Academic literature on the topic 'Heritage tourism, visitor and audience studies'

1. Alivizatou, M. (2019). Digital intangible heritage: Inventories, virtual learning and participation. Heritage & Society, 12(2–3), 116–135. 2. Billett, S. (2009). Conceptualizing learning experiences: Contributions and mediations of the social, personal, and brute. Mind, Culture, and Activity, 16(1), 32–47. 3. Bonilla, C. M. (2014). Racial Counternarratives and L atina Epistemologies in Relational Organizing. Anthropology & Education Quarterly, 45(4), 391–408. 4. Britain, T. (2007). How We Are: Photographing Britain. 5. Brodie, R. J., Hollebeek, L. D., Jurić, B., & Ilić, A. (2011). Customer Engagement: Conceptual Domain, Fundamental Propositions, and Implications for Research. Journal of Service Research, 14(3), 252–271. https://doi.org/10.1177/1094670511411703 6. Budge, K. (2017). Objects in focus: Museum visitors and Instagram. Curator: The Museum Journal, 60(1), 67–85. 7. Budge, K., & Burness, A. (2018). Museum objects and Instagram: agency and communication in digital engagement. Continuum, 32(2), 137–150. 8. Callanan, M. A., & Oakes, L. M. (1992). Preschoolers’ questions and parents’ explanations: Causal thinking in everyday activity. Cognitive Development, 7(2), 213–233. 9. Callanan, M., Cervantes, C., & Loomis, M. (2011). Informal learning. Wiley Interdisciplinary Reviews: Cognitive Science, 2(6), 646–655. 10. Cameron, F. (2003). Digital Futures I: Museum collections, digital technologies, and the cultural construction of knowledge. Curator: The Museum Journal, 46(3), 325–340. 11. Cokley, J., Gilbert, L., Jovic, L., & Hanrick, P. (2016). Growth of ‘Long Tail’in Australian journalism supports new engaging approach to audiences. Continuum, 30(1), 58–74. 12. Cole, M., & Consortium, D. L. (2006). The fifth dimension: An after-school program built on diversity. Russell Sage Foundation. 13. European Commission. (2015). i-Treasures: intangible cultural heritage of the past available through advanced modern technologies. 14. Fitts, S., & McClure, G. (2015). Building Social Capital in Hightown: The Role of Confianza in L atina Immigrants’ Social Networks in the New South. Anthropology & Education Quarterly, 46(3), 295–311. 15. Francesca, P. (2017). Final Report on User Requirements: Identification and Analysis. 16. Gade, R. (2009). Event Culture - The Museum and Its Staging (Kopenhagen, 6-7 Nov 09). 17. Gibbert, M., Ruigrok, W., & Wicki, B. (2008). What passes as a rigorous case study? Strategic Management Journal, 29(13), 1465–1474. 18. Gillard, P. (2002). Cruising through history wired. Museums and the Web 2002. 19. Goodwin, M. H. (1990). He-said-she-said: Talk as social organization among black children (Vol. 618). Indiana University Press. 20. Hamma, K. (2004). The role of museums in online teaching, learning, and research. First Monday. 21. Henchman, M. (2000). Bringing the object to the viewer: Multimedia techniques for the scientific study of art. 22. Herrgott, C. (2016). Cantu in paghjella: Patrimoine Culturel Immatériel et nouvelles technologies dans le projet I-Treasures. Port Acadie: Revue Interdisciplinaire En Études Acadiennes/Port Acadie: An Interdisciplinary Review in Acadian Studies, 30, 91–113. 23. Howell, R., & Chilcott, M. (2013). A sense of place: re-purposing and impacting historical research evidence through digital heritage and interpretation practice. International Journal of Intangible Heritage, 8, 165–177. 24. King, L., Stark, J. F., & Cooke, P. (2016). Experiencing the digital world: The cultural value of digital engagement with heritage. Heritage & Society, 9(1), 76–101. 25. Lomb, N. (2009). Dip circle used to study the earth’s magnetic field at Parramatta Observatory. 26. Majors, Y. J. (2015). Shoptalk: Lessons in teaching from an African American hair salon. Teachers College Press. 27. Marty, P. F. (2008). Museum websites and museum visitors: digital museum resources and their use. Museum Management and Curatorship, 23(1), 81–99. 28. Moqtaderi, H. (2019). Citizen curators: Crowdsourcing to bridge the academic/public divide. University Museums and Collections Journal, 11(2), 204–210. 29. Müller, K. (2013). Museums and virtuality. In Museums in a digital age (pp. 295–305). Routledge. 30. Nasir, N. S., Rosebery, A. S., Warren, B., & Lee, C. D. (2006). Learning as a cultural process: Achieving equity through diversity. 31. O’Brien, H. L., & Toms, E. G. (2008). What is user engagement? A conceptual framework for defining user engagement with technology. Journal of the American Society for Information Science and Technology, 59(6), 938–955. 32. O’Neill, R. (2017). The Rise of the Citizen Curator: Participation as Curation on the Web. University of Hull. 33. Opie, I., & Opie, P. (2000). The lore and language of schoolchildren. New York Review of Books. 34. Pallud, J. (2017). Impact of interactive technologies on stimulating learning experiences in a museum. Information & Management, 54(4), 465–478. 35. Pallud, J., & Straub, D. W. (2014). Effective website design for experience-influenced environments: The case of high culture museums. Information & Management, 51(3), 359–373. 36. Pozzi, F. (2017). Final Report on User Requirements: Identification and Analysis. Unpublished I-Treasures Project Report. 37. Proctor, N. (2010). Digital: Museum as platform, curator as champion, in the age of social media. Curator: The Museum Journal, 53(1), 35. 38. Rogoff, B., Callanan, M., Gutiérrez, K. D., & Erickson, F. (2016). The organization of informal learning. Review of Research in Education, 40(1), 356–401. 39. Schugurensky, D. (2000). The forms of informal learning: Towards a conceptualization of the field. 40. Scribner, S., & Cole, M. (1973). Cognitive Consequences of Formal and Informal Education: New accommodations are needed between school-based learning and learning experiences of everyday life. Science, 182(4112), 553–559. 41. Song, M., Elias, T., Martinovic, I., Mueller-Wittig, W., & Chan, T. K. Y. (2004). Digital heritage application as an edutainment tool. Proceedings of the 2004 ACM SIGGRAPH International Conference on Virtual Reality Continuum and Its Applications in Industry, 163–167. 42. Taheri, B., Jafari, A., & O’Gorman, K. (2014). Keeping your audience: Presenting a visitor engagement scale. Tourism Management, 42, 321–329. 43. Tan, B.-K., & Rahaman, H. (2009). Virtual heritage: Reality and criticism. 44. Tarlowski, A. (2006). If it’s an animal it has axons: Experience and culture in preschool children’s reasoning about animates. Cognitive Development, 21(3), 249–265. 45. Tate. (2007). How We Are Now at Tate Britain Museum. 46. Taylor, J., & Gibson, L. K. (2017). 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Public historians at sites of cultural heritage tourism struggle to engage with an ever-changing audience. The solution proposed in this work is the cultivation of the virtual community as a valuable audience and future donor base. Through an analysis of the web presence and social media activities of three high profile heritage locations in Virginia, Mount Vernon, Monticello, and Colonial Williamsburg, it is possible to devise best practices for interaction with the virtual tourist. These principles can be implemented at any site, large or small, and seek to create an immersive educational experience to be enjoyed by guests of many ages and interests. The key consideration must be to court the virtual visitor as a new and valuable audience essential to the continuation of perceived relevance at heritage locations across the country.

Recent research on achieving sustainable heritage tourism in Macau advocates a greater collaboration between tourism and heritage management authorities and the local community on reaching sustainable tourism goals. A key theme for Macau in the last ten years has been how the tension between the proponents for greater casino development versus those for cultural heritage product development has played out in government policies for heritage management, private sector tourism development and host community concerns about heritage protection and achieving quality tourism. The indirect influence of the central government on Macau Special Administrative Region's (SAR's) policy development in relation to these topics in the last ten years will be discussed in this context using findings from three recent studies by the Institute For Tourism Studies (IFT) and background information collected on government policy and community views. This paper will outline emerging issues regarding demand, supply, and impacts of cultural tourism with reference to findings from four recent research projects. Special reference will be made to over-use and under-use issues, authenticity, and the management of tourism impacts while enhancing visitor experience. Strategic planning and management of cultural tourism products will also be touched upon.

This research aims to determine the differences and similarities in perceptions, experiences, satisfaction, and behaviour intention of travellers who engage with, and appreciate Intangible Cultural Heritage, according to the sociodemographic profile of these travellers. Literature concerning Intangible Cultural Heritage tourists’ profile is still scarce, being important for World Heritage Site destinations or places with Intangible Cultural Heritage recognition to identify the tourists attracted by culture and heritage. Thus, the work presented intend to cover the gap identified in this sense, taking as reference the results obtained from fieldwork consisting of a structured questionnaire which was administered to a representative sample of tourists who participated in the Fiesta de los Patios event in Cordoba (Spain), which is recognised as Intangible Cultural Heritage asset. Mann–Whitney and Kruskal–Wallis tests are used to compare groups of the sample according to the sociodemographic profile of the tourists, revealing statistical differences among these groups. The results enable us to analyse the post-COVID tourist, and determine to what extent they are satisfied with the new worldwide situation. This research could be useful both to public agents of tourism promotion and private businesses, whose target audience are tourists attending this type of event. The research unpacks the profile of the visitor, relating their gender, age, educational level, and income to their experiences, perceptions, satisfaction, and behaviour intention. This enables the tourist offer to be adapted, making it more attractive to the potential client.

This article explores the contemporary mediation of memory at two plantation heritage sites on Louisiana’s River Road. These sites, I argue, are systematically ‘refining’ cultural memories of African American enslavement, in a metaphorical echo of the industrial processing of commodities (oil and sugar) which takes place in the same landscape. The essay draws on initial informal ethnographic fieldwork at Oak Alley (the most-visited River Road plantation) and St Joseph (a working plantation) in 2015. I identify ways in which curatorial direction, guided tours and visitor facilities at each site elide the reality of slave sugar production. The results of this fieldwork are considered in light of a range of existing literature on contested heritage and environmental criticism, enabling a provisional contextualisation of ‘refined’ memory-making within the broader socio-economic and environmental context of River Road.

Australia is the custodian of a diverse range of continental and oceanic islands. From Heard and Macquarie in the sub-Antarctic, to temperate Lord Howe and Norfolk, to the tropical Cocos (Keeling) Islands and the islands of the Great Barrier Reef, Australia’s islands contain some of the nation’s most iconic fauna, flora and ecosystems. They are a refuge for over 35% of Australia’s threatened species and for many others declining on mainland Australia. They also have significant cultural value, especially for Indigenous communities, and economic value as centres for tourism. Australian Island Arks presents a compelling case for restoring and managing islands to conserve our natural heritage. With contributions from island practitioners, researchers and policy-makers, it reviews current island management practices and discusses the need and options for future conservation work. Chapters focus on the management of invasive species, threatened species recovery, conservation planning, Indigenous cultural values and partnerships, tourism enterprises, visitor management, and policy and legislature. Case studies show how island restoration and conservation approaches are working in Australia and what the emerging themes are for the future. Australian Island Arks will help island communities, managers, visitors and decision-makers to understand the current status of Australia’s islands, their management challenges, and the opportunities that exist to make best use of these iconic landscapes.

This chapter discusses the ways in which museums and heritage sites have adapted to the need to create technology-based experiences in recent decades culminating in the intensive online provision during the COVID period. The aim of both online and live visits should be as inclusive as possible of different audiences, stimulating interesting, rich, multi-cultural experiences that encourage re-visitation or at least recommendation to others. Ideally, sites should create meaningful as well as memorable experiences. This process includes several aspects and is very complex requiring the combination and harmonisation of education, heritage interpretation, marketing skills, and local initiatives. This chapter uses case studies to analyse the extent to which museums are rising to these challenges above, including the principles of the so-called ‘new museology', the need for more innovative technology to create visitor experiences, and COVID-19.

Edinburgh has long been recognized as a global model for “festival cities”, and is often cited as a leader in the planning and evaluation of events. In 2010 Edinburgh won the World Festival and Event City award from the International Festival and Event Association (IFEA) and was declared the most outstanding global entry. According to Visit Scotland’s 2015 visitor survey (cited in BOP Consulting 2018, p. 8), “Edinburgh’s Festivals each year deliver over 3,000 events, reaching audiences of more than 4.5 million and creating the equivalent of approximately 6,000 full time jobs. 32% of the 14 million+ annual visitors to Scotland are moti- vated by the nation’s cultural and heritage offer, in which the Festivals play a defining role.” The city is frequently cited in the events literature, and its generous posting of material online is a boon to scholars and practitioners alike. The companion book in this series, Event Impact Assessment (Getz, 2019), presents highlights from a succession of impact studies that Festivals Edinburgh has placed online, while in this book we examine portfolio management through a review of published documents (all available online) and input from Festivals Edinburgh. Permanent, formal stakeholder collaboration, and strategic planning sup- ported by research is in large part what distinguishes Edinburgh’s event port- folio. The Festivals Forum (established in 2007 following the first Thundering Hooves report) facilitates stakeholder collaboration, particularly by bringing major funders to the table with events and venues. Festivals Edinburgh is a formal, staffed association of the eleven major, permanent festivals that contrib- ute most to the city’s image and to event-tourism impacts. Leadership is shared, not concentrated in one organization. As well, the city and Scottish Government work closely together, facilitated by the explicit portfolio strategy followed by EventScotland. Innovation in programming the festivals is matched by leadership in envi- ronmental sustainability and social responsibility. Engagement with residents is considered to be a high priority, and this includes demonstrating benefits through regular and comprehensive impact studies that cover cultural, social, economic and environmental impacts. Investment in venues and infrastructure has also been a priority for the city.

In recent years, communication and digital technologies have widely affected the cultural heritage sector, offering incredible opportunities to enhance the experiential value of heritage assets and improve cultural activities. Furthermore, another trend has gained significant attention: increasing users' engagement through gamification. Several studies have shown the efficacy of gamification for learning achievements, and gaming is also emerging as a useful tool for touristic objectives such as marketing, dynamic engagement with users, and audience development. This chapter aims at presenting two Italian game projects for mobile devices, created to enhance and promote the cultural offer of two peculiar territories. Game design choices, objectives, and outcomes will be discussed to highlight the benefits and limits of these tools and point out the changing practices of cultural institutions and local administrations, which are showing an increasing interest in the exploitation of video games, considering them as strategic marketing tools to promote cultural heritage and tourism.

In this paper, we present a study which analyzes the experiences of elderly people, when travelling as tourists to specific destinations. With this specific profile we searched results that help us to determine their prospects in tourism. The research is also focused on a specific country, Ireland, although cross-cultural studies are being developed in Spain. The surveys are carried out in three touristic places chosen because of their popularity with our target audience. We conduct a survey in which we elicited the expectations that exist before visiting that destination regarding the perceived reputation of that tourist destination and of the quality of the services offered. These aspects also relate to the degree of hospitality of its inhabitants. This allows us to determine the tourist experience in the destination, focusing on the emotions of the visitor to the destination and of the level of disconnect from everyday life that is achieved. We establish the degree to which their feelings on the destination are discussed in social networks – an important point as this group have not traditionally used social media to a significant degree. We try to establish by means of a quantitative study the tourist profile of these people of advanced age, which is an area of research that has received little attention to date. For this reason, the study reveals knowledge of a new visitor profile in tourist destinations, determined by the experience lived.