essay on cultural tourism

What is cultural tourism and why is it growing?

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.

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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• Tourism Essay Examples Guide: All You Need to Know About Writing, Analyzing, and Researching

A student who’s given the task of writing a tourism essay might feel a little confused. Their memory flashes with bits of images, smells, and emotions. Yet, they must also take care of the structure, research, storytelling, and format. That sounds a bit overwhelming, doesn’t it?

But don’t worry; we’ve got you covered. You will find the best tips on writing tourism essay samples as well as the principles of performing an analysis of tourism essays in this article.

Understanding Tourism Essay Examples: Differences, Structures, and Topics

Before we jump right into the effective tourism essay examples, let’s delve into exploring the topic first. How does a tourism essay differ from any other type of paper? Tourism essay examples differ from other essay types because they combine several styles. T ourism essay examples are a type of writing with the qualities of narrative, descriptive, reflective, and analytical essays.

A few important tips for writing impactful tourism essay examples

Now, if you aim to craft an effective tourism essay structure, you must consider a few points first:

• Tourism essay topics. Obviously, the most exciting quality of a tourism essay is the possibility of sharing your experiences. The tourism essay format encompasses a wide range of topics, including giving reviews of guided routes, sharing experiences, and describing landscapes.
• Cultural tourism essay specifics. Any given tourism destination is more than just a building, a place, or a culinary recommendation. A good dive into a place’s meaning for the local community and the whole area or state is what makes a tourism essay example effective.
• Research in tourism essays . Research in tourism essays differs from any other types of research in its goals, means, and tools. For instance, research for a tourism essay requires looking for narratives and unique perspectives on a place rather than presenting scientifically proven data.

Evaluating the structure of tourism essays: What counts

On the matter of structure, tourism essays usually follow the storytelling formula. You need to present the visual details or a piece of your initial experience of the trip, followed by the development of the plot and the final words regarding your experience. In general, the structure is completely up to you as long as it’s filled with your genuine impressions!

A quick recommendation for dissecting effective tourism essays

To analyze tourism essay examples effectively, you need to ask yourself if the text sparks a feeling of excitement as you read it. Is your brain already navigating the path you will take by following the writer’s steps? Do you find yourself daydreaming about the light ocean breeze spilling out of the pages of the essay? Do you feel like you know the people described as if they were standing in front of your eyes? No? It is not an effective essay, then. The true impact of tourism essay captures the heart, imagination, and deep adventurous desires of the reader.

Exploring cultural narratives in tourism essays: How to avoid cultural deafness

One of the challenges of writing tourism essay samples is staying attentive to cultural issues. For instance, storytelling in tourism essays might include your experiences of and perspectives on tourist destinations or the local culture. However, you must be aware of the local cultural challenges to avoid offensiveness and rudeness in your crafting.

In fact, showcasing tourism narratives ethically only takes two easy-to-follow steps. Let’s break them down.

Step one: Showcasing diverse perspectives in tourism essay examples

Imagine this scenario: While traveling in India, you saw mesmerizing markets with spices. The scents of coriander, cardamon, cumin, and cinnamon formed a subtle trail around you as you went through the small market alleyways, feeling like a character from the tale of Aladdin. However, you also faced some disturbing images of poverty, harsh and exploitative underage labor, and shocking unsanitary conditions. How will you describe this experience in your essay?

Tourism essay samples can include diverse narratives to portray any culture as it is: colorful, fascinating, and complicated. Do not underestimate the impact of your small piece of content on the global image of the culture portrayed. Writing tourism essay examples means letting other people see the place with your eyes. Such storytelling examples have a great impact.

Step two: Incorporating research and data in tourism essays

One way to ensure your storytelling is culturally relevant is to mix and check your writing with other data. Here is how you can incorporate research into your tourism essay example:

• Analysis first. The analysis of tourism essay cultural material includes considering what topics might be sensitive for locals or people visiting the place. For example, people visiting British museums must know of discussions about cultural appropriation in the former empire.
• Fruitful details. The main goal of effective tourism essay examples is to deliver the reasons why the particular tourism paths or places are worth it. The best way to do this is to get the storytelling pieces from locals, which will significantly advance your writing. Nobody knows the place better than those inhabiting it.

The art of crafting compelling tourism essay examples

It is surely nice to get all these tips. But we know you are also looking for good tourism essay samples. Let’s look at a short yet effective example of traveling storytelling:

A Weekend in Italy: No rush, caro mio

Spending a weekend in Italy is like stepping into a vivid painting. If Italy were a painting, only God could be its likely author, as each brushstroke of its streets is filled with vibrant colors, tantalizing aromas, and mesmerizing textures. The first thing you notice after stepping out of the hotel lobby is the air heavy with the scent of freshly baked bread and rich espresso. I haven’t even gotten close enough to tell you about gelato yet! What a shame! But let’s sort everything out.

My main destination was Rome, of course. The city’s rich history is palpable in every monument and cobblestone street, each piazza a stage where history unfolds before your eyes. As you tour around the Colosseum, Trevi Fountain, and Roman Forum and search for a place to have a true Italian pizza, you may get a little frustrated at first. This frustration comes from the realization that you can precisely distinguish tourists from locals.

And no, it was not due to the camera slung around their necks or the maps in their hands. The concept of “la dolce vita” in Italy means that life moves slower. You are not likely to get anything from the grocery stores between 12:30 to 15:30. Even the flies seem to move much more lazily, so the tourists are the only ones rushing out of habit. However, this is the lesson Italy taught me. No rush, caro mio. Relax and feel this life for once.

Italy, with its rich tapestry of sensory experiences, left me with memories as vivid as the colors of its landscapes and as rich as the flavors of its cuisine. Yet, here is the only phrase I learned by heart: “Fa’ pure con calma, non c’è fretta,” which means that nothing is more important than enjoying your life, especially if you happen to be in Italy.

Top three tips for analyzing storytelling techniques in tourism narratives

Let’s get to it quickly. Here are three extra tips for crafting impactful tourism essay examples through storytelling. In fact, you only need to ask three questions:

• Is the storytelling personal enough? If not, how do I make it more personal?
• Does it have a plot? Each story must have a plot, even if it’s short.
• Do I see the place clearly in my imagination through the author’s eyes?

Yes, it is that simple! So, no more trouble with writing your tourism essays; grab everything you need from here, and good luck with your writing and actual adventures!

• Writing Help

UN Tourism | Bringing the world closer

Ethics, culture and social responsibility.

• Global Code of Ethics for Tourism
• Accessible Tourism

Tourism and Culture

• Women’s Empowerment and Tourism

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

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

UN Tourism Framework Convention on Tourism Ethics

Article 7, paragraph 2

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

About Cultural Tourism

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

Recommendations for Cultural Tourism Key Players on Accessibility 

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

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

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

Download here the English and Spanish version of the Recommendations.

Compendium of Good Practices in Indigenous Tourism

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

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

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

Weaving the Recovery - Indigenous Women in Tourism

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

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

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

Inclusive Recovery of Cultural Tourism

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

UN Tourism Inclusive Recovery Guide, Issue 4: Indigenous Communities

Sustainable Development of Indigenous Tourism

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

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

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

Who are these Recommendations targeting?

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

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

Download PDF:

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

UN Tourism/UNESCO World Conferences on Tourism and Culture

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

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

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

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

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

UN Tourism Study on Tourism and Intangible Cultural Heritage  

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

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

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

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

UN Tourism Study on Tourism and Intangible Cultural Heritage

• UN Tourism Study
• Summary of the Study

Studies and research on tourism and culture commissioned by UN Tourism

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

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

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

Relevant Links

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

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

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The Impact of Culture on Tourism

16 Dec 2008 156 pages English Also available in: French

https://doi.org/10.1787/9789264040731-en 9789264040731 (PDF)

Author(s): OECD

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• Tourism in OECD Countries 2008 : Trends and Policies
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Tourism Essay for Students and Children

500+ Words Essay on Tourism

Tourism Essay – Tourism is a major economic activity that has developed significantly over the years. It’s an activity that can be recognized in both developed and developing nations. In general terms, tourism is the movement of a person from one place to another to visit and mesmerize the beauty of that place or to have fun. Moreover, the concept of traveling is considered a luxury and only people with higher income can afford this luxury.

The Growth of Tourism

Earlier our ancestors used to travel by sea routes as it was a convenient and most affordable medium but it was time taking. Due to, technological advancement we can now easily travel to any place without wasting time we can travel thousands of miles within a few hours. Technological advancement has shrunk the earth into a global village. Besides, the modern modes are much safer than the modes that our predecessors used.

Effect of Tourism on a Country

For any country, tourism generates a lot of money especially a country like India. Due to the Taj Mahal (one of the seven wonders of the world) every year the government raise a huge sum of revenue. Also, because of tourism other industries also bloom. Such industries include transportation, wildlife, arts and entertainment, accommodation, etc.

Moreover, this ultimately leads to the creation of job and other opportunities in the area. But there are some drawbacks too which can affect the lifestyle and cultural value of the country.

Importance of Tourism

Traveling is a tiring and difficult thing and not everyone is able to travel. But at the same time, it’s a fun activity that takes your tiredness away. Travelling adds flavor to life as you travel to different places that have a different culture and lifestyle. Also, it’s an easy way to learn about the culture and tradition of a place. Besides, for many areas, tourism is their main source of income.

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India- A Tourist Attraction

The Taj Mahal is not the only destination in India that attract tourist. Likewise, there are hundreds of tourist destination that is spread over the Indian plateau. India has a large variety of Flora and Fauna. Besides, the equator divides the geographical land of India into almost two equal halves that make India a country where six seasons occurs.

Moreover, in almost every city of India, there is a historical monument made by the rulers in their time period.

Benefits of Tourism

Tourism not only benefits the government but also the people that live in the local area. It also creates a business as well as employment opportunities for the local people which ultimately help the government to earn income.

Benefits Due to Tourism

As we know that tourism contributes a lot to the revenue of the country. Also, the government uses this income for the growth and development of the country. Likewise, they construct dams, wildlife sanctuaries, national parks, Dharamshala and many more.

In conclusion, we can say that tourism is a very productive activity both for the tourist and the government. As they support each other simultaneously. Also, the government should consider improving the conditions of the country as more and more number of tourist visit their country.

Above all, tourism is one of the fastest-growing industry in the world that has changed the scenario of the world.

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Importance Of Cultural Tourism Essay

Tourism is one of the largest and dynamically developing sectors of external economic activities. Its rapid growth and development rates, considerable volumes of foreign currency inflows, infrastructure development, introduction of new management and educational experience actively affect distinct sectors of economy that positively contribute to the social and economic development of the country. Cultural tourism is defined as the enhancement of interaction between different cultures. The travellers can share values on the same platform through visiting natural and cultural resources, historically preserved places, museums and other history values. For example, in the European history, there is considerable number of travellers from various countries to travel all over the Europe. Grand Tour is one of the most influential trips that consists of scholars, middle class expresses the Renaissance from Italy to the entire Europe. After that, the major types of travelling consists of scholars, merchants and politicians, had brought so much European cultural value and spread to the whole Europe. At the same time, the conception of cultural heritage and historical identity all associate with the history and common past of European society. Cultural tourism is a complex segment of tourism industry, its supply is diverse and versatile. The future positions of the discipline will probably be lengthened both directly and indirectly as with the change of the recreational needs there

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Importance Of Tourism Behaviour

“Tourism Behaviour understanding includes the idea and knowledge of the different factors which are by no other means very obvious because the effects which do shape the activities and tastes of tourism are often highly embedded in the cultural and the personal biography of the individual that the whole of subject is not known of how actually they were made.” (Seaton, 1996). Figure.1. The tourism system.

Evolution Of Tourism

Tourism can be considered one of the most significant economic and social phenomena of the twentieth and twenty-first century. The evolving of the tourist’s behavior has triggered a series of changes in the way of operating the tourism businesses. From traditional travel agencies, hotels and airlines up to the online tour operators. All tour operators have had to adapt to the changes of the individual as a traveler and this has led to continuous development of strategies by the agents.

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Tourism is the income of people from one place to another place for vacation, but it can also be for business or entertainment. Tourism can either be international or domestic. Tourism has an influence on any country, either it’s for a positive impact or a negative impact. An example one might consider includes that the tourism in that individual country could possibly increase the income and positively improve the economic aspect of the country, but tourism can also negatively impact the environment. Tourism can also affect the population living in the country due to the amount of tourism which furthers the idea of more jobs need to be created for the new tourists.

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Heritage Tourism and Cultural Tourism Essay

• To find inspiration for your paper and overcome writer’s block
• As a source of information (ensure proper referencing)
• As a template for you assignment

Introduction

Heritage tourism and cultural tourism, reference list.

Notably, the distinction between heritage tourism and cultural tourism has not been easy to draw. Researchers have devoted their time in an attempt to establish whether the two aspects are different or they just overlap (Timothy, 2011; Ivanovic, 2008). The key partners in the tourism sector have worked hard to find a way to define and distinguish between cultural and heritage forms of tourism. The subject has generated extensive debates that seek to find whether the two terms are similar and how to use them (Swarbrooke, 2001).

Cultural tourism is a form of tourism that deals with the country’s culture. It has a major focus on the diverse cultures that different communities have. Sometimes, it is pegged on the art of the community. It also takes an interest in the unique social diversity of one community in a region (Timothy & Nyaupane, 2009).

The distinct features of one community such as art, which makes it distinguishable, are considered cultural tourism. Cultural tourism is mainly found in an urban setting where large cities and their cultural sites are held very core to tourism (‘Oxford English Dictionary’, 2008).

Cultural tourism has also been defined as a form of tourism concerned with the lifestyle of the people in a given country or region. This second definition is aligned to the activities that people engage in rather than the sites (Smith, 2003; Ivanovic, 2008). The historical practices that dictate the life style of one community form the main element of cultural tourism.

This form of tourism is not just restricted to urban areas; sometimes, tourists monitor rural community’s festivals. The museums and theatres in many countries are the main reasons why cultural tourism has been considered to be urban based. In regions where theatres and museums are located in the rural areas, cultural tourism becomes strictly rural (Shackley, 1998).

Cultural tourism encompasses movement of people from the residents to gather the necessary information from different cultural backgrounds. The new information and the experiences of traveling are the key purpose of cultural tourism. At the end of the day, a cultural tourist seeks to satisfy the cultural needs. The main destinations in cultural tourism are strictly cultural areas such as historical sites, festivals, and natural ecosystems (Ooi, 2002).

On the other hand, heritage tourism is defined as anything that a community receives as a transmission from the past to the present. Such transmissions in the present involve cultural materials, intangible heritage, and natural heritage (Timothy & Boyd, 2003). The guiding rule in preservation revolves around the uniqueness of the site to the present and future generations. For it to be considered heritage tourism, people must be moving from one preserved site to another (Smith & Robinson, 2006).

Heritage definition has the word culture. Heritage is thus defined as the travelling of people from one site to another so as to present people’s stories from the past to the present.

During the travel, culture has been a facilitating tool. The activities surrounding culture have been the core interest of heritage. It has been stated that heritage tourism is increasingly becoming popular in various parts of the globe. A tourist in heritage tourism is motivated by the presence of heritage sites. This is because heritage is the main product that shapes heritage tourism (Ronchi, 2008).

Numerous explanations seeking to show how distinct the cultural tourism is from heritage tourism have been raised. The endless debate to distinguish the two proves that differentiating the two is a complex phenomenon. The distinguishable elements are not only in the definition, but also in the location of the sites.

Several sites may be used for heritage tourism and cultural tourism. Such usage has confused many tourists to a point of finding no difference between the two. The interchangeable nature of the sites has made it hard to realize the difference between the two aspects (Richards, 2001).

Heritage tourism has several characteristics. Firstly, it ranges from sites considered relatively small to international sites. The small sites are normally not staffed while major attractions are well coordinated and staffed. Small heritage sites have few visitors who are expected at a certain time of the year (Singh, 2002).

Heritage sites also have natural resources. Admission to view these sites is free and at a time charged according to the market rate (Graham & Howard, 2008). There has been a perception that heritage sites are managed for tourism purposes. However, there are other heritage sites that are protected (National Trust for Historic Preservation in the United States, 1991).

Promotion of authenticity has been one of the major characteristics of heritage tourism. It consists of having a competent visitor services delivery offering quality products. The benefits offered to a visitor always vary depending on the visitor’s experiences (Moufakkir & Kelly, 2010).

It has been argued that heritage and cultural tourism are hard to consider as distinct. The above definitions clearly indicate that the two types of tourism tend to overlap. It has been further asserted that the areas that overlap are more than the notable differences (Singh, 2005).

The main unanswered question has been how to distinguish between a cultural and heritage visitor. The two elements are similar and a suggestion to create well-rounded cultural heritage tourism experiences has been a fostered by key tourism stakeholders all over the world today (Lavery and Van Doren, 1990).

A survey between the two types of tourism basing on the programs in heritage and cultural tourism shows that many of the heritage programs are found in rural areas. On the other hand, cultural sites are found in urban settings (Howarth, Rowley, Butterfield, Madeley & Museums Association, 1901). The classification of the two programs has often been pegged on the location of the sites which distinguishes the two (Richards, 1996).

In describing historical preservation, the word “heritage tourism” is used. On the other hand, in cultural tourism programs, museums and theatres are evident. In the preservation of the sites for tourism purposes, it is clear that what is termed as the “culture of today” becomes the heritage of the future (McIntosh & Goeldner, 1986).

There are clear differences between heritage tourism and cultural tourism. Heritage tourism is said to be place-based compared to cultural tourism. Heritage tourism is attached to the place while cultural tourism is based on experience with minimum or no emphasis on the place. In other words, the content of cultural and heritage tourism has always been the same, but the context differs (Leask, 2008).

Though the definition and understanding of cultural and heritage tourism have been hard to distinguish, it is still clear that lay people and visitors attach some different meanings to the two aspects. However, in the broad sense, the two words have been used interchangeably. An imagination of a distinct definition between heritage tourism and cultural tourism has been extremely pursued (Kockel, 1994).

There is one main reason as to why different researchers and other interested parties have sought the distinction between the two elements. This reason is grounded on the fact that various tourists find the two aspects to be different. The various reasons as to why people visit heritage sites have triggered the need to have a definition (Leask & Fyall, 2006; Leask & Yeoman, 1999). The complexity of definition has been promoted by the fact that a cultural tourist will visit a heritage site with a reason. On the contrary, a casual tourist visits a heritage site for adventure. The attraction is sometimes used to discover a site for the first time (Howard & Ashworth, 1999).

To unfold the complexity introduced by definition and why it is necessary to define heritage sites, it is important to state that the object of heritage tourism is the people. Therefore, it is difficult to define heritage tourism. This is because the definition has various meanings to different individuals (Hoffman, 2006).

The unique way in which different individuals perceive heritage site dictates the nature of experiences to be achieved by the tourists. There are those who view a heritage site as a place where they go for holidays. On the other hand, there are others who collect information from such sites (Agarwal & Shaw, 2007).

The cultural background of an individual helps in understanding heritage tourism. Notably, it is not possible to distinguish cultural influences from the understanding of heritage tourism. What the Americans consider as reasons to visiting a heritage site may be understood differently by someone in Australia (Hannerz, 1992).

The main reason for such variations is that different places have different types of heritage sites (Timothy & Boyd, 2006). In some instances, natural places are regarded as sites while others attach heritage to the notion that the people in a given place are unique. From the analysis, it is possible to observe there is no uniformity in the definition for heritage tourism (Hall & Jenkins, 2003).

There is a need to unveil the complexity behind the definition of heritage tourism. This is triggered from the fact that, in recent year’s, heritage has become a commodity that is capable of being sold. The selling includes substantial marketing that requires diverse knowledge. Most of the heritage sites around the globe have been widely advertised to allow tourism attraction (Hall & McArthur, 1996). In order to attract the target group, one ought to be aware of the cultural meanings of a heritage.

There are some parts where heritage is not a tourism product since people believe that it represents ancestry. Some are strictly opposed to its commercialization (Sharma, 2004). Such opposition is very evident in rural sites. Many still argue that it is unfair for people to try to market heritage while they are unable to get an extensive definition on what it means. The fact that heritage sites have been moved to the urban centers means that the meaning attached to them has been lost through commodification of the sites (Goeldner & Ritchie, 2009).

The intangible nature of culture has made heritage complex since it has pegged much value to the experience of the site rather than the site. At a time when tourism is determined by the forces of demand and supply, there are interpretations created in understanding the term and its outcome. The assertion that heritage tourism has assisted in preservation of sites has been viewed as promoting the traditional view of heritage sites being a place to remind people of their ancestry (Fyall, Garrod, Leask & Wanhill, 2008).

The conflict in understanding between the effectiveness of demand and those that believe that heritage is important and should be preserved while others think that heritage is a commercial product. The only way to harmonize the two conflicting sides is by finding a definition to suit the two sides (Goh, 2010).

To reach that definition has been hard hence presenting the situation in complex state. Irrespective of the complexities presented by the definition, different researchers have tried to simplify the definition by introducing the three categories of heritage tourism (Drummond, et al, 2000).

The first category of heritage tourism is the heritage status attributed to the visited site. Secondly, the visitor’s knowledge of the status given to the site is equally important (Herbert, 1995). Lastly, the relationship between the visitor’s personal heritage and the site is also considered. The categorization of heritage tourism simplifies the complexity (Drummond & Yeoman, 2001).

The above discussions show how hard it has been to come up with a universal definition to suit heritage tourism. At the same time, it has also proved hard to differentiate heritage from cultural tourism (Palang & Fry, 2003).

he greatest hurdle which has made it hard to get the definition is the interpersonal differences witnessing in perceiving the word heritage. The naming of the world’s heritage sites by UNESCO has continued each and every day, but it has been hard to get a definition that stands for heritage tourism (Dasgupta, Biswas & Mallik, 2009).

I would suggest that the suitable universal definition for heritage tourism is: the experience one gets when visiting historical and cultural places. The definition is centered on the experiences rather than the places visited. The factors that compel a conclusive definition are to effect a definition that cuts across to ensure that cultural and heritage aspects are joined together. Such a definition will establish cultural heritage tourism.

This is grounded on the fact that everyday, different heritage sites are created, and hence a more conclusive definition must state the experience and not the site. It has been established that the definition given to a site assists in guiding different tourists. At a time when tourists are from different cultural backgrounds, it is important to have a clear definition so as to avoid confusion.

The distinction that exists between cultural and heritage tourism is based on form and not substance. The features that make the cultural heritage are sometimes the characteristics of heritage tourism depending on the place. There are notable differences between the two aspects as mentioned above.

The complexity in the definition of heritage tourism is worth unveiling so as to get the different context that people adopt. The suggested definition is also critical to assess since it seeks to harmonize the views of different people to create a universal definition that cuts across different people. Tourists from different cultural background have varied reasons for visiting sites. Therefore, they can only know where to visit if clear definitions are adopted.

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Richards, G 2001, Cultural attractions and European tourism , CABI Publ., Wallingford [u.a.].

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Smith, M 2003, Issues in Cultural Tourism Studies , Routledge, London.

Smith, MK & Robinson, M 2006, Cultural tourism in a changing world: politics, participation and (re)presentation , Channel View Publications, Clevedon, Angleterre, Toronto.

Swarbrooke, J 2001, Heritage Tourism in the UK- A glance at things to come . Web.

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What’s changed in cultural tourism?

Visual Arts

Opera Australia performing at Uluṟu, 2021. Image: Supplied.

ArtsHub was recently on the ground at Uluṟu (NT) for the launch of a new cultural tourism offering Sunrise Journeys . The launch coincided with 40th anniversary of the Ayres Rock Resort (today operated by Voyages Indigenous Tourism Australia*), the company that is behind many of the cultural offerings at Yulara and Uluṟu.

The trip was back-to-back with a stay at Hadley’s Orient Hotel in Hobart (which was celebrating its 90th anniversary), and a mandatory visit to the cultural tourism superstar, Mona – David Walsh’s Museum of Old and New Art.

In tandem, these venues got us thinking. Clearly, cultural tourism has changed dramatically (it was barely an idea forty years ago, let alone ninety!). But more so, it triggered us to question what is driving cultural tourism today, especially in a post-Covid environment that is hyper alert to cultural respect and acknowledgment, that is entertainment driven, and where economic return is part of a funding dance.

In this story:

The big shifts.

While the origins of cultural tourism could be argued existed as early as the 1950s, as planes trundled alongside the sacred face of Uluṟu up until 1984, and people clambered their way to the top of “the rock” until October 2019, today the “I was here” mantra has been replaced with a new respect-driven desire to connect.

For Uluṟu, that shift started with the development of the service town Yulara, which became fully operational in 1984. Today the town has a population of 835 people , most of whom work in some capacity in the tourism sector.

Matt Cameron-Smith, CEO of Voyages Indigenous Tourism Australia, explained, ‘Cultural tourism is an interesting space to be in, because it is about how you create a connection – how you bring culture forward.’

In an earlier interview , he told ArtsHub , ‘It is a bit like greenwashing, if you do it the wrong way. You have got to do it in a meaningful way. For us it starts with employment and empowerment.’ Voyages employed just five Indigenous workers in 2011, which prior to Covid had grown to 300. ‘Now, one in three of our team members are Indigenous,’ he said. ‘It is about using tourism as an enabler.’

‘It means that cultural tourism isn’t just the show (you see). It is about your chef, it’s about your waiter, your front office manager, and it’s about a sharing of culture, and Aṉangu are incredibly generous in terms of welcoming tourists,’ he said.

Keeping cultural tourism genuine

When asked what cultural tourism means on the ground, Cameron-Smith said that tourists today have ‘a pretty good bullshit detector as travellers; you can smell it if it’s not authentic.’

Remember when the self-led travel network Air BnB introduced ‘experiences’? It took the idea of cultural tourism out of the hands of tour operators and connected it genuinely at a groundroots level, busting open the silos of elitism and economics. This has especially been a win for the arts and cultural sector, and has forced a rethinking.

It is about that magic exchange between the visitor and the visited, when you go somewhere that has a cultural purpose. Matthew Cameron-Smith

Read : Cultural Tourism that breaks down elitism

Another great example of keeping it genuine is Hadley’s Orient Hotel in Hobart. They have employed a full time Director of Art and Cultural Experiences, Amy Jackett, who has created a QR-trail around the hotel sharing stories and histories, as well as a bespoke game cards for guests and a murder mystery game drawing out history in a fun and innovative way.

Dean White, General Manager of the Hotel, explained: ‘It’s really interesting to me, to see how the cultural tourism offering has changed, especially in the post-Covid climate. Without the art work and the stories, it’s a bit of an empty shell.’

He continued, ‘People’s wants, I feel, have shifted. Experiential tourism is, and has been, an important part of the industry for a while, and our ambition to restore habits is a really important part of what we consider cultural tourism.’

‘We’re trying to bring back an experience which is not a mainstream hospitality experience, but one where people will want to learn and participate,’ said White. He added that while less people are travelling post-Covid, ‘those who have been, are keen to experience things in a more connected way.’

‘What Amy’s doing, is to keep people engaged and interested all year round, and that’s really important – not just for festivals or our prize – and it’s less about, you know, hotel chic.’

Tourism with a First Nations lens

It proves that people are willing to curate their travel experiences around arts and culture. Now, on top of Segway tours and camel tours in the Central Desert, people can sit down for a free chat and learn about traditional spears, bush-tucker and landcare, storytelling by artists, sky dreamings and traditional astrology. It is a more holistic approach.

Read : Surprises as most cultural Australian cities (per capita) revealed

Capitalising on this trend, NT Tourism have been active in parceling up cultural offerings. Last May (2023), they launched the Red Centre Light Trail, a multi-sensory destination-driven offering, not unlike the drive-yourself Free Range Art Highway through the Nevada desert, the extremely successful Silo Art Trail in Victoria. 

What this demonstrates is that cultural marketers are recognising that beach, forests and malls alone are no longer delivering what people want.

The Red Centre Light Trail connects Alice Springs – where the light festival Parrtjima is presented annually – with the all year-round offering at Kings Canyon, Light-Towers , 69 colourful towers that respond to music created by Bruce Munro, to Munro’s Field of Lights at Uluṟu, as well as the drone show Wintjiri Wiru , and Sunrise Journeys. Cultural storytelling and immersive are what define these offerings.

Cameron-Smith explains, ‘It’s just a way to amplify culture, and share culture in a different kind of way – and it makes it more accessible to a degree. For many people, they want to know more, but they don’t know how to get it. So this is a way of making it more accessible.’

Impact, politicians and dollars

In recent weeks, the Australian Museum (AM), the National Museum of Australia, and the Biennale of Sydney have each released attendance figures for blockbuster events this year, focusing on numbers and dollars. This is largely a function of putting arts and culture in to tourism and political vernacular.

We all know in the arts, that the impact of culture runs far deeper, and beyond any short-term, quantitative outcome. However, to blur the silos of the sectors, such language is here to stay until we find better ways of “selling” culture to the suit-wearers.

The positive news is that the numbers show cultural experiences continue to be on the rise in demand.

Ramses and the Gold of the Pharaohs at the Australian Museum, was described ‘among the most successful museum exhibitions in NSW history, both in terms of visitors and economic impact,’ confirming 508,000 visitors (60,000 interstate and 10,000 international) saw the exhibition and contributed more than $57 million to the NSW economy.

Similarly, the National Museum of Australia’s Egyptian blockbuster Discovering Ancient Egypt ‘has smashed records for all past shows (with 208,000 attending) … making it the biggest blockbuster in the Museum’s 23-year history,’ and the 24th Biennale of Sydney also reported a record-breaking three-month run that attracted over 771,000 visitors.

How predictions are playing a role in touting cultural tourism

There has been a recent trend, which I have observed coming out of Covid with the promotion of major events, that is a kind of crystal ball marketing. A great example is the statement by Ron Tan, Executive Chairman & Group CEO, NEON Group, which partnered with the AM to bring the R amses exhibition to Sydney. He was quoted in the Museum’s statement on the exhibition’s success: ‘If we had not been successful in securing the Ramses exhibition for Sydney, and it had been hosted elsewhere in Australia, an estimated outflow of more than $6 million would have occurred from NSW visitors travelling out of the state.’

Who is this lightening bolt moment intended for? In a similar way, major arts events are being parceled up with economic predictions, to sell their benefit ahead of time. With the recent announcement of the artists in this year’s Asia Pacific Triennale (APT) at the Queensland Art Gallery / Gallerlly of Modern Art (QAGOMA, 30 November to 27 April 2025), Minister for the Arts Leeanne Enoch reminded that the APT has generated almost $14 million for the local economy, adding that ‘QAGOMA plays an important role in growing cultural tourism and building artists’ and artsworkers’ careers ahead of Brisbane 2032, when the eyes of the world will be on Queensland’s exceptional arts and culture.’

Read : What the APT11 artist list says about now

It was the same with the announcement of the forthcoming Dale Chihuly exhibition in the Adelaide Botanic Gardens (27 September 2024 – 29 April 2025).  Journalists were briefed on the exhibition’s success in the Phoenix Desert Botanic Garden (2021), which led to a 100% increase in visitation, adding that Phoenix also saw an increase in audience diversity, and over 31% of visitors were from outside the Phoenix area and 11% were international visitors, stating 22% said Chihuly was the primary reason for their visit, and over 32% visited with children.

Read : Chihuly to transform Adelaide Botanic Garden with epic glass installation

Like a trail of bread crumbs, journalists were also told that Adelaide Botanic Garden sees over 1.3 million visitors per year, with South Australian Minister for Tourism, Zoe Bettison adding, ‘What’s more, its lifespan across spring, summer, and autumn, alongside some of our longest-running tourism drawcards in the Adelaide Fringe and Adelaide Festival, lends itself to multiple visits.’

Much has been said about Cultural Tourism – let’s face it, it’s not a new term, and it’s a ‘whitefella’ one at that. But there is an underlying factor that remains in bed with all offerings – it is a billion-dollar industry – and it is in flux.

It is a dangerous territory of hype and expectation, where arts and culture sit under the latest buzz word of the “visitor economy.” Getting the balance right is key, to ensure these offerings are presented to potential audiences as genuine.

Why arts and tourism need to value each other

For me, these numbers speak more about a tourism sector need, than an arts sector needing to prove itself.

If we are to take the helicopter higher on all this thinking, it would be an observation that there is a huge opportunities for the arts and culture sector – and it is growing – but it comes with a warning to not sell ourselves short.

Yes, be prepared to adjust to the machinations of the tourism sector and fall into their stride, but like any partnership negotiation at the board table of any arts organisation, remain true and remain genuine to grow in this space.

* Voyages Indigenous Tourism Australia is a wholly-owned subsidiary of the Indigenous Land and Sea Corporation (ILSC) and manages tourism and resorts on its behalf.

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Gina Fairley

Gina Fairley is ArtsHub's National Visual Arts Editor. For a decade she worked as a freelance writer and curator across Southeast Asia and was previously the Regional Contributing Editor for Hong Kong based magazines Asian Art News and World Sculpture News. Prior to writing she worked as an arts manager in America and Australia for 14 years, including the regional gallery, biennale and commercial sectors. She is based in Mittagong, regional NSW. Twitter: @ginafairley Instagram: fairleygina

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