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Jo Mackellar - Journeys of the Cultural Tourist in Australia
- 1. D R J O M A C K E L L A R D E S T I N A T I O N R E S E A R C H Cultural Tourism Margaret Olley Art Centre. TRGMOAC
- 2. Overview What is cultural tourism ? Key features of cultural tourists Segments and stages Spectrum of art interests Art gallery tourists
- 3. What is cultural tourism?
- 4. International and domestic visitors who participate in at least one of the following activities during their trip: • attend theatre or performing arts • visit museums or galleries • visit art, craft workshops/studios • attend festivals or cultural events • experience Aboriginal art , craft or displays • visit historical/heritage buildings. (TRA: 2009) Cultural Tourism Edinburgh
- 5. Cultural tourists to NSW (2014) Source: DNSW (2014) Cultural and Heritage Tourism# to NSW 0 1000 2000 3000 Visit historic buildings, sites Visit galleries/museums Attend festivals, or cultural events Attend theatre, concerts or… Experience Aboriginal site/community Attend Aboriginal performance Visit art/craft workshops or studios International Domestic
- 6. Cultural tourism The SEARCH for • new knowledge • new experiences • self-development • cultural capital Newcastle Regional Art Gallery Swell Sculpture Festival Elvis Festival, Parkes. Cooly Rocks On
- 7. Cultural tourist segments The road trip Seeing that exhibition Visiting Frank and Rose Restoration/escape ART
- 8. Community segment Communication portal Return 4 times/ year Embrace their interest Local promotion extends to other regions.
- 9. Spectrum of art interests socialiser Seeking: • Social place • Atmosphere • Escape • Awe • Interaction dabbler Seeking: •New interest •Variety of art •Guides •Workshops •New places enthusiast Seeking: •High knowledge •Special exhibit • Authenticity •Collections •New places •Merchandise fanatic Seeking: •Social context •Obsessive • Expert •Rare items •Elite high quality experiences •Web forums
- 10. Expenditure of cultural tourists Exhibition name Attendance Million $ National Gallery of Australia - Masterpieces from Paris 470,000 $95.0 QAGOMA* - Andy Warhol 232,389 $14.2 QAGOMA - Valentino 202,849 $18.4 AGNSW - Pop to Popism 123,695 ^ AGNSW - Picasso 366,000 ^ Townsville Regional Gallery - Brick by Brick 102,320 ^ Bendigo Regional Gallery - Grace Kelly 152,500 $16.3 Source: Various State & local government reports
- 11. Economic evaluation process 1. • Visitors from over 50kms? 2. • Day visit or longer? 3. • Expenditure per day? 4. • Main purpose of visit?
- 12. Types of economic impact 1. Ticketed exhibitions = direct revenue to venues 2. Cultural tourist visitation = revenue to whole destination 3. Donations and bequests of art and cultural material 4. Sponsorship and funding from partners outside the region 5. Volunteer hours donated to cultural venues
- 13. Regional art galleries What we know Competitive cultural tourism environment Galleries high on the list for cultural tourists Segments and stages of gallery visitors Social experience & VFR Galleries generate economic activity What we’d like to know Tourist decisions? Social media impacts?
- 14. Further information Copies of cultural tourism reports Recommended reading On-site research Coffee and a chat Jo Mackellar destination.research@yahoo.com
Hinweis der Redaktion
- What is cultural tourism ? Key features of cultural tourists Segments and stages Spectrum of art interests Art gallery tourists
- What is cultural tourism? – is it travelling to galleries, or events or just doing a bit of shopping? CULTURE can be defined as “The arts and other manifestations of human intellectual achievement regarded collectively” Oxford as well as “The ideas, customs, and social behaviour of a particular people or society”. So Which part of culture are tourists seeking? Because really every tourist is a cultural tourist – walking the streets in any location from Edinburgh to Sydney or Broken Hill you are surrounded by and immersed in the culture of place and of people – by their customs and social behaviour. The streetscape and architecture represents their human intellectual achievement. – so is it both these things? From the food you eat to the streets you walk are all representative of the people and place Traditionally, cultural tourism has been associated with high culture, with high end arts and old museums, but it is becoming more widely recognised that the old distinctions between high and popular culture are disappearing. Tourists are just as willing to travel on a train to Parkes to see Elvis as they are to go to Sydney to the Museum, or to Newcastle to see a Mambo exhibition. Way back last century in 1995 the sociologist John Urry identified the convergence of ‘high’ and ‘low’ culture, and with it - a convergence of ‘art’ and ‘life’. To get even more philosophical for just a moment - Objects and people have become increasingly mobile, and boundaries between distinct cultures are increasingly being eliminated . In many cases in western society and certainly in Australia - travel is becoming part of our culture – we have more money and time to travel. We consider “having holidays” and “going overseas” as part of our lifestyle, as part of our social norms. At some point you could even ask are we the culture – or are we the tourist? and so it is fair to ask what is cultural tourism? – and to keep asking the question over time. While we could debate its meaning all day and forevermore – in practice - we must just get on and manage it. And in order to that someone needs to define it -
- TRA is the pinnacle government organisation for collecting data on domestic and international tourists – the data they collect is then used to determine trends over time – and to inform the development of tourism strategies. So it is fair to say that these statistics are quite important to both tourism and creative industries. They currently define cultural tourism as - International and domestic visitors who participate in at least one of the following activities during their trip: attend theatre or performing arts visit museums or galleries visit art, craft workshops/studios attend festivals or cultural events experience Aboriginal art craft or displays visit historical/heritage buildings. Even this neat list provides more questions and ambiguity – I stayed in this quaint heritage building in Edinburgh – so does that make me a cultural tourist? It would be hard to visit Edinburgh at all without visiting historical buildings at some point – as it would in any city or regional town in Australia. Similarly – anyone who arrives in Bathurst by train and goes to the pub would have visited two historical buildings that day and qualify as a cultural tourist. With these questions in mind – it is interesting to see the results of TRA research and the place of art galleries in the cultural tourism landscape.
- As shown here visiting galleries and museums is the first choice of both international and domestic visitors in NSW with 59% of international visitors to NSW visiting museums and galleries 40% of domestic overnight visitors and 31% of day trippers In terms of cultural tourism in regional areas – the figures are quite variable. An average of 15% of visitors of the domestic visitors visit cultural attractions/events– with the Blue Mountains and The Outback doing very well with over 20% of tourists visiting cultural attractions/events. For international visitors - the figures are also quite variable. an average of 60% are cultural tourists a remarkable 82% of visitors are cultural tourists to the Blue Mountains. And 74% to the outback NSW. So this tells most of us that 6 out of 10 international visitors are likely to visit a gallery in your region and 1.5 out of 10 domestic visitors.
- Research also tell us cultural tourists are increasingly engaged in a search for new knowledge and experiences, as part of a general process of self-development. These 'skilled consumers' are interested not just in cultural attractions, such as museums but also in the living culture, such as language, customs and gastronomy. Some indications that cultural tourists like to use cultural consumption as a form of distinction. They have developed a cultural capital mainly through education, and like to indulge it at galleries, museums and events. But this is also true with those who have interest in sub-cultures, niches or neo-tribes of people - who cluster together because of their mutual interest – just like at the Elvis Festival in Parkes where 20,000 people gather to celebrate all things Elvis. Or Cooly Rocks where 50,000 rock’n’roll dancers are absorbed in their own social world and celebrate all things from the 1950’s. This is happening with all types of leisure that consumers are more fragmented into distinct smaller groups. Visiting such cultural attractions is primarily an opportunity to learn and experience new things, but there is evidence that other aspects of the experience MOTIVATE cultural tourists.
- Through our own research we have found that there are 4 primary groups of people or segments which attend cultural tourists attractions – including galleries. Each segment is seeking different things from the Gallery – different levels of experience, from a deep and engaging experience to a social visit to a new attraction. The touring holiday – or road trip Touring holidays or as we call it in Australia the road trip make up 40% of travel to regional NSW Discovery - seeing national parks and galleries and museums and beaches. The Gallery is discovered on the way – not really a reason to visit this town. We know that international tourists in particular are looking for galleries to reflect and represent the landscape and people of the region that the gallery is in – often in the local collection. Whereas locals are more interested in the touring exhibitions. Visiting Frank and Rose (VFR) VFR makes up 37% of travel to regional NSW Aunty Rose makes very important recommendations and collaborates on the itinerary, which will also no doubt include visiting the other 5 attractions in town and the RSL club. The Gallery is a part of the reasons to travel to this town. It may or may not be stimulating them to travel to that region. Seeing the exhibition/artist Primary reason to travel to this town. It may be on a list of many – or a refined list which specialises in one area/type of artist These visitors will travel a long way to achieve this goal. Restoration/escape Experiences at galleries provide a place to facilitate recovery from fatigue and stress Just as natural environments promote peace it is shown that art galleries can provide this too. Provide restorative energy Segments are not static – people go through stages in life where they may be a part of any one of these segments or part of two or more. The more we know about these segments, the more we can tailor the delivery of experiences, information and marketing. However there is one more important segment that provides enormous benefit for cultural tourism ...your local community
- Back to Visiting Frank and Rose - If VFR travel is providing xx% of visitors to your region it is vitally important that regional galleries are high in the minds of local community. Communication portal – Frank and Rose will distribute information for you to their visitors – as well as tell you what people really think is going on local residents are often proud of the Gallery and what it has to offer Our research at Tweed and Lismore galleries showed that locals return an average of 4 times a year. It is vital to embrace their interest with newsletters, emails and friends of the gallery programs – I believe the Tweed Gallery has over 1800 friends of the Gallery. Local newspapers are still a vital point of communication to both locals and visitors, and that promotion extends into other regions through word of mouth. Local media Our research at Tweed Regional Gallery found that committed locals will come four times a year.
- Another way to examine the segment sin cultural tourism is to think of visitors along a spectrum of art interests – where people gain more experience, skills and knowledge as they progress. From one end of the spectrum with little interest in cultural tourism and art, to those at the other end with a fanatical interest in art or a specific art form or even a specific artist. Research suggests that people can progress along the spectrum, starting with a casual interest and over time becoming more fixated with seeking experiences and items. The socialiser has come to the gallery seeking A social experience Atmosphere Escape That fills them with Awe Provides Interaction with guides, other visitors, nice bit if cake from the café Further along the spectrum is the dabbler Who has a little interest in art – among other things – perhaps as a new hobby Interested in learning more, from guides and workshops New places – but not really as a specialist traveller The enthusiast has high level of knowledge and skill and is Seeking Special exhibits Authenticity New places Merchandise New information The fanatic has a very high level of knowledge and skill and is a little Obsessive about their interest – an artist, an art form an are of art. They are the Expert - Seek rare items for their own collection – sometimes resembles a religious altar Elite high quality experiences Share knowledge and experiences on Web forums and social media.
- Understanding the segments of cultural tourists also helps us to examine their spending patterns and enables us to target more high yield visitors. We know for example that those segments that are coming to see major exhibitions will provide high attendance and high expenditure for a short period, such as the incredible $16 million brought in to the Bendigo economy from the Grace Kelly exhibition. But equally we know that a steady one-third of our business comes from VFR travel, and that day trippers also provide a steady line of lower yield visitors throughout the year. Visitor surveys are a crucial tool to help us work out the reason visitors are coming, and the amount they will spend while they are here. Research we have done over the past year at galleries here in the Tweed Valley and in Lismore has shown that the ratio of local and tourist audiences vary considerably, as they would at many regional towns in NSW and so it is increasingly important to gather local data from visitors as they come through the Gallery.
- Understanding the ratios of day visitors and their average expenditure is the first crucial step to estimating the economic impact of visitors to the Gallery. In a very simple format these are the crucial questions that need to be answered. 1. Are visitors from over 50kms away? This qualifies them as a tourist and not a local 2. IS this a day visit or longer ? – how many nights 3. What is the per person, per day expenditure 4. What is the main purpose of visit to the town? The surveys often are more complex than this, but with these basic questions, and a basic count of visitors as they come through the door, it is possible to estimate the value of visitation to the local economy. Clearly the main economic impact of art galleries to the local economy is their ability to attract visitors to the region. However it is important to realise the economic value of a gallery to the local economy results from development of more than just visitors to the gallery.
- There are at least 5 areas of general activity which can be developed and monitored by Gallery managers – (and possibly more through value added activities). The five areas are ticketed exhibitions which provide direct revenue to venues visitation from tourists who are attracted by arts venues or activities also spend money in the local town and region significant donations and bequests of valuable art and cultural material sponsorship and funding from partners outside the region volunteer hours donated to cultural venues contribute to the regions' economy The combination of these factors makes up the total economic value of the Gallery, and these are the areas in which you can develop arguments in funding applications. Basically in any economic assessment you are looking to document the “new money” that comes in to the town as a result of Gallery activities. This will vary considerable from Gallery to Gallery and town to town. However this total still underestimates the immeasurable social and cultural value that the Gallery can bring to the local region in celebrating and presenting art to the region.
- What we know We know that the huge diversity in leisure experiences provides a competitive playground for cultural tourists to pick and choose from. From cultural events, festivals, small galleries, museums and historic buildings. This is turn provides a competitive cultural tourism environment for organisations to attract visitors. We know that there are Segments and stages of gallery visitors, and that at any one time there will be different types of cultural tourists in the gallery seeking different levels of experience. We know we need to look after Frank and Rose, who are proud of their galleries and will bring visitors with them. We know that galleries can generate substantial new economic activity in regional areas and that we can substantiate much of that activity. What we’d like to know. Is how do people makes decisions about visiting the gallery? – Is it Social media, the internet? visitor guides. TV Publicity? Films? And web forums? How do tourists know about MONA? - opened in 2011 it attracted 330,000 visitors last year. Is it the art? Is it the location? Regional galleries have opportunities to meet and INCREASE the demand for cultural tourism, but also to contribute to the ongoing cultural development of the region.
- May have left you with more questions than answers – I hope so. Please feel free to see me if you need more information or Copies of government reports Recommended reading On-site research Coffee and a chat