Travel Reference
In-Depth Information
Richards' (2001) observation that cultural
consumption had reached saturation point in
the late 1990s, with cultural tourists suffering
from 'monument fatigue' and museum overdose
encourages one to question whether a
cultural
tourism strategy is actually the best way forward
for many of the newer destinations in Europe.
Nevertheless, the Commission of the European
Communities (2001) noted that cultural and
natural heritage tourism was expected to grow
the most in terms of demand. Even former 'sun,
sea, sand' destinations, such as Malta and
Cyprus have begun to implement cultural
tourism development plans. However, the
consequences of this have not always been over-
whelmingly positive in terms of social impacts,
especially in small villages. Time is perhaps
better spent on upgrading existing facilities and
diversifying into more lucrative activities (e.g.
business tourism, which is also a growth sector).
Some of the cities in the new EU (e.g. Budapest,
Prague, Kraków, Tallinn) are inherently cultural
and historic, and therefore cannot easily avoid
promoting their monuments, museums and gal-
leries. Richards (2001) also notes that there has
been a fall in the local consumption of 'high'
culture in many Eastern countries since 1989,
mainly due to a lack of state subsidy and declin-
ing incomes. Thus, foreign tourism may provide
the boost that is needed for many flagging 'high'
cultural attractions. Income levels are not yet
such that residents from Central and Eastern
Europe can always afford to travel far outside
the region, so there is also a need to cater for
domestic and regional markets that may be more
favourably disposed to other forms of more
affordable, popular or 'global' development
(e.g. arts, festivals, creative tourism). Many of the
accession countries are also now in a position
whereby they are starting to encourage repeat
visitation. Now that the post-Communist fasci-
nation has been satisfied, there may be a need
to create new, contemporary attractions that pro-
vide unique selling points beyond heritage.
Pine and Gilmore's (1999) work on the
'experience economy' suggests the need for
new approaches to both product and attractions
development and marketing. A uniform app-
roach to such processes is clearly not compatible
with capitalist structures and changing con-
sumer expectations. Tyrell and Mai (2001) also
emphasize the need for innovative approaches
to development, which satisfy the needs of
'money rich/time poor' consumers, who are
highly individualistic and are increasingly seeking
experiences rather than products. They note that
even if visitors arrive together at a destination,
they may be seeking individual experiences.
Richards and Raymond (2000) analyse the
importance of 'creative tourism' whereby visi-
tors are more actively engaged in fulfilling their
creative potential. This may include activities,
such as painting, dancing, pottery, music, etc. It
may involve direct interaction with a host com-
munity or attendance of a cultural event. Tour-
ism is clearly becoming less prescriptive, more
exploratory, and more experiential. This may
explain the apparent growth in the number of
festivals, events and spectacles that are being
developed as part of the European tourism
product. Despite their ephemerality, such events
can be a celebration of both heritage and con-
temporary cultures. If they are repeated regu-
larly, they contribute to cultural continuity and
community pride, and if they are well managed,
they can leave a permanent physical legacy too.
There has been an increasing interest in the
cultures and activities of ethnic and minority
groups in Europe. The development of cultural
quarters or festivals that are based on the con-
centration of indigenous or diasporic communi-
ties are being marketed as tourist attractions
(e.g. Chinatowns, Banglatowns (Indian districts),
Jewish quarters). Caribbean Carnivals and
Asian Mela Festivals are also growing in impor-
tance, as are events based on gastronomy, music
or dance forms (e.g. gipsy violin). Although cul-
tural political negotiations and tensions are still
ongoing, this development demonstrates a shift
away from the imperialism of so-called 'national
heritage' towards the cultural diversity of 'minority'
groups. Issues relating to interpretation and
representation still need to be handled carefully
and sensitively, but it is arguably a positive
movement in terms of building a new Europe.
However, there has also been a frightening
resurgence of nationalism in Europe in recent
years, often in some of the former socialist
countries where right wing governments fight to
kill off the last remnants of communist support.
Sensitive interpretation is therefore only the
icing on the cake of a process that requires a
baseline of political and social support, toler-
ance and understanding.
