value of 3.03.

Rural life style and cultural ceremonies are also among attractions at low market readiness state as cultural tourism products. Because trips to poorly marketed destinations in developing countries often avoid deep authentic experience of local and aboriginal communities [ 33 ], tourists end up getting only superficial holiday experience and hence their knowledge of rural life and other life ceremonies is limited [ 25 ]. In slight contrary to this result, brushing of enset , which is common and day-to-day household activity in southern Ethiopia, has a mean score of 3.71 and is in relatively better state of market readiness. Because cultural tourists demand blended products, they seek to experience demonstrations of traditional life style by visiting lodges and eco-lodges, which present commercialized versions rural life. For example market readiness state of eco-lodges found in Sidama, has a mean score of 2.99, reflecting a moderate tourist perception and impression. Lodges like Aregash Lodge and Blen Lodge, found around Yirgalem town, attract a reasonable share of cultural tourists to Sidama. In a similar accord, cultural ceremonies like weddings, funerals and rituals remain at poor market readiness level, with a mean score of 1.32. these ceremonies, which are often left out of tourist itineraries and are often organized to be presented to and performed before tourists, are thought lead to commercialization and acculturation of authentic traditions of societies [ 19 ].

To conclude, the majority cultural tourism attractions of Sidama are found at low level of market readiness state to be consumed by tourists as cultural products. Though few attractions including fiche cambalala , cultural icon of Sidama; Hanafa cultural tourist village; and enset brushing have relatively better score of market readiness, they merely constitute one-third of the areas’ tourist appeal. Most attractions ranging from rural life to cultural ceremonies; from music to rural lifestyle and traditional ceremonies; from cultural centers and parks to clothes and souvenirs all exist in poor state of market readiness. In between these two extremes lie moderately marketed attractions like cultural foods and drinks, and Sidama dancing.

4.3 Cultural tourists to Sidama: profile

The profile of cultural tourists was analyzed out of a survey which was mainly adopted from cultural tourist typologies model developed by [ 23 ]. To suit it into the context of Sidama as a cultural tourist destination, few variables related to visitor attributes were also incorporated. The first part of tourist profile presents the proportion of each cultural tourist component while visitor attributes as a cultural tourist are portrayed in the second section (see Table 3 ).

Cultural tourists to Sidama.

Study findings showed that the casual cultural tourists (33.77%), to whom cultural tourism is a weak motive for visiting a destination, and the resultant experience is shallow, make up the largest part of visitors. They are followed by the incidental cultural tourists (24.5%) , who do not travel for cultural tourism reasons but nonetheless participate in some activities and get shallow experiences. The share of serendipitous cultural tourists, those who do not travel for cultural tourism reasons, but who, after participating, end up having a deep cultural tourism experience, is 3.97%. Simple summation of these three typologies of tourists yields the finding that about 62% of international tourists have trip purposes other than culture while visiting Sidama. They are either motivated by natural riches of the area or are on a package tour covering cultural visit to South Omo tribes, the biggest recipients of Ethiopia’s cultural tourism [ 36 ]. As [ 40 ] contends, this group includes people traveling to a destination without a plan to visit a heritage site or any other cultural offering, but do so when some other factors force them to cultural visitation.

The rest 38% of tourists surveyed indicated that motives related to cultural tourism played an important role in visiting Sidama. This figure is closer to the percentage of tourists who consider themselves as being of culture holiday while visiting attractions in Sidama (35.43%). These tourists fall in either the sightseeing cultural tourists (22.51%), whose primary purpose of visiting Sidama is culture, but who ended having a shallow experience of the destination; or the purposeful cultural tourists (15.23%), to whom visiting cultural resources of Sidama is their primary purpose of trip while enjoying deep level of cultural experience at the same time. These are people who are ‘highly motivated’ and travel to a destination specifically because of, for example, its museums, cultural landscapes, churches or festivals [ 40 ].

Though learning is a primary motive of cultural tourists in standardized destinations [ 9 ], problems of proper destination development and marketing in Sidama zone have appear to show an opposite figure. This is manifested in small number of tourists who learned few Sidama language words/phrases out of trip (17.88%); and who tasted cultural foods and drinks of Sidama. This is mainly due to the very short length of tourist stay in the area and the resulting shallow touring experience of attractions [ 41 ].

Findings from typologies of cultural tourists to Sidama area reveal two main conclusions. First over one-third of tourists to the area could be regarded as cultural tourists. But to the significant majority of them, cultural tourism plays no role in their decision to visit Sidama. In fact, the share of those tourists, to whom cultural tourism is the primary trip purpose and who have deep experience, is very low [ 42 ].

5. Conclusion

The current study has found that the inbound tourism market to Sidama is an undeviating reflection of Ethiopia’s international tourism industry in terms of nationality and other demographic indicators. Except for length of stay, the variables of gender, age, and level of education conform to what the wider literature of cultural tourism depicts about tourists. Regarding marketability, the findings uncovered that most of cultural tourism products of Sidama exist at low level of market readiness. The few exceptions in this regard include fiche cambalala festival, Hanafa cultural tourist village, and enset brushing ceremonies. As far typology of tourists is concerned, cultural tourist flow to Sidama is largely characterized by holidaymakers to whom cultural tourism plays no role in their visitation decision making. As an opening inquiry in to marketability of cultural tourism assets in Ethiopia, the study provides significant theoretical and practical implications. From theoretical point of view it analyses cultural tourism assets and their marketability as a tourism commodity in a developing destination context. Practically, study findings offer helpful inputs to governments and destination marketing practitioners in Sidama to make the cultural tourism resources of the area market-ready and learn profiles of tourists consuming them. Academia and future researchers especially in tourism, marketing and anthropology disciplines are encouraged to undertake thorough analysis into cultural tourism through, for example, segmentation of tourists, typologies of cultural tourism products; level of efforts exerted in product development and marketing in Sidama and Ethiopia at large.

Acknowledgments

The author would like to thank Hawassa University, Ethiopia for funding this study through its NORAD (HU-NIMBU-IV) project.

This book chapter is a modified version of an article published in African Journal of Hospitality, Tourism and Leisure (2020), Volume 9, Issue 1 as “Assessing the marketability of cultural resources as a tourism product: a case of cultural tourism resources of Sidama, Ethiopia”.

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