Myths can be part of the established narratives of tourist destinations: they offer a perspective on reality that may alter it but that makes it also more insightful by highlighting its inner contradictions and idiosyncrasies and challenging the universal values underlying it. This altered perspective on a place ensures visitors will feel touched by the myth and connected to the place, and the myth itself will be retold. In this paper, we discuss how we have connected narrative to story and story to myth to (re)tell the narratives of people and places and to enhance, in this way, the overall visitor experience in (tourist) destinations. We review two storytelling/placemaking projects that were commissioned to us by several regional, tourism organizations in Brabant, a province in the South of the Netherlands. The projects are: Becoming Vincent, a project about Vincent van Gogh; and Crossroads, a project about heritage from WWII. The aim of these projects was to draft a unique, narrative concept and design storylines that would link and upgrade the sites related to that heritage to eventually attract tourists there, and/or to stimulate visitors to visit more sites connected to the same theme. Finally, we draw lessons we learnt from these projects and highlight the insights we gained in the use of storytelling for mythmaking in tourist destinations
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Recent studies on urban policy responses to increasing tourism have moved beyond the physical impact of tourism to also include the way tourism is framed by social movements. This paper contributes to this line of research with a focus on frame resonance: the extent to which frames strike a responsive chord with the public in general and policymakers in particular. We introduce a specific form of frame amplification through cultural resonance; the appeal to pre-existing societal beliefs. Using an analysis of policy documents, print, online and social media, we demonstrate that frames around tourist shops in Amsterdam appealed to pre-existing beliefs that portray the inner city as: a delicate mix of functions, an infrastructure for criminal activities, and a business card reflecting the city’s quality of place. These beliefs amplified frame resonance to such an extent that they convinced an initially reluctant local government to ban tourist shops from the inner city, a policy that undermines the accessibility and inclusivity of urban spaces that the local government aims to promote (SDG 11). This suggests that the contingencies in the local context that enable or foreclose the cultural resonance of frames are essential in understanding policy responses to touristification.
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This research concerning the experience and future of zoos was carried out from 2011-2012 and takes regional ideas concerning Zoo Emmen as well as global visions into account. The research focuses partly on Zoo Emmen, its present attractions and visitors while also comparing and contrasting visions on the future in relationship to other international zoos in the world. In this way, remarkable experiences and ideas will be identified and in the light of them, it can serve as inspiration for stakeholders of zoos at large. The main research subject is a look at the future zoos in view of: The Zoo Experience – an international experience benchmark; The Zoo of the Future – a Scenario Planning approach towards the future; The virtual zoo - zoo’s in the internet domain.
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Emotions embody the value in tourism experiences and drive essential outcomes such as intent to recommend. Current models do not explain how the ebb and flow of emotional arousal during an experience relate to outcomes, however. We analyzed 15 participants’ experiences at the Vincentre museum and guided village tour in Nuenen, the Netherlands. This Vincent van Gogh-themed experience led to a wide range of intent to recommend and emotional arousal, measured as continuous phasic skin conductance, across participants and exhibits. Mixed-effects analyses modeled emotional arousal as a function of proximity to exhibits and intent to recommend. Experiences with the best outcomes featured moments of both high and low emotional arousal, not one continuous “high,” with more emotion during the middle of the experience. Tourist experience models should account for a complex relationship between emotions experienced and outcomes such as intent to recommend. Simply put, more emotion is not always better.
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Purpose: This paper aims to present the findings from a European study on the digital skills gaps in tourism and hospitality companies. Design/methodology/approach: Mixed methods research was adopted. The sample includes 1,668 respondents (1,404 survey respondents and 264 interviewees) in 5 tourism sectors (accommodation establishments, tour operators and travel agents, food and beverage, visitor attractions and destination management organisations) in 8 European countries (UK, Italy, Ireland, Spain, Hungary, Germany, the Netherlands and Bulgaria). Findings: The most important future digital skills include online marketing and communication skills, social media skills, MS Office skills, operating systems use skills and skills to monitor online reviews. The largest gaps between the current and the future skill levels were identified for artificial intelligence and robotics skills and augmented reality and virtual reality skills, but these skills, together with computer programming skills, were considered also as the least important digital skills. Three clusters were identified on the basis of their reported gaps between the current level and the future needs of digital skills. The country of registration, sector and size shape respondents’ answers regarding the current and future skills levels and the skills gap between them. Originality/value: The paper discusses the digital skills gap of tourism and hospitality employees and identifies the most important digital skills they would need in the future.
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The cultural tourism market has diversified and fragmented into many different niches. Previous attempts to segment cultural tourists have been largely unidimensional, failing to capture the complexity of cultural production and consumption. We employ multiple correspondence analysis to visualize the relationship between cultural consumers and attractions in a large data set (n = 12,905). This indicates that two dimensions describing the ranges between 'static' and 'dynamic' attractions and 'high-brow' and 'low brow' culture effectively discriminate different groups of arts and heritage tourists. The holiday structure itself seems to provide a context that influences the cultural consumption of actors. Thus higher levels of cultural capital are related to more accessible forms of culture, contrary to theoretical expectations. There is also evidence of the development of a cultural tourism 'travel career' with more dynamic cultural forms being characteristic of younger tourists and more high brow and static forms of culture being consumed in later life by those with higher levels of cultural capital.
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Cultural festivals can attract cultural tourists, extend the tourist season and add vibrancy to the cultural scene. However, there is relatively little research on how festivals affect tourist experience of the destination or outcomes such as satisfaction or repeat visitation. This study used the Event Experience Scale to measure tourist experiences at three cultural festivals in Hong Kong – the Lantern Festival, Dragon Boat Festival and the Cheung Chau Bun Festival. The findings show that tourist experiences of these festivals are distinct, and they positively affect destination image and behavioural outcomes. Relative to permanent attractions and tours, festival experiences elicit stronger affective, conative and novelty responses. Festivals also convey a stronger impression of Hong Kong as a destination exhibiting Chinese and traditional culture, but less as a global city. The festival experience is associated with positive outcomes, namely greater satisfaction, intention to recommend and intention to return.
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De kandidatuur van Malta als Europese Culturele hoofdstad in cultuurtoeristisch perspectief
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Traveling to places associated with death is not a new phenomenon. People have long been drawn, purposefully or otherwise, towards sites, attractions, and events linked in one way or another with death, suffering, violence, or disaster. War-related attractions, though diverse, are a subset of the totality of tourist sites associated with death and suffering. This article aims to assess how "dark" tourism may play a role in leveraging tourism in Palestine, which has largely relied on pilgrimage tourism in the past. This article investigates the potential for developing this form of tourism, since Palestine has been undergoing death, suffering, violence, or disaster through political tension and instability since 1948 and arguably for a generation earlier, but has not yet developed a strategy for tourism development that considers this type of tourism.
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