ARTS, CULTURE and TOURISM: PARTNERSHIPS and CHALLENGES. Donald Getz, PhD. Professor, Haskayne School of Business, University of Calgary, Canada

Transcription

1 ARTS, CULTURE and TOURISM: PARTNERSHIPS and CHALLENGES Donald Getz, PhD. Professor, Haskayne School of Business, University of Calgary, Canada 1

2 TOPICS and KEY POINTS 1. What is Arts and Cultural Tourism? 2. Partnerships: the Challenges 3. Its All About Experiences! 4. Conclusions and Practical Advice 2

3 PART 1: WHAT IS ARTS TOURISM? CULTURE AND THE ARTS Artists and people of significance Places with significance Lifestyle Visual arts Performing arts (theatre/events) Literature Design and architecture Installations and temporary art Cuisine Marketing culture and the arts to tourists. Developing and marketing destinations through culture and the arts TOURISM Attraction Image maker Place marketing Catalyst Animator 3

4 Five Key Roles of Culture, Arts and Events in Tourism and Economic Development PLACE MARKETING -create positive images -improve quality of life -attract residents and investors TOURIST ATTRACTION -attract quality tourists -spread demand -increase visitor spending and length of stay IMAGE MAKER -for attractions, resorts, destinations -create and enhance themes -combat negative imagery CATALYST -stimulate infrastructure -assist urban renewal -stimulate business/trade -support other attractions ANIMATOR -encourage first and repeat visits at facilities, resorts, attractions 4

5 DEFINING ARTS AND CULTURAL TOURISM Source: G. Richards, Cultural Tourism in Europe (2000) Within Europe, the European Commission and the Association for Tourism and Leisure Education (ATLAS) definition of cultural tourism is still used: All movements of persons to specific cultural attractions, such a heritage sites, artistic and cultural manifestations, arts and drama outside their normal place of residence The movement of persons to cultural attractions away from their normal place of residence, with the intention to gather new information and experiences to satisfy their cultural needs. 5

6 DEFINING ARTS and CULTURAL TOURISM Adapted From: McKercher and du Cros 2002 OPERATIONAL Defined as visits to arts/cultural sites or events; But, observable behaviour says nothing abut motives, experiences and benefits. TOURISM-DERIVED Defined as a form of special interest tourism. Arts and art events are viewed as attractions or products to be packaged and consumed. 6

7 DEFINING ARTS and CULTURAL TOURISM Adapted From: McKercher and du Cros 2002 MOTIVATIONAL Defined by trip motives and benefits sought. This approach implies that tourists know what is a cultural or arts experience. Only specific, self-identified trips would be considered to be arts/cultural tourism (e.g., traveling to a festival, gallery or exhibit). EXPERIENTIAL Defined by personal constructs related to the meaning of the arts/cultural experience. This approach has the broadest scope because arts/cultural experiences can potentially be obtained for all tourists, during all forms of tourism and at all planned events (including business events). 7

8 The various forms of arts and cultural attractions can be arrayed in a continuum from passively seeing or being entertained / informed, to actively participating and even creating one s own experiences. -seeing (spectacle) -being entertained -being informed -being active -engaging with events -sharing with a community of interest -learning and enjoying through creativity -producing unique experiences oneself -self transforming 8

9 Static Art, Architecture and Installations Aesthetic appreciation. To a tourist its just sightseeing unless interpreted, or brought to life through events. Develop themes and tell stories about the art and the place. 9

10 PASSIVE ENTERTAINMENT Most performances need only be passively enjoyed. Usually there is no attempt to educate or interpret. 10

11 Periodic and One-Time Festivals and other Cultural Celebrations or Rituals PARTICPATE or SPECTATE One s level of engagement depends on motives and opportunities to learn, have fun, enjoy the spectacle, connect with one s roots, make a pilgrimage 11

12 Creative Experiences The creative experience is both educational and self fulfilling. Creative experiences are highly sought after by those with high levels of involvement and by teachers and parents! 12

13 An Arts and Cultural Tourism Portfolio for Destinations A classification of arts and cultural elements based on their touristic appeal and economic value. Destintations need a full portfolio of arts and cultural attractions and events. To cover the entire year, the whole area, and all main target marget segments. 13

14 THE PORTFOLIO APPROACH A portfolio of events by type, season, target markets, and value OCCASIONAL MEGA-EVENTS High Tourist Demand and High Value PERIODIC HALLMARK EVENTS Possible measures of value: -economic -social -cultural -environmental High Tourist Demand and High Value REGIONAL EVENTS (Periodic and one-time) Medium Tourist Demand Medium Tourist Demand or Medium Value or Medium Value LOCAL EVENTS (Periodic and one-time) Low Tourist Demand Low Tourist Demand and Low Value 14

15 Occasional mega events (that will motivate travel) Permanent arts and cultural attractions (which can motivate travel) Events and attractions that are mostly for residents but will also appeal to visitors 15

16 PART 2: ARTS AND TOURISM PARTNERSHIPS Forms of collaboration, partnership and alliances: 1) Working with tourism to market arts and cultural products as tourist attractions. 2) A consortium of arts and cultural institutions marketing themselves (a marketing alliance or network). e.g., Art/Culture trails or routes to encourage travel. 3) Arts themes, image-making and/ or cultural branding strategies for destinations. 16

17 Council of Europe Cultural Routes The Cultural Routes programme was launched by the Council of Europe in The initial concept was to demonstrate in a visible way, by means of a journey through space and time, how the heritage of the different countries of Europe represented a shared cultural heritage. The main aims are: to raise awareness of a European cultural identity and European citizenship, based on a set of shared values given tangible form by means of cultural routes retracing the history of the influences, exchanges and developments which have shaped European cultures; to promote intercultural and interreligious dialogue through a better understanding of European history; to safeguard and enhance the cultural and natural heritage as a means of improving the quality of life and as a source of social, economic and cultural development; 17 to give pride of place to cultural tourism, with a view to sustainable development.

18 CULTURE AVENUE On the Cultural Avenue you can visit 19 museums, theatres showing a wide range of repertoires, the Opera House, the Basilica, the Synagogue, the Amusement Park and the Zoo. You can choose from the rich selection according to your interests. The Cultural Avenue lies on the most significant axis of Budapest between the Buda Castle (which is listed as a World Heritage site) and the Városliget (City Park). Along this axis you can find Budapest's most famous cultural institutions, theatres, cafés and confectioneries, as well as the entertaining quarter of the City Park. 18

19 Festival of Voices is a 4 day mid winter celebration of the voice that will warm you from inside to out. Centred in and around Hobart's historic Salamanca Place and waterfront area the Festival is for passionate individuals, singing groups and choir. Based on participation the festival offer opportunities for learning, performance and celebration. Art forms are crossed to create unique experiences for participants and audiences alike. The winter intensive workshop program, delivered by inspiring Australian teachers of the highest calibre, culminate in a series of performances. On the weekend the Festival opens its arms and celebrates the voice with the wider community in song, performance, cabaret and hearty gatherings. 19

20 The Toronto Entertainment District, North America's most diverse entertainment destination and neighbourhood, it is the vibrant home to hundreds of restaurants, nightclubs, sporting facilities, boutiques, hotels, attractions and live theatre. Located in the heart of downtown Toronto, "The District" encompasses eight square blocks and offers an array of activities for locals and visitors alike. 20

21 There's a commitment to the cultural sector, which is being backed up by money, said Beth Gignac, manager of the city's arts and culture division, who herself moved to Calgary only last July from the Toronto area. 21

22 LITERARY DUBLIN Dublin Literary Pub Crawl This is an award-winning show that crawls from pub to pub with professional actors performing from the works of Dublin's most famous writers - Joyce, Beckett, Oscar Wilde, Brendan Behan and many more. 22

23 CHALLENGES Tourism usually dominates. Tourism needs and exploits arts and culture, whether or not they participate! Arts are often weakly organized. There is a need for co-ordinated arts tourism strategies at local, regional and national levels. 23

24 Stokes ( 2005) Frameworks for events tourism strategy making FRAMEWORK CORPORATE, MARKET-LED SYNERGYSTIC COMMUNITY, DESTINATION-LED FOCUS Bidding on events, and related marketing Integrated strategies for major new and existing events Some priority given to new and existing local events ORGANIZATIONAL STRUCTURE One or two agencies; mostly corporate and governmental input State agencies assume leadership, with a balance of stakeholders Strategies initiated by state or local groups to gain widespread engagement PROCESSES AND PEOPLE An inner circle is relied upon Business and community input is facilitated A collaborative process by many stakeholders DECISION CRITERIA Market criteria prevail; economic goals Market and community driven; non-economic goals are also valued Economic criteria may be diluted by broader social, cultural and environmental concerns 24

25 UNBALANCED COLLABORATION Arts and Culture TOURISM- CENTRED NETWORK Accommodation Private Attractions Travel Events 25

26 PARTNERSHIP (BALANCED NETWORK) GALLERIES, MUSEUMS, ARTS CENTRES COMMUNITIES AND ROUTES ARTISTS ARTS TOURISM NETWORK EVENTS TOURISM 26

27 PRE-CONDITIONS TO FULL ARTS AND TOURISM PARTNERSHIP Sell the benefits of partnering with tourism. Establish a coherent, effective arts tourism network at local, regional and national levels (i.e., gain legitimacy). Specify the benefits to be gained by the arts; have a strategy. Negotiate from strength (i.e., key stakeholders are all supportive). 27

28 ELEMENTS OF THE ARTS TOURISM STRATEGY Obtain necessary funding and other support from tourism. Secure an effective and authentic role for Arts in destination branding and marketing. Equal participation in tourism decision making. Ensure necessary research and evaluation. 28

29 The Norfolk Arts Partnership is a new collaboration between Norfolk's local authorities and Arts Council England East. Between January 2005 and September 2007, the Partnership aims to deliver a 750K programme of work that will increase the use of the arts as an effective tool for community development in Norfolk (the creative change programme); and boost cultural tourism into the county (the arts-based tourism initiative). Actions Support Norfolk Tourism's brand marque Norfolk: time to explore - by enhancing the emotional appeal of mainstream marketing materials. 29

30 CONCLUSIONS FROM PRODUCT (PASSIVE EXPERIENCE) TO PARTICIPATORY EXPERIENCE TO CREATIVE EXPERIENCE -seeing (spectacle) -being entertained -being informed EVOLVING ART AND CULTURAL EXPERIENCES -being active -engaging with events -sharing with a community of interest -learning and enjoying through creativity -producing unique experiences oneself -self transforming 30

31 KEY POINTS Culture and the arts are vital to tourism. Arts and cultural institutions and groups can benefit from tourism, but must have clear goals and strategies. The typical arts-tourism partnership is not balanced. Arts and cultural groups must be strongly networked in order to influence tourism policy, strategy, marketing and development 31

32 KEY POINTS Increasingly, people want and will travel for unique experiences. Arts and culture need to evolve from being static products and passive experiences to being participatory and creative experiences. Unique, memorable and transforming arts and cultural experiences can be developed using a variety of interpretive tools and elements of style. Service delivery and the setting are also crucial in facilitating experiences. END 32

33 PART 3: THE ARTS and CULTURAL TOURISM EXPERIENCE It is the age of experiential leisure and travel. The so-called Experience Economy prevails. People want to enjoy with all their senses, learn, and be transformed by their experiences. Participation, involvement and engagement are the key words. Creativity and the creative society are the newest buzzwords. 33

34 Pine and Gilmore: The Experience Economy, 1999 Their model includes four realms of experience. People are absorbed in the experience when the performance occupies our attention and is brought into our minds. Immersion is when the person is physically or virtually into the experience. 34

35 WHAT DO TOURISTS WANT? In a survey of visitors to Ireland, respondents were asked to make suggestions about other cultural activities/factors that would influence a greater level of attendance at artistic performances. The majority suggested that experiences of traditional Irish culture, sites of historic significance, and more live performances should be included on their tours, either as part of the program or as elective options. Another suggestion was to provide a sample of a live performance to encourage attendance at paid performances [Tourism & The Performing Arts in Ireland, 2004]. 35

36 Classification Based on Meanings Attached to Arts and Cultural Experiences - educational (learning about irish life and culture) - creative (actually doing something artistic) - social: sharing with a community of interest - pilgrimage (the site or event has special significance) - connecting with one s heritage or roots - hedonism (fun, entertainment, pleasure) - aesthetic appreciation (sensory and emotional) - challenge and mastery (self actualisation) 36

37 Ego Involvement and Special- Interest Travel In sports, culture, lifestyle and the arts, only some tourists are motivated primarily by their interest in the specific attraction or event. The highly involved, special-interest traveller is however of great importance in that they can be motivated to travel because of a particular attravtion/event. They tend to develop travel careers based on their special interest. The highly involved arts/cultural tourist has different expectations and needs, develops a sense of community with others who share their interest, and looks for personally rewarding experiences. 37

38 What Are Arts Experiences? Experiences should have three dimensions; conative (behaviour); affective (emotion); cognitive (intellectual) 1) CONATIVE: Behaviour or activity with intent: -seeking unique, rewarding cultural experiences; requires engagement 38

39 2) COGNITIVE Learning about culture, different people, lifestyles. awareness perception memory learning reasoning judgement aesthetic appreciation introspection and self discovery fantasy transformation (in terms of identity, values, attitudes, behaviour) 39

40 3) AFFECTIVE Emotional Engagement A sense of Belonging and Sharing with people of other cultures host-guest interaction immersion in a culture 40

41 A MODEL OF THE PLANNED EVENT EXPERIENCE Antecedents: -needs, motives, and expectations; mood -preparation Separation Valorization Rituals Entry Statements The Liminal / Liminoid Zone (Time out of Time; A Special Place) Conative, cognitive and affective dimensions of experience, modified by level of involvement /engagement -changing needs, motives, expectations Reversion feelings of loss, renewal, transformation -event careers (involvement,specialization, serious leisure) 41

42 EVENTS AND OTHER ARTS EXPERIENCES: FOUR DESIGN DOMAINS 1. THE EVENT SETTING 2. THEME AND PROGRAMME 3. SERVICE DELIVERY 4. CONSUMABLES 42

43 DESIGNING THE EVENT SETTING For ARTS and CULTURAL EXPERINCES Cues are needed to suggest appropriate behaviour e.g., how tourists can mix with residents. Interpretation is needed to indicate the cultural significance of the setting, to aid in its aesthetic appreciation. Use of historic and cultural precincts 43

44 2: DESIGNING THE THEME AND PROGRAMME Theme: a unifying idea or design concept which gives meaning to the event the object of celebration or commemoration the main message guests are to assimilate Programme: the schedule of audience activities (service blueprinting) scripted performances intended experiences that arise from engagement 44

45 LEARNING Information Interpretation Involvement 45

46 THEMATIC INTERPRETATION People remember themes far easier than they remember facts. If event designers tap into universal belief systems they can more easily communicate with audiences, and audiences both need and want meaningful experiences as opposed to simple entertainment. Thematic interpretation aims to create visitor experiences that have lasting impact, translating into higher levels of satisfaction, positive word of mouth, sales, and repeat visits. It is best described as strategic communication. Source: Dr. Sam Ham, Anna Housego and Betty Weiler (May 2005). Tasmanian Thematic Interpretation Planning Manual. available online at 46

47 THEMATIC INTERPRETATION While event guests and customers might not remember all the activities or information provided, they should be provoked into reflection and involvement by the main theme so they can make their own meanings from, and about the event, the place, and the time they spent there. Using both tangibles and intangible elements (such as symbols and emotional engagement) in interpretation makes for more powerful theming. 47

48 Interpretation Tools, or Media Guides who interpret the setting, performances, food and beverages, as to their cultural significance. Signage: not just directional, but explanatory; impressive entry statements. Printed Information: programs and souvenir material. Websites (informing and preparing potential visitors; before and after augmentation of the event experience). School-oriented programs, integrating events with the academic curriculum. Audio-visual presentations (slide shows, videos, sound). Interactive Displays: hands on exhibits, computer simulations, talking robots. Live interpretation : including performances and storytelling. Direct involvement by guests or experiential learning (learn by doing). 48

49 TELLING STORIES To interpret the arts and culture As an art form in itself (with professionals, amateurs and events) 49

50 ELEMENTS OF STYLE IN CREATING EXPERIENCES These elements of style can be combined in unlimited permutaions to create unique events and experiences. Some are passive, some require participation. Creativity can be incorporated into many of them. 50

51 CELEBRATION The very essence of festivity is celebration. Celebration requires a theme or subject. May be fostered by ritual, symbolism, emotional stimulation, authenticity. Issue: one-person s cause for celebration is potentially another s cause for resentment. 51

52 RITUAL Ceremonies Symbolism Costumes Traditions Issues: -authenticity -exploitation versus preservation -the need for interpretation 52

53 AUTHENTICITY Historical and cultural accuracy or truth. All cultural celebrations should be authentic, but who determines if something is authentic? 53

54 SENSORY STIMULATION Sight Touch Smell Taste Hearing 54

55 PERFORMANCE AND ENTERTAINMENT - Any show or activity designed to entertain - Edutainment combines education and entertainment Issues: -Some people confuse entertainment with celebration. -Entertainment is passive; often fails to get people involved 55

56 SPECTACLE Visual, larger than life displays Many forms of entertainment are spectacular Issue: spectacle tends to overshadow more serious event content; can prove to be superficial and distracting 56

57 Theory of Spectacle Spectacles are things to be seen, with both visual sensory and symbolic codes. Spectacles must be grand, dramatic, or huge. There is no spectacle without actors and audience, or performers and spectators. Spectators must be excited by the spectacle, or otherwise emotionally moved. John MacAloon, regarding the Olympic Games, argued that of the genres of cultural performance, spectacle and game appeared first, then festival and ritual. The Olympics, said MacAloon (p. 245), must be seen, and seen in person, to be believed. Host cities are transformed, animated. The scale and intensity of the overall experience cannot be captured on television. MacAloon, J. (1984). Olympic Games and the Theory of Spectacle in Modern Societies. In Rite, Drama, Festival, Spectacle: Rehearsals toward a Theory of Cultural Performance. Institute for the Study of Human Issues. Philadelphia. J. MacAloon ed. 57

58 AESTHETIC APPRECIATION Enjoying beauty for its own sake. Should be enhanced by interpretation. 58

59 3: SERVICE DELIVERY It is more than service quality. Staff and Volunteers as the cast (theming and entertainment; spectacle; performance) Staff and volunteers as cultural ambassadors (representing their culture) and facilitators of meaningful host-guest engagement. 59

60 STAFF AND VOLUNTEERS As service providers (technically proficient; helpful and responsive) As experience facilitators As symbols and interpreters of culture. 60

61 4: CONSUMABLES Food, beverages and gifts as cultural artifacts and expressions. Interpretation of authentic cuisine is essential. 61

62 CREATIVE TOURISM EXPERIENCES Source: Richards and Wilson, 2006 Creative Tourism Is engaging and interactive Learning while doing Inventing, imagining, fantasizing Artistic Creation Interacting socially and meaningfully with a community of interest Assigning one s own meaning to the experience; a narrative or story told by the participant They embody a sense of place, a unique atmosphere that provides competitive advantage; creatively utilizes destination assets 62

63 Greg and Crispin define 'Creative Tourism' as: "learning a skill on holiday that is part of the culture of the country or community being visited. Creative tourists develop their creative potential, and get closer to local people, through informal participation in interactive workshops and learning experiences that draw on the culture of their holiday destinations" They see Creative Tourism as a development from cultural tourism. While cultural tourists visit countries to learn about their culture, this learning process is generally fairly passive: walking around museums and galleries, visiting historic buildings and monuments, attending artistic and cultural events. Most of the experiences they sample do not encourage them to express themselves. They are more likely to be observers than participants. 63

64 ART MAORI CULTURE TASTE NATURE 64

65 Arts in the Wild is an alliance of some 23 arts organizations and tourism operators based in Ontario. Capture Nature s splendour with professional painters, photographers, sculptors and artisans offering unique art experiences in the great outdoors. Choose from traditional media such as painting, sketching, sculpting, photography or explore other creative arts such as woodcarving and Aboriginal arts. Tailored for the novice and master alike, Arts in the Wild makes creativity accessible for all by providing a selection of one-day wilderness programs to multipleday excursions located across Ontario. 65