Journal articles 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). Digitisation, digital interaction and social media: embedded barriers to democratic heritage. International Journal of Heritage Studies, 23(5), 408–420. 47. UNESCO. (2011). What is Intangible Cultural Heritage? 48. Vygotsky, L. S. (2012). Thought and language. MIT press. 49. Wenger-Trayner, E., Wenger-Trayner, B., & W.-T. (2015). Communities of practice: A brief introduction. 50. Wenger, E. (1999). Communities of practice: Learning, meaning, and identity. Cambridge university press. 51. Yin, R. K. (2009). Case study research: Design and methods (Vol. 5). sage.

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.

Rich in history and culture, heritage sites often evoke stirring emotions and memories. We analyzed historical poetry using grounded theory and high-frequency word and semantic analysis to construct historic landscape images (HLIs) of the West Lake UNESCO World Heritage Site in Hangzhou, China. GPS trajectory data were used to identify hot and cold tourist spots and understand the site’s intra-attraction tourist behaviors (IATBs). Finally, we analyzed the HLI–IATB relationship. We found that the tourist distribution was uneven, and different attractions had different visitor behaviors. Our findings should inform future heritage site management—and neighboring cities—about the benefits of using HLIs to predict attraction visitors’ behaviors and leveraging those insights to optimize multiple-attraction sites proportionally. Such projections can provide new perspectives for heritage studies, landscape planning, and tourism image-making.

PurposeThe purpose of this paper is to explore the existing relations between three fundamental constructs (motivation and satisfaction) and the type of travellers in a World Heritage Site (WHS) tourist destination, the city of Cuenca (Ecuador).Design/methodology/approachThe methodology used consisted of a fieldwork to determine the motivations and satisfaction of the visitor in the city of Cuenca, and then their segmentation.FindingsThe relationship between the study of motivation and satisfaction is a fundamental element in the development of WHSs. Similarly, it presents four different types of tourists obtained from their motivational variables. The results show the existence of three motivational dimensions for visiting Cuenca: cultural, circumstantial and convenience. Similarly, and using the motivation scenarios, four types of visitor have been identified: a cultural tourist, a cultural convenience tourist, a cultural circumstantial tourist and an alternative tourist.Practical implicationsThe principal practical application of this research is to contribute to understanding the motivations of the visitors in relation to the city of Cuenca as a WHS for the purpose of designing tourist and cultural products that better satisfy the needs of the tourists and that, at the same time, are compatible with the sustainable management of the destination.Originality/valueThis paper seeks to contribute to promoting the relationship between tourism, sustainability and heritage in Latin America.

In recent years, scholars have called for greater recognition and representation of the role of slavery and the contributions of the enslaved at a multitude of heritage sites in, and outside, of the US. The framework of difficult heritage, as grounded in difficult knowledge, draws attention to the problems associated with the processes of heritage-making, including the challenges faced by those tasked with representing traumatic pasts as well as by those who encounter the representations. Thus, the purpose of this exploratory study was to obtain the perspectives of tour guides regarding a greater representation of slavery at one possible heritage museum, the Sam Houston Memorial Museum in Huntsville, Texas, USA. These guides are crucial actors because they are responsible for both representing the heritage of slavery and managing a potentially complex range of visitor responses to these representations. The study drew from participant observation of guided tours of the museum property and semistructured interviews with museum staff, including those individuals who are directly responsible for guiding tours or play a supporting role in tours. While the guides indicated that they felt slavery was, indeed, an appropriate topic at the site, they expressed concerns about expanding representation of the topic. These concerns included the logistical constraints faced on tours, their knowledge of and comfort with the topic, and their perceptions about visitor expectations for the museum.

The purpose of this research was to analyze the visitor-management tactics and strategies in World Heritage destinations. The Temples of Angkor (Cambodia) were selected as case studies. The analysis was carried out in two phases—before and after COVID-19. A qualitative methodology was used. Participant observation was employed for the pre-COVID-19 strategies, and recommendations of scholars and bodies responsible for tourism were the basis for the strategies proposed for the post-COVID-19 scenario. Grounded theory and the Atlas.ti qualitative analysis software were used. The results showed that the public health goal, together with its related strategies and tactics, should be added to the classic sustainability goals and the hard and soft strategies (physical, regulatory, and educational). It was also noted that new actors came into play—those responsible for public health. In conclusion, this new public health goal and its tactics will condition classic factors such as carrying capacity, and can conflict with goals such as the economic and social goals. The sustainability paradigm is maintained, but with the addition of risk society and the public health goal playing a key role.

Purpose Urban heritage areas are under significant pressure as a result of increasing populations and significant visitor growth. The growth in visitor numbers is of particular concern as this is leading to the phenomenon of overtourism. In Asia, although the issue of overtourism requires immediate attention in order to avoid the loss of tangible and intangible heritage, many of those responsible for managing urban heritage areas lack the skills and competencies to prevent it or mitigate its effects. The purpose of this paper is to present an exploratory competency framework for managing urban heritage areas sustainably, for thereby preventing and/or mitigating overtourism. Design/methodology/approach In developing this framework, the authors examined how the context needs to change in order to implement sustainable urban heritage management, and they identified the particular competencies and associated skills and knowledge that are required of the stakeholders responsible for urban heritage areas to manage, prevent and/or mitigate overtourism. This analysis was based on a series of case studies examining the planning and management of urban heritage areas in Asia. Findings It was found that meeting three key objectives was essential in improving the competencies of stakeholder heritage area planners and developers as it relates to overtourism: integrated team approach, a mindset change on the part of key stakeholders and a common vision guiding the development process. Research limitations/implications It was found that in order for urban heritage managers to sustainably manage the heritage under their responsibility and prevent and/or mitigate overtourism, a fundamental shift in mindset is required on the part of key stakeholders, moving away from a “silo” approach and towards an integrated approach to urban heritage management, in which the team leaders and management teams have an interdisciplinary set of competencies and are supported in the planning and management process by subject/discipline specialists. The authors found that the set of competencies that are required by heritage management teams lie at the intersection of the four key areas of policy and planning intervention in urban heritage areas, which are: community economic development, urban planning and design, urban heritage area planning, and tourism planning and management. The competencies can be categorized under three headings: interdisciplinary perspective, soft management competencies and technical competencies. Originality/value This paper was developed based on the authors’ experience in planning and tourism initiatives throughout Asia and on a long history of urban heritage tourism and planning work around the world. Most of the discussion focusses on how urban destinations can prevent and/or address the issues associated with overtourism by enhancing the competencies of the teams and practitioners who are responsible for managing urban heritage areas.

Successful underwater heritage management requires a sound understanding of visitor behavior. Primary visitors to underwater heritage sites are divers whose behavior can pose risks to the integrity of site cultural heritage and tourism values. This study seeks to understand wreck diver in-water behavior. Conventional observation of diver behavior is limiting. Wearable cameras are becoming popular across many recreational activities and potentially expand the scope and quality of diver observation. Video observation is rarely used in such research. This article demonstrates the potential of video observation, describing the analysis of first-person video records to explore details of diver behavior on shipwrecks. The evidence demonstrates that while most divers behaved responsibly, a few contributed to most contact behaviors. The analysis details this behavior, identifying, for example, that deliberate holding and touching comprised most contacts. Such findings on diver behavior inform heritage and tourism management decisions and provide a baseline for future studies. Methodologically, the study demonstrates the power of this method of observing divers and other recreationists. This is particularly valuable for researching recreationalists in confined spaces, such as caves or shipwrecks. The quality of results allows for further evidence-based examination of motivations, values, intentions and meanings underlying observed diver behavior.

Archaeological tourism received minimal attention from the Malaysian government although many archaeological sites in Malaysia have the potential to attract tourists. The number of tourists to these sites is still not promising. Hence, this study aimed to explore the tourist's perspective on how to promote Bujang Valley as an archaeological destination to stay competitive with other archaeological sites in the region to attract more tourists. 20 visitors were approached through convenience sampling for a semi-structured interview. Each interview session took approximately 30 minutes. Consent was obtained from each visitor before the interview was conducted. The findings showed that the promotion of Bujang Valley is inadequate. Publicity, advertising, and personal selling were among the suggested ways to promote the destination. Also, informants suggested promoting Bujang Valley through ambassador and World Heritage Site status. The research findings were expected to provide suggestions to the federal and local government, travel, and tourism practitioners in marketing communication efforts to attract more local and international tourists. Promotional efforts can be costly, strategic plan on the expenses is necessary to ensure the allocated budget for the promotional efforts is spent optimally to reach the varied audience and create awareness about archaeological sites among different target segment.

The Black Sea coasts of Turkey have important examples of geological heritage with coastal cliffs in terms of geological formations and features. The Güzelcehisar Basalt Columns (GBCs) formation and its coast have been chosen as a research area in this article in terms of its basalt columns, rare coastal geological diversity and coastal geotourism potential. This paper presents the results of a visitor survey undertaken at the GBCs formation and its coast, located in the rural coastal part of Bartın province in the Western Black Sea Region of Turkey. This survey was conducted in 2020 to assess the tourism shoulder season visitors to the Güzelcehisar village. With the survey, its aim was to determine the awareness of the visitors on geoconservation and geodiversity and to evaluate the understanding of geological heritage and geotourism. In addition, it was desired to set visitor expectations to improve the geotourism experience. It was found that visitors had a high level of understanding and awareness of the terms “geodiversity”, “geoheritage”, “geotourism” and “geoconservation”. However, this survey also shows that there is less emphasis on the need to protect the geodiversity in Güzelcehisar. Guided walking is preferred in order to improve visitor understanding and improve experiences. These survey findings contain guiding explanations for studies that could provide a wider interpretation of the perceptions, experiences and expectations of visitors regarding the sustainable development of areas with similar coastal geotourism potential in Turkey.

Despite the multitude and richness of works on tourism experience, few studies have analysed the experiential approach and its key effects in cultural district context.The purpose of this paper is to provide an exploratory investigation of the magnitude of the experiential approach in the specific area of cultural district tourism as a contribution to the scarce and preliminary literature on this topic.To achieve this aim, a structural equation modelling (SEM) analysis is applied to a sample of 400 tourists at San Gregorio Armeno (Naples, Italy) to test the relationships among visitor experience, tourist satisfaction, memorable experience and behavioural intentions. The selected cultural district is an agglomeration of local firms embedded with the aim of producing hand-crafted goods (by respecting traditions, history and the local community), thereby driving unplanned heritage tourismdevelopment based on the visit experience delivered to customers.The findings of this empirical study show positive relationships among the constructs and interesting moderating effects of the variables (i.e., gender and past experience).Based on these results, the main contributions to theory are explained, managerial implications (for local firms and policy makers) and future research directions are suggested.

The use of virtual and immersion technologies has expanded considerably due to their impact on user experience, economy, knowledge, and sustainable conservation of cultural heritage according to studies conducted in various parts of the world in different disciplines (architecture, economy, entertainment, health, tourism, etc.), including on tourism in Mexico. These technologies are used in some archaeological sites, but development and implementation are scarce due to the lack of economic strategies, infrastructure, and human capital, which are preventing the sustainable exploitation of those sites, although some of these sites have met the basic requirements for providing a better experience to visitors. However, these sites should be studied to propose integral solutions not only to improve the tourist experience, but also to assist in their protection, conservation, and sustainable development. Here, we used knowledge from the soft systems methodology and the hologram generation system to generate proposals to solve the problem described. The result is a sustainable historical-cultural model based on the systemic approach, whose objective is to positively impact the visitor experience while maintaining harmony with the environment.

Film tourism is a growing phenomenon worldwide. The shooting of popular films and TV series at a destination can be seen as a very efficient driver for attracting tourists. This study focuses on a Chinese film site, Grand View Garden, located in Beijing. As the existing studies focus mainly on Western film sites, this study fills the gap with respect to the lack of research in the literature focusing on Chinese film tourism. This article examines both tourists’ and local residents’ motives for using such attractions, as well as the attitudes residents have toward tourists, and suggests that residents play a role in the creation of a sense of place that is valued by tourists. By using qualitative methods, this article provides a comparative view between tourists’ and local residents’ perceptions. Tourists thought the Garden’s interpretation services were poor and questioned the authenticity of the site, while local residents were concerned more about the Garden’s basic services and facilities. However, both classes of visitor attached importance to the retention of the heritage and culture of the Garden.

Purpose The purpose of this paper is to identify the features that qualify the wine tourism destinations’ (WTDs) image and to deepen analyse the role of the image on the wine tourists’ perception, assuming that it changes from tourist to tourist, depending on who has formed its perception after a real experience or not. Design/methodology/approach This contribution fits in the range of studies regarding the measurement of the destination image; the authors suited the Echtner and Ritchie’s model (1991, 1993), as its multidimensionality approach, rarely applied in the area of wine tourism. Findings From a comparison between the images of the chosen destination, wine tourists consider Bordeaux the benchmark of WTDs and, in the collective imagery, France is one of the excellences between WTDs. The association territory-wine is less marked, so the biggest contribute is given by the in situ experience. Research limitations/implications Despite results can’t be generalised because the samples of convenience, they have provided an overall outline of attributes, benefits and attitudes of wine tourists of Web 2.0. Practical implications A managerial lecture of results shows that young destinations (aka new wine regions) have a bigger propensity for destination management as well as the attention to marketing aspects, which are able to influence the competitiveness of destination. Instead, destinations with an ancient tradition (aka old wine regions), although unique for their wines and territories, food traditions and the historic-architectural heritage, need to improve their services. Originality/value This research applies the consolidated analysis method of E&R on the theme of destination image to the wine tourism, never used for WTDs, improving the model with a comparison between visitor and no-visitor perceptions.

There is evidence that increasing the Length of Stay (LOS) contributes to the sustainability of destinations. This paper analyzes LOS determinants in the Schist Villages Network (SVN) in Portugal, where almost half of the visitors are same-day visitors. Given that these visitors generate more environmental impacts, an increase in LOS would help guide tourism towards more sustainable standards. The analysis was performed using several Heckman selection models. Unlike the findings of previous studies, LOS depended mainly on the characteristics of the trip and the destination—not on visitor profile—and can therefore be considered a highly specific form of tourism. Comparatively, motivations associated with rest, residents’ hospitality, and local produce consumption encourage visitors to extend their stay, thereby boosting tourism sustainability. The SVN is also shown to have various cultural and heritage resources that are currently highly valued. However, the leisure offer is insufficient to increase LOS. Furthermore, conventional advertising was not shown to be effective in raising LOS compared with word-of-mouth (WOM). The paper concludes that measures should be adopted to increase the local produce offer, retain population, maintain traditional village activities, and attract visitors from nearby regions. These actions could increase overnight stays and LOS, contributing to more sustainable development.

The success of a city’s retail core is largely dependent on the composition and organization of its merchant constituents. Not only should the price-point and products of a city’s retail align with its resident and visitor demographics but the stores should be strategically balanced to maximize consumer spending and interest. Heritage destinations dependent on the tourism market should pay special attention to this issue, assuring their visitors a valuable shopping experience while simultaneously preserving the destination’s cultural appeal. This case study considers the rapidly evolving shopping district of Charleston, South Carolina, focusing specifically on the retail core’s recent influx of chain merchants to what was once predominantly a local main street. A historical account, paired with an in-depth survey of merchants, is presented. The research builds on previous studies that have considered the issue of merchant mix from the perspective of the city’s stakeholders, tourists, and residents.

Iran boasts internationally important deposits of hydrocarbons. The hydrocarbons can be regarded not only as an exceptional energy resource, but also a geological heritage (geoheritage) resource. A new investigation of the Bangestan carbonate rocks from the Cretaceous age in the Fars Province has permitted to find several unique features and to assign these to six geoheritage types, namely sedimentary, palaeontological, stratigraphical, palaeogeographical, structural, and economic. The most important from these is the economic type that is ranked nationally. The Bangestan geoheritage is valuable for geoscience research, geoeducation, and geotourism, and this geoheritage is a subject of geoconservation. As these activities can bring some socio-economic benefits, this geoheritage has to be considered a true natural resource. Field studies have permitted to emphasize its appropriate manifestation in the Nowdan anticline (an area in the Zagros Mountains near the cities of Shiraz and Kazeroon), which is suggested as a geosite. Hydrocarbon-related industrial tourism and geotourism activities can be coupled for their mutual benefit. The Nowdan anticline geosite should be used for the purposes of tourism, but it requires some simple infrastructure building and involvement in excursion programs coordinated by a local museum or visitor centre.

Purpose This paper aims to propose a value co-creation framework through examining the opportunities of implementing augmented reality, virtual reality and 3D printing into the visitor experience at cultural heritage places. Design/methodology/approach This study proposes the conceptual model of value co-creation using a case-study approach by presenting some cases of a cultural heritage place in the UK. Findings The findings of this study suggest that the effective use of multiple technologies in the context of cultural heritage places contributes to the co-creation of value for both cultural heritage organisations and also for visitors’ pre-visit, onsite and post-visit experience. Businesses can benefit from increased spending, intention to return and positive word-of-mouth, while visitors receive a personalised, educational, memorable and interactive experience. Practical implications Cultural heritage places have to find new ways to survive increasingly fierce competition. Using technology and the concept of value co-creation can prove to be a valuable concept in an attempt to attract new target markets, enhance visitors’ experience, create positive word-of-mouth and revisit intentions. Originality/value Recently, increased importance has been placed on the co-creation of value to account for consumers' interest in playing some part in the development of services and products. This study takes a holistic approach using augmented reality, virtual reality and 3D printing from a value co-creation perspective.

The Riace Bronzes are two full-size bronzes cast around the 5th century BC, located at the ‘Museo Archeologico Nazionale della Magna Grecia’ in Reggio Calabria; they truly represent significant sculptural masterpieces of Greek art in the world due to their outstanding manufacture. This paper describes the methodology for the achievement of a 3D model of the two sculptures lead by the Geomatics Laboratory of the Department of Civil, Energetic, Environmental and Material Engineering (DICEAM) of the Mediterranean University of Reggio Calabria. 3D modeling is based on the use of imaging techniques such as digital photogrammetry and computer vision. The achieved results demonstrate the effectiveness of the technique used in the cultural heritage field for the creation of a digital production and replication through 3D printing. Moreover, when considering renewed interest in the context of international museological studies, augmented reality (AR) innovation represents a new method for amplifying visitor numbers into museums despite concerns over returns on investment. Thus, in order to further valorize and disseminate archaeological heritage, we are developing an app for tourism purposes. The created app allows the user, in real time, to obtain additional information on the object of investigation, even allowing them to view the 3D model in AR.

In this paper, we give an overview on the emerging trend of the digitized self, focusing on visual lifelogging through wearable cameras. This is about continuously recording our life from a first-person view by wearing a camera that passively captures images. On one hand, visual lifelogging has opened the door to a large number of applications, including health. On the other, it has also boosted new challenges in the field of data analysis as well as new ethical concerns. While currently increasing efforts are being devoted to exploit lifelogging data for the improvement of personal well-being, we believe there are still many interesting applications to explore, ranging from tourism to the digitization of human behavior. 1 Introduction We are already living in the world, where digitization affects our daily lives and socio-economic models thoroughly, from education and art to the industry. In essence, digitization is about implementing new ways to put together physical and digital resources for creating more competitive models. Recently, lifelogging appeared just as another powerful manifestation of this digitization process embraced by people at different extents. Lifelogging refers to the process of automatically, passively and digitally recording our own daily experience, hence, connecting digital resource and daily life for a variety of purposes. In the last century, there has been a small number of dedicated individuals, who actively tried to log their lives. Today, thanks to the advancements in sensing technology and the significant reduction of computer storage cost, one’s personal daily life can be recorded efficiently, discretely and in hand-free fashion (see Fig. 1). The most common way of lifelogging, commonly called visual lifelogging, is through a wearable camera that captures images at a reduced framerate, ranging from 2 fpm of the Narrative Clip to 35 fps of the GoPro. The first commercially available wearable camera, called SenseCam, was presented by Microsoft in 2005 and during the last decade, it has been largely deployed in health research. As summarized in a collection of studies published in a special theme issue of the American Journal of Preventive Medicine [5], information collected by a wearable camera over long periods of time has large number of potential applications, both at individual and population level. At individual level, lifelogging can aid in contrast dementia by cognitive training based on digital memories or in improving well-being by monitoring lifestyle. At population level, lifelogging could be used as an objective tool for 60 understanding and tracking lifestyle behavior, hence enabling a better understanding of the causal relations between noncommunicable diseases and unhealthy trends and risky profiles (such as obesity, depression, etc.) Fig. 1. Evolution of wearable camera technology. From left to right: Mann (1998), GoPro (2002), SenseCam (2005), Narrative Clip (2013). However, the huge potential of these applications is currently strongly limited by technical challenges and ethical concerns. The large amount of data generated, the high variability of object appearance and the free motion of the camera, are some of the difficulties to be handled for mining information from and for managing lifelogging data. On the other hand, legality and social acceptance are the major ethical challenges to be faced. This paper discusses these issues and it is organized as follows: in the next section, we give an overview of potential applications; in section 3, we analyze technical challenges and current solutions. Section 4 is devoted to ethical issues and, finally, in section 5, we draw some conclusions. 2 Potential Applications Humans have always been interested in recording their life experiences for future reference and for storytelling purposes. Therefore, a natural application would be summarizing lifelog collections into a story that will be shared with other people, most likely through a social network. Since the end-users may have very different tastes, storytelling algorithms should incorporate some knowledge of the social context surrounding the photos, such as who the user and the target audience are. However, lifelogging technology allows capturing our entire life, not only those moments that we would like to share with others (see Fig. 2). This offers a great potential to make people aware of their lifestyle, understood as a pattern of behavioral choices that an individual makes in a period of time. This feedback could provide education and motivation to improve health trends, detecting risky profiles, with a personal trainer “in-the-loop”. Indeed, by providing a symbiosis between health professionals and wearable technology, it could be possible to design and implement individualized strategies for changing behavior. Considering that physical activity and poor diet are major risk factors for heart diseases, obesity and leading causes of premature mortality, this social impact of applications will be huge. On the other hand, lifelogging could be useful in monitoring patients affected by neurological disorders such as depression or bipolar disorder by aiding in predicting crisis. 61 Fig. 2. Images recorded by a Narrative Clip: From left to right and from the 1st to the 2nd row: in a bus, biking, attending a seminar, having lunch, in a market, in a shop, in the street, working. Finally, digital memories could be used as a tool for cognitive training for people affected by Mild Cognitive Impairment (MCI), a condition that represents a window for novel intervention tools against the Alzheimer disease. Although the emphasis nowadays is on the use of wearable cameras for health applications, its potential spreads to many other domains ranging from tourism to digitization of intangible heritage. For instance, data collected during a long trip could be used to make short and original photostreams for storytelling purposes and be shared in a network of visitors of a country. On the other hand, probably in the next century, these data would be useful for people interested in comparing how transportation and landscape have changed over time. During the last few decades, there has been an increasing interest in the use of digital media in the preservation, management, interpretation, and representation of cultural heritage. Intangible cultural heritage consists of nonphysical aspects of a particular culture, among which folklore, traditions, behavior. The intangible aspects of our cultural heritage represent a treasure of significant historical and socio-economic importance. Naturally, intangible cultural heritage is more difficult to preserve than physical objects. The digital documentation of intangible cultural heritage represents a huge market potential, which is largely unexplored. Wearable cameras could be used in this field to collect, preserve and make available digitally part of the intangible cultural heritage of the 21th century, such as human behavior. 62 3 Technical Challenges Wearing a camera over a long period of time generates a large amount of data (up to 70.000 images per month), making difficult the problem of retrieving specific information. Beside data organization, the high variability of object appearance in the real world and the free motion of the camera make state of the art object recognition algorithms to fail. In Fig. 3 are shown two sequences acquired by wearing a Narrative Clip (2fpm): one can appreciate the frequency of abrupt changes of the field of view even in temporally adjacent images that makes motion estimation unreliable and frequent occlusions that cause important drop in object recognition performances. Fig. 3. Example of photostreams captured by a Narrative CLip while (first row) biking and having a coffee (second row). As shown in [2], the interest of the computer vision community is rapidly increasing and this trend is expected to continue in the next years. Most available works have been conceived to analyze data captures by high temporal resolution wearable cameras, such as GoPro or Google Glasses and they can be broadly classified depending on the task, they try to solve in: activity-recognition [15, 11, 10, 13, 6], social interaction analysis [1, 3, 19], summarization [4, 16, 12]. Activity recognition usually relies on cues such ego-motion [15, 10], object-hand interaction [11, 10] or attention [13, 6]. Generally, the major difficult to be faced in the task of activity recognition are the large variability of objects and hands and the free motion of the camera that make it very difficult to estimate body movements and attention. Social interaction detection is based on the concept of F-formation that models orientation relationships of groups of people in space. F-formations require estimating pose and 3D-location of people, which are challenging tasks due the continuous changes of aspect ratio, scale and orientation. A common approach to summarization is to try to maximize the relevance of the selected images and minimize the redundancy. Relevancy can be captured by relying on mid-level or high-level features. Mid level features may be motion, global CNN features [4, 16], whereas high-level features may be important objects [12] or topics [18]. 63 4 Ethical Issues Lifelog technology can be considered still in its infancy and assuring that the related ethical issues receive full consideration at this moment is crucial for a responsible development of the field. In the last few years, a number of papers has tried to inquiry into the ethical aspects of lifelogs held by individuals [17, 7, 14], discussing issues to do with privacy, autonomy, and beneficence. Images captured by a wearable camera clearly impact the privacy of lifeloggers as well as of bystanders captured in such images. In [7], the authors identified various factors to make a photo sensitive and proposed to embed into the devices an algorithm that use these factors to automatically delete sensitive images. The most general meaning of autonomy is to be a law to oneself. The authors of [8] recognize that lifelogging offers a great opportunity towards autonomy, since it allows to better understand ourselves. Moreover, they provide recommendations and guidelines to meet the challenges that lifelogs poses towards autonomy. Beneficence concerns with the responsibility to do good by maximizing the benefits to an individual or to society, while minimizing harm to the individual. A critical component is informed consent that should be signed by participant to research projects or clinical projects. More general specifications for wearable camera research are provided in [9], proposing an ethical framework for health research. 5 Conclusions This paper has reviewed some of the most important aspects of visual lifelogging, focusing on the technical and ethical challenges it arises, and on its potential applications. We believe that a responsible development of the field could be highly beneficial for the society. In order to become widely used technology, a large amount of effort should be invested in the development of efficient information retrieval systems, to allow fast and easy access to lifelogging content at a semantic level. Further advances in the field of deep learning will allow filling this semantic gap. Acknowledgments This work was partially founded by TIN2012-38187-C03-01 and SGR 1219. M. Dimiccoli is supported by a Beatriu de Pinos grant (Marie-Curie COFUND action).

La congestión es un fenómeno que preocupa desde hace décadas a los gestores de destinos turísticos. Pocos estudios se han desarrollado para evaluarla en ciudades patrimoniales sobre todo a partir de la percepción del turista, notando un escaso tratamiento del tema en Latinoamérica. Esta investigación evalúa la percepción de congestión del turista en el Centro Histórico de Quito, mediante aportes metodológicos que vinculan variables de tipo motivacional, emocional y conductual. Los resultados indican que la percepción de congestión es percibida mayoritariamente entre leve y moderada. Crowding is a phenomenon that has worried managers of tourist destinations for decades. Few studies have been developed to evaluate it in heritage cities from the perception of the visitor, noticing a poor treatment of the subject in Latin America. This research evaluates the tourist crowding perception in the Historic Center of Quito, through methodological contributions that link motivational, emotional and behavioral variables. The results indicate that crowding is perceived mostly between mild and moderate.

This paper explores representations of identities and fandom in two Southeast Asia border-crossing films, Myanmar in Love in Bangkok (2014) and From Bangkok to Mandalay (2016). Both films have already been exhibited in Thailand and Myanmar and have gained a huge following in both countries. Myanmar in Love in Bangkok portrays a contemporary migrant situation: It is a love story between a male Burmese migrant worker and a Thai woman played by Kaew Korravee, a Thai leading actress who has become famous in Myanmar because of her portrayal of this modern and unconventional character. Alternatively, From Bangkok to Mandalay, which notably presents Burmese and Siamese cultural heritage, has successfully created a feeling of nostalgia among the Thai audience, resulting in fan tourism to Myanmar. Comparing these two cases, I argue that consuming modernity and nostalgia are the main driving forces of the cross-border representations and their subsequent fandom. This paper also engages with the existing fan studies framework put forward by Koichi Iwabuchi and extends the studies of transnational fans further by considering the Southeast Asian sociocultural context.

The aim of this study is to examine the effect that visitor satisfaction with traditional restaurants has on perceptions of the local gastronomy, the overall image of a city and loyalty to that destination. Fieldwork has been carried out in Córdoba, a city in southern Spain famous for being a UNESCO World Heritage city and for its traditional gastronomy. The methodology used is based on structural equation modeling (PLS-SEM). This paper makes a novel contribution in that no previous studies to date have explored satisfaction with traditional restaurants, with respect to the food, the service and the atmosphere. To achieve the proposed objective, a structured questionnaire has been used to find out the opinions of diners in renowned restaurants that base their cuisine on traditional dishes made with quality local ingredients. The results obtained confirm that a satisfactory experience with the food of a traditional restaurant has a positive effect on the image of the destination and the gastronomy of the place, as well as on visitors’ intentions to recommend and repeat the visit to said destination. Based on the analysis carried out, effective strategies are suggested to help manage these types of restaurants. The study provides theoretical and practical implications from a gastronomic perspective, which can enable tourism managers to employ new strategies to retain tourists visiting a city, based on increasing their post-experience satisfaction with restaurants featuring local cuisine.

Purpose. In this study, the authors explore the role of museum visitors’ perceptions and experiences of authenticity. They introduce several variants of authenticity experience and analyse how they are intertwined and feed visitor satisfaction. Method. The authors apply a multi-step model fitting and validation procedure including inferred causation methods and finite mixture modelling to verify whether the visitors’ perceptions of authenticity are subject to unobserved heterogeneity. They elaborate an Authenticity Model that demonstrates out-of-sample validity and generalisability by being exposed to new data for another cultural attraction in another city. Then, they address the heterogeneity hypothesis and evaluate it for the case study with the larger sample. Findings. In both application cases, the Sisi museum in Vienna and the Guinness Storehouse in Dublin, the empirical results support the assumed cause-effect sequence, translating high quality information display—from traditional and multimedia sources—into Perceived Authenticity and its experiential consequences such as Depth and Satisfaction. Accounting for unobserved heterogeneity detects three latent classes with segment-specific strength of relationships within the structural model. Research and conclusions limitations. The combined latent-class, structural-equation model needs validation with another sample that would have to be larger than the available Guinness database. Future studies will have to complement the purely data-driven search for heterogeneity with theory-guided reasoning about potential causes of diversity in the strength of the structural relationships. Practical implications. Cultural heritage sites are among the attractions most typical of city tourism. History tends to materialise in the artefacts accumulated by the population among the urban agglomerations, and museums are the natural places for preserving exhibits of cultural value. Authenticity must be considered an important quality assessment criterion for many visitors, whereby, the distinction between object authenticity and existential authenticity is crucial. Originality. In addition to making substantive contributions to authenticity theory, the authors also extend previous research in terms of methodological effort. Authenticity research, so far, has neither exploited inferred causation methods nor combined latent variable modelling with detecting unobserved heterogeneity. Type of paper: Research article.

Purpose This research aims to demonstrate the possible link between the sociodemographic profile of visitors motivated by the visit to flamenco shows and the city of Córdoba (Spain), and the preferences and sensations regarding these experiences. Design/methodology/approach The methodology used (multilayer perceptron) is based on the development of an artificial neural network. Findings The results show that the variables age and educational level are determining factors in the profile of the visitor. Also, as the level of income increases, so does the interest in flamenco, a fact that can be useful to determine the target audience for this type of shows. Originality/value Flamenco is an art that originated in the Andalusian region that arouses the interest of the visitor due to its music, way of singing and dance. Flamenco is a popular art that excites and awakens the senses of those who attend this dance, song and guitar show. Its recognition as Intangible Heritage of Humanity by United Nations Educational, Scientific and Cultural Organization (UNESCO) since 2010, makes it a tourist product that motivates visitors to travel to the city of Córdoba (Spain), being also one of flamenco's places of origin. Córdoba has this art in its tourist offer so that the identity of the city has two aspects: patrimonial and immaterial, among the flamenco highlighted.

AbstractWhile previous research has focused on heritage visitor attractions few studies have examined visitation to and experience of ancient industrial sites as geographical tourist spaces. This article profiles visitation to Dymarki Swietokrzyskie, a heritage reenactment of past events and ancient industrial traditions of iron smelting held in the Polish town of Nowa Slupia. Visitor survey analysis showed visitors perceive the event is a significant tourist attraction. It attracts tourists, is an element of the local heritage industry and contributes to the development of tourism services as part of the heritage tourism sector. The event in Nowa Slupia forms a tourist attraction based on heritage used for creating a contemporary heritage event, evoking specific tourist behaviors and therefore bringing economic profits. Creating the heritage tourism experience here was possible due to the influence of the mix of the elements in a heritage tourism behavioral model consisting of: politics, conservation, authenticity, impact management and interpretation. Examination of the event confirmed the validity of this framework for the analysis of heritage site visitation as well as providing practical insights for both site managers and future researchers.

PurposeThe purpose of this study is to affirm that it is possible to segment visitors of cultural heritage into homogeneous groups according to a series of characteristics to detect the variables that have statistical significance to identify visitor clusters.Design/methodology/approachFour case studies were selected, where a total of 500 questionnaires were made to visitors. The authors proceeded with cluster analysis using SPSS software to differentiate visitor segments. Four groups of visitors were first identified and which have subsequently been reduced to three, according to several factors.FindingsThe main contributions of this paper are: (1) the segment to which each one of the determinants of the cultural tourism product is dedicated; (2) the variable object of the analysis, i.e. the formation of visitor segments; and (3) the inclusion of less studied variables such as type of accommodation contracted, treatment offered in the museums or entrance price.Research limitations/implicationsThe analysis has been developed in different museums, with different management models, in a specific place. However, the results are generalizable to other places and to other institutions that manage cultural heritage. The implications are management strategies for a sustainable cultural development in institutions of tourism and heritage.Practical implicationsFrom a practical point of view, the results are useful for cultural managers, travel agencies, tour operators, tourism companies or political offices, among others, because they generate new ideas and strategies focused on maximizing the use of the resources of cultural institutions.Social implicationsFor both local and non-local agents, the knowledge of the factors that make up the groups of visitors in the heritage sites represents a strategy in aspects of marketing, promotion and distribution, thus generating capacities for the different intermediaries, and the possibility of negotiating lower prices with better benefits. It is also possible to create new products destined for other publics.Originality/valueThe study is original because this has not been published.

IntroductionIn March 2015, I visited the Lambing Flat Folk Museum (established 1967) in the “cherry capital of Australia”, the town of Young, New South Wales, in preparation for a student excursion. Like other Australian folk museums, this museum focuses on the ordinary and the everyday of rural life, and is heavily reliant on local history, local historians, volunteers, and donated objects for the collection. It may not sound as though the Lambing Flat Folk Museum (LFFM) holds much potential for a fashion curator, as fashion exhibitions have become high points of innovation in exhibition design. It is quite a jolt to return to old style folk museums, when travelling shows such as Alexander McQueen: Savage Beauty (Metropolitan Museum of Art 2011 – V&A Museum 2015) or The Fashion World of Jean Paul Gaultier (V&A Museum 2011­ – NGV 2014) are popping up around the globe. The contrast stimulated this author to think on the role and the power of curators. This paper will show that the potential for fashion as a vehicle for demonstrating ideas other than through rubrics of design or history has been growing. We all wear dress. We express identity, politics, status, age, gender, social values, and mental state through the way we dress each and every day. These key issues are also explored in many museum exhibitions.Small museums often have an abundance of clothing. For them, it is a case of not only managing and caring for growing collections but also curating objects in a way that communicates regional and often national identity, as well as narrating stories in meaningful ways to audiences. This paper argues that the way in which dress is curated can greatly enhance temporary and permanent exhibitions. Fashion curation is on the rise (Riegels Melchior). This paper looks at why this is so, the potential for this specialisation in curation, the research required, and the sensitivity needed in communicating ideas in exhibitions. It also suggests how fashion curation skills may facilitate an increasing demand.Caring for the AudienceThe paper draws on a case study of how Chinese people at the LFFM are portrayed. The Chinese came to the Young district during the 1860s gold rush. While many people often think the Chinese were sojourners (Rolls), that is, they found gold and returned to China, many actually settled in regional Australia (McGowan; Couchman; Frost). At Young there were riots against the Chinese miners, and this narrative is illustrated at the museum.In examining the LFFM, this paper points to the importance of caring for the audience as well as objects, knowing and acknowledging the current and potential audiences. Caring for how the objects are received and perceived is vital to the work of curators. At this museum, the stereotypic portrayal of Chinese people, through a “coolie” hat, a fan, and two dolls dressed in costume, reminds us of the increased professionalisation of the museum sector in the last 20 years. It also reminds us of the need for good communication through both the objects and texts. Audiences have become more sophisticated, and their expectations have increased. Displays and accompanying texts that do not reflect in depth research, knowledge, and sensitivities can result in viewers losing interest quickly. Not long into my visit I began thinking of the potential reaction by the Chinese graduate students. In a tripartite model called the “museum experience”, Falk and Dierking argue that the social context, personal context, and physical context affect the visitor’s experience (5). The social context of who we visit with influences enjoyment. Placing myself in the students’ shoes sharpened reactions to some of the displays. Curators need to be mindful of a wide range of audiences. The excursion was to be not so much a history learning activity, but a way for students to develop a personal interest in museology and to learn the role museums can play in society in general, as well as in small communities. In this case the personal context was also a professional context. What message would they get?Communication in MuseumsStudies by Falk et al. indicate that museum visitors only view an exhibition for 30 minutes before “museum fatigue” sets in (249–257). The physicality of being in a museum can affect the museum experience. Hence, many institutions responded to these studies by placing the key information and objects in the introductory areas of an exhibition, before the visitor gets bored. As Stephen Bitgood argues, this can become self-fulfilling, as the reaction by the exhibition designers can then be to place all the most interesting material early in the path of the audience, leaving the remainder as mundane displays (196). Bitgood argues there is no museum fatigue. He suggests that there are other things at play which curators need to heed, such as giving visitors choice and opportunities for interaction, and avoiding overloading the audience with information and designing poorly laid-out exhibitions that have no breaks or resting points. All these factors contribute to viewers becoming both mentally and physically tired. Rather than placing the onus on the visitor, he contends there are controllable factors the museum can attend to. One of his recommendations is to be provocative in communication. Stimulating exhibitions are more likely to engage the visitor, minimising boredom and tiredness (197). Xerxes Mazda recommends treating an exhibition like a good story, with a beginning, a dark moment, a climax, and an ending. The LFFM certainly has those elements, but they are not translated into curation that gives a compelling narration that holds the visitors’ attention. Object labels give only rudimentary information, such as: “Wooden Horse collar/very rare/donated by Mr Allan Gordon.” Without accompanying context and engaging language, many visitors could find it difficult to relate to, and actively reflect on, the social narrative that the museum’s objects could reflect.Text plays an important role in museums, particularly this museum. Communication skills of the label writers are vital to enhancing the museum visit. Louise Ravelli, in writing on museum texts, states that “communication needs to be more explicit and more reflexive—to bring implicit assumptions to the surface” (3). This is particularly so for the LFFM. Posing questions and using an active voice can provoke the viewer. The power of text can be seen in one particular museum object. In the first gallery is a banner that contains blatant racist text. Bringing racism to the surface through reflexive labelling can be powerful. So for this museum communication needs to be sensitive and informative, as well as pragmatic. It is not just a case of being reminded that Australia has a long history of racism towards non-Anglo Saxon migrants. A sensitive approach in label-writing could ask visitors to reflect on Australia’s long and continued history of racism and relate it to the contemporary migration debate, thereby connecting the present day to dark historical events. A question such as, “How does Australia deal with racism towards migrants today?” brings issues to the surface. Or, more provocatively, “How would I deal with such racism?” takes the issue to a personal level, rather than using language to distance the issue of racism to a national issue. Museums are more than repositories of objects. Even a small underfunded museum can have great impact on the viewer through the language they use to make meaning of their display. The Lambing Flat Roll-up Banner at the LFFMThe “destination” object of the museum in Young is the Lambing Flat Roll-up Banner. Those with a keen interest in Australian history and politics come to view this large sheet of canvas that elicits part of the narrative of the Lambing Flat Riots, which are claimed to be germane to the White Australia Policy (one of the very first pieces of legislation after the Federation of Australia was The Immigration Restriction Act 1901).On 30 June 1861 a violent anti-Chinese riot occurred on the goldfields of Lambing Flat (now known as Young). It was the culmination of eight months of growing conflict between European and Chinese miners. Between 1,500 and 2,000 Europeans lived and worked in these goldfields, with little government authority overseeing the mining regulations. Earlier, in November 1860, a group of disgruntled European miners marched behind a German brass band, chasing off 500 Chinese from the field and destroying their tents. Tensions rose and fell until the following June, when the large banner was painted and paraded to gather up supporters: “…two of their leaders carrying in advance a magnificent flag, on which was written in gold letters – NO CHINESE! ROLL UP! ROLL UP! ...” (qtd. in Coates 40). Terrified, over 1,270 Chinese took refuge 20 kilometres away on James Roberts’s property, “Currawong”. The National Museum of Australia commissioned an animation of the event, The Harvest of Endurance. It may seem obvious, but the animators indicated the difference between the Chinese and the Europeans through dress, regardless that the Chinese wore western dress on the goldfields once the clothing they brought with them wore out (McGregor and McGregor 32). Nonetheless, Chinese expressions of masculinity differed. Their pigtails, their shoes, and their hats were used as shorthand in cartoons of the day to express the anxiety felt by many European settlers. A more active demonstration was reported in The Argus: “ … one man … returned with eight pigtails attached to a flag, glorifying in the work that had been done” (6). We can only imagine this trophy and the de-masculinisation it caused.The 1,200 x 1,200 mm banner now lays flat in a purpose-built display unit. Viewers can see that it was not a hastily constructed work. The careful drafting of original pencil marks can be seen around the circus styled font: red and blue, with the now yellow shadowing. The banner was tied with red and green ribbon of which small remnants remain attached.The McCarthy family had held the banner for 100 years, from the riots until it was loaned to the Royal Australian Historical Society in November 1961. It was given to the LFFM when it opened six years later. The banner is given key positioning in the museum, indicating its importance to the community and its place in the region’s memory. Just whose memory is narrated becomes apparent in the displays. The voice of the Chinese is missing.Memory and Museums Museums are interested in memory. When visitors come to museums, the work they do is to claim, discover, and sometimes rekindle memory (Smith; Crane; Williams)—-and even to reshape memory (Davidson). Fashion constantly plays with memory: styles, themes, textiles, and colours are repeated and recycled. “Cutting and pasting” presents a new context from one season to the next. What better avenue to arouse memory in museums than fashion curation? This paper argues that fashion exhibitions fit within the museum as a “theatre of memory”, where social memory, commemoration, heritage, myth, fantasy, and desire are played out (Samuels). In the past, institutions and fashion curators often had to construct academic frameworks of “history” or “design” in order to legitimise fashion exhibitions as a serious pursuit. Exhibitions such as Fashion and Politics (New York 2009), Fashion India: Spectacular Capitalism (Oslo 2014) and Fashion as Social Energy (Milan 2015) show that fashion can explore deeper social concerns and political issues.The Rise of Fashion CuratorsThe fashion curator is a relative newcomer. What would become the modern fashion curator made inroads into museums through ethnographic and anthropological collections early in the 20th century. Fashion as “history” soon followed into history and social museums. Until the 1990s, the fashion curator in a museum was seen as, and closely associated with, the fashion historian or craft curator. It could be said that James Laver (1899–1975) or Stella Mary Newton (1901–2001) were the earliest modern fashion curators in museums. They were also fashion historians. However, the role of fashion curator as we now know it came into its own right in the 1970s. Nadia Buick asserts that the first fashion exhibition, Fashion: An Anthology by Cecil Beaton, was held at the Victoria and Albert Museum, curated by the famous fashion photographer Cecil Beaton. He was not a museum employee, a trained curator, or even a historian (15). The museum did not even collect contemporary fashion—it was a new idea put forward by Beaton. He amassed hundreds of pieces of fashion items from his friends of elite society to complement his work.Radical changes in museums since the 1970s have been driven by social change, new expectations and new technologies. Political and economic pressures have forced museum professionals to shift their attention from their collections towards their visitors. There has been not only a growing number of diverse museums but also a wider range of exhibitions, fashion exhibitions included. However, as museums and the exhibitions they mount have become more socially inclusive, this has been somewhat slow to filter through to the fashion exhibitions. I assert that the shift in fashion exhibitions came as an outcome of new writing on fashion as a social and political entity through Jennifer Craik’s The Face of Fashion. This book has had an influence, beyond academic fashion theorists, on the way in which fashion exhibitions are curated. Since 1997, Judith Clark has curated landmark exhibitions, such as Malign Muses: When Fashion Turns Back (Antwerp 2004), which examine the idea of what fashion is rather than documenting fashion’s historical evolution. Dress is recognised as a vehicle for complex issues. It is even used to communicate a city’s cultural capital and its metropolitan modernity as “fashion capitals” (Breward and Gilbert). Hence the reluctant but growing willingness for dress to be used in museums to critically interrogate, beyond the celebratory designer retrospectives. Fashion CurationFashion curators need to be “brilliant scavengers” (Peoples). Curators such as Clark pick over what others consider as remains—the neglected, the dissonant—bringing to the fore what is forgotten, where items retrieved from all kinds of spheres are used to fashion exhibitions that reflect the complex mix of the tangible and intangible that is present in fashion. Allowing the brilliant scavengers to pick over the flotsam and jetsam of everyday life can make for exciting exhibitions. Clothing of the everyday can be used to narrate complex stories. We only need think of the black layette worn by Baby Azaria Chamberlain—or the shoe left on the tarmac at Darwin Airport, having fallen off the foot of Mrs Petrov, wife of the Russian diplomat, as she was forced onto a plane. The ordinary remnants of the Chinese miners do not appear to have been kept. Often, objects can be transformed by subsequent significant events.Museums can be sites of transformation for its audiences. Since the late 1980s, through the concept of the New Museum (Vergo), fashion as an exhibition theme has been used to draw in wider museum audiences and to increase visitor numbers. The clothing of Vivienne Westwood, (34 Years in Fashion 2005, NGA) Kylie Minogue (Kylie: An Exhibition 2004­–2005, Powerhouse Museum), or Princess Grace (Princess Grace: Style Icon 2012, Bendigo Art Gallery) drew in the crowds, quantifying the relevance of museums to funding bodies. As Marie Riegels Melchior notes, fashion is fashionable in museums. What is interesting is that the New Museum’s refrain of social inclusion (Sandell) has yet to be wholly embraced by art museums. There is tension between the fashion and museum worlds: a “collision of the fashion and art worlds” (Batersby). Exhibitions of elite designer clothing worn by celebrities have been seen as very commercial operations, tainting the intellectual and academic reputations of cultural institutions. What does fashion curation have to do with the banner mentioned previously? It would be miraculous for authentic clothing worn by Chinese miners to surface now. In revising the history of Lambing Flat, fashion curators need to employ methodologies of absence. As Clynk and Peoples have shown, by examining archives, newspaper advertisements, merchants’ account books, and other material that incidentally describes the business of clothing, absence can become present. While the later technology of photography often shows “Sunday best” fashions, it also illustrates the ordinary and everyday dress of Chinese men carrying out business transactions (MacGowan; Couchman). The images of these men bring to mind the question: were these the children of men, or indeed the men themselves, who had their pigtails violently cut off years earlier? The banner was also used to show that there are quite detailed accounts of events from local and national newspapers of the day. These are accessible online. Accounts of the Chinese experience may have been written up in Chinese newspapers of the day. Access to these would be limited, if they still exist. Historian Karen Schamberger reminds us of the truism: “history is written by the victors” in her observations of a re-enactment of the riots at the Lambing Flat Festival in 2014. The Chinese actors did not have speaking parts. She notes: The brutal actions of the European miners were not explained which made it easier for audience members to distance themselves from [the Chinese] and be comforted by the actions of a ‘white hero’ James Roberts who… sheltered the Chinese miners at the end of the re-enactment. (9)Elsewhere, just out of town at the Chinese Tribute Garden (created in 1996), there is evidence of presence. Plaques indicating donors to the garden carry names such as Judy Chan, Mrs King Chou, and Mr and Mrs King Lam. The musically illustrious five siblings of the Wong family, who live near Young, were photographed in the Discover Central NSW tourist newspaper in 2015 as a drawcard for the Lambing Flat Festival. There is “endurance”, as the title of NMA animation scroll highlights. Conclusion Absence can be turned around to indicate presence. The “presence of absence” (Meyer and Woodthorpe) can be a powerful tool. Seeing is the pre-eminent sense used in museums, and objects are given priority; there are ways of representing evidence and narratives, and describing relationships, other than fashion presence. This is why I argue that dress has an important role to play in museums. Dress is so specific to time and location. It marks specific occasions, particularly at times of social transitions: christening gowns, bar mitzvah shawls, graduation gowns, wedding dresses, funerary shrouds. Dress can also demonstrate the physicality of a specific body: in the extreme, jeans show the physicality of presence when the body is removed. The fashion displays in the museum tell part of the region’s history, but the distraction of the poor display of the dressed mannequins in the LFFM gets in the way of a “good story”.While rioting against the Chinese miners may cause shame and embarrassment, in Australia we need to accept that this was not an isolated event. More formal, less violent, and regulated mechanisms of entry to Australia were put in place, and continue to this day. It may be that a fashion curator, a brilliant scavenger, may unpick the prey for viewers, placing and spacing objects and the visitor, designing in a way to enchant or horrify the audience, and keeping interest alive throughout the exhibition, allowing spaces for thinking and memories. Drawing in those who have not been the audience, working on the absence through participatory modes of activities, can be powerful for a community. Fashion curators—working with the body, stimulating ethical and conscious behaviours, and constructing dialogues—can undoubtedly act as a vehicle for dynamism, for both the museum and its audiences. As the number of museums grow, so should the number of fashion curators.ReferencesArgus. 10 July 1861. 20 June 2015 ‹http://trove.nla.gov.au/›.Batersby, Selena. “Icons of Fashion.” 2014. 6 June 2015 ‹http://adelaidereview.com.au/features/icons-of-fashion/›.Bitgood, Stephen. “When Is 'Museum Fatigue' Not Fatigue?” Curator: The Museum Journal 2009. 12 Apr. 2015 ‹http://onlinelibrary.wiley.com/doi/10.1111/j.2151-6952.2009.tb00344.x/abstract›. Breward, Christopher, and David Gilbert, eds. Fashion’s World Cities. Oxford: Berg Publications, 2006.Buick, Nadia. “Up Close and Personal: Art and Fashion in the Museum.” Art Monthly Australia Aug. (2011): 242.Clynk, J., and S. Peoples. “All Out in the Wash.” Developing Dress History: New Directions in Method and Practice. Eds. Annabella Pollen and Charlotte Nicklas C. London: Bloomsbury, forthcoming Sep. 2015. Couchman, Sophia. “Making the ‘Last Chinaman’: Photography and Chinese as a ‘Vanishing’ People in Australia’s Rural Local Histories.” Australian Historical Studies 42.1 (2011): 78–91.Coates, Ian. “The Lambing Flat Riots.” Gold and Civilisation. Canberra: The National Museum of Australia, 2011.Clark, Judith. Spectres: When Fashion Turns Back. London: V&A Publications, 2006.Craik, Jennifer. The Face of Fashion. Oxon: Routledge, 1994.Crane, Susan. “The Distortion of Memory.” History and Theory 36.4 (1997): 44–63.Davidson, Patricia. “Museums and the Shaping of Memory.” Heritage Museum and Galleries: An Introductory Reader. Ed. Gerard Corsane. Oxon: Routledge, 2005.Discover Central NSW. Milthorpe: BMCW, Mar. 2015.Dethridge, Anna. Fashion as Social Energy Milan: Connecting Cultures, 2005.Falk, John, and Lyn Dierking. The Museum Experience. Washington: Whaleback Books, 1992.———, John Koran, Lyn Dierking, and Lewis Dreblow. “Predicting Visitor Behaviour.” Curator: The Museum Journal 28.4 (1985): 249–57.Fashion and Politics. 13 July 2015 ‹http://www.fitnyc.edu/5103.asp›.Fashion India: Spectacular Capitalism. 13 July 2015 ‹http://www.tereza-kuldova.com/#!Fashion-India-Spectacular-Capitalism-Exhibition/cd23/85BBF50C-6CB9-4EE5-94BC-DAFDE56ADA96›.Frost, Warwick. “Making an Edgier Interpretation of the Gold Rushes: Contrasting Perspectives from Australia and New Zealand.” International Journal of Heritage Studies 11.3 (2005): 235-250.Mansel, Philip. Dressed to Rule: Royal and Court Costumes from Louis XIV to Elizabeth II. New Haven: Yale UP, 2005.Mazda, Xerxes. “Exhibitions and the Power of Narrative.” Museums Australia National Conference. Sydney, Australia. 23 May 2015. Opening speech.McGowan, Barry. Tracking the Dragon: A History of the Chinese in the Riverina. Wagga Wagga: Museum of the Riverina, 2010.Meyer, Morgan, and Kate Woodthorpe. “The Material Presence of Absence: A Dialogue between Museums and Cemeteries.” Sociological Research Online (2008). 6 July 2015 ‹http://www.socresonline.org.uk/13/5/1.html›.National Museum of Australia. “Harvest of Endurance.” 20 July 2015 ‹http://www.nma.gov.au/collections/collection_interactives/endurance_scroll/harvest_of_endurance_html_version/home›. Peoples, Sharon. “Cinderella and the Brilliant Scavengers.” Paper presented at the Fashion Tales 2015 Conference, Milan, June 2015. Ravelli, Louise. Museum Texts: Communication Frameworks. Oxon: Routledge, 2006.Riegels Melchior, Marie. “Fashion Museology: Identifying and Contesting Fashion in Museums.” Paper presented at Exploring Critical Issues, Mansfield College, Oxford, 22–25 Sep. 2011. Rolls, Eric. Sojourners: The Epic Story of China's Centuries-Old Relationship with Australia. St Lucia: U of Queensland P, 1992.Samuels, Raphael. Theatres of Memory. London: Verso, 2012.Sandell, Richard. “Social Inclusion, the Museum and the Dynamics of Sectorial Change.” Museum and Society 1.1 (2003): 45–62.Schamberger, Karen. “An Inconvenient Myth—the Lambing Flat Riots and Birth of a Nation.” Paper presented at Foundational Histories Australian Historical Conference, University of Sydney, 6–10 July 2015. Smith, Laurajane. The Users of Heritage. Oxon: Routledge, 2006.Vergo, Peter. New Museology. Chicago: U of Chicago P, 1989.Williams, Paul. Memorial Museums: The Global Rush to Commemorate Atrocities. Oxford: Berg Publishers, 2007.

The growth of Scotland’s creative industries within the last decade has resulted in a significant rise in media tourism, a sub-sector of cultural tourism which focuses on tourism inspired by media such as novels, films, and television series. In March 2020 when Scotland’s tourism and hospitality industry would typically be preparing to welcome visitors, the nation went into a national lockdown due to mounting concerns over the rapidly spreading coronavirus (SARS-CoV-2). This ‘black swan event’ brought Scotland’s tourism industry to a complete halt with government-mandated cessation of international travel, stay-at-home orders, and the closure of non-essential businesses going into effect. By drawing on qualitative interviews with Scotland-based tour operators and international travel bloggers, as well as examining the strategies of heritage and conservation charities and national tourism bodies this paper explores how media tourism, as a main form of tourism in Scotland, was restructured during the pandemic. From this data, the authors consider three phases of the 2020 season beginning with an initial lockdown which evolved into a stalled seasonal start and concluded with a truncated summer season. This paper highlights the challenges presented to those in the industry and how these challenges were mitigated through the use of digital platforms from the creation of ‘virtual tours’ and using social media for a ‘top of mind’ marketing approach to the use of online booking platforms for track and trace and measuring visitor numbers. It then turns to explore the different strategies adopted to create a sustainable tourism model for re-opening. In looking to the future of Scotland’s tourism industry, the paper concludes with what the expectations are for the industry and recommendations for sustaining the industry in a post-coronavirus climate.

PurposeThe visitor economy of Forks now clearly relies upon a niche form of tourism – as fans of The Twilight Saga are drawn to the setting and filming location of the films. The purpose of this study is to consider the process of diversification and subsequently present recommendations that could inform a future diversification strategy for Forks, in preparation for a post-film tourism scenario.Design/methodology/approachThe research methods employed in this study have two interlinked but distinct elements. Firstly, the Twilight Effect in Forks (WA, USA) is considered as an illustrative case study to shed light on the issues facing a destination that has seen a tourism boom as a direct result of popular culture – The Twilight Saga Franchise. Secondly, a scenario thinking and planning approach is applied when considering the “long-view” future of tourism in Forks.FindingsThis article presents a post-film tourism future scenario for Forks; it suggests tourism diversification and a shift towards cultural heritage and wellness. Forks is well placed to afford such tourism experiences, as it offers unique cultural and natural characteristics; furthermore, these could be utilised to create and maintain a distinctive destination image. In doing so a more socially and environmentally sustainable industry can be established, one which supports the local community, including the Quileute tribe.Originality/valueThe article offers original discussions within the film-tourism literature with novel approaches to understanding the management and pre-planning opportunities for destinations that have become popular film tourism locations, with the application of a “Tourism Diversification Model”. The model is adapted from Ansoff Matrix and can be applied as a framework in future studies exploring destination diversification. The investigation of Forks as a post-film tourism case study alone is unique, and the discussions and findings presented are original.

Unsystematic transportation system and accessibility, fewer tourism packages supply, and disorganised digital marketing strategy in destination management are the factors of the limitation of the tourist movement in a destination. Therefore, this research aims to determine the characteristics of the tourist’s spatial behaviour and tourist movement pattern in Muar, Johor. This research implemented a qualitative method through the semi-structured interview, which involved seven respondents who visited Muar, Johor. The result shows the characteristics of tourists’ spatial behaviour and tourist’s movement pattern has a significant interaction in investigating visiting characteristics, spatial data and movement. In the context of the macro-level movement pattern, the findings indicate that Muar has the potential to be developed as a one-day trip and three days one-night trip destination. Hence, it has positively affected tourism destination management to improve the travel package for domestic and international tourists. The main contribution of this research is to apply the mutual understanding of the tourist movement concept among visitors in investigating the complex visitor movement during travel related to the physical environment factor such as attractions, route and accessibility, and mode of transportation influenced by tourists’ spatial behaviour. This study can also be a primary reference for Muar local authority and destination management to ameliorate many aspects of creating an efficient tourist movement considering sustainable development in the urban heritage area.

For decades, the ‘make-believe’ world of Bollywood has created elaborate imaginaries of India. A sizable part of its audience consists of diasporic communities, who not only consume Bollywood movies for entertainment but also as a way to stay connected with their Indian heritage. This study closely looks at one such diasporic community, namely the Dutch Hindustanis, investigating how Bollywood cinema affects their image of India, and how influential Bollywood cinema is in influencing their travel decisions to India. In-depth interviews indicate that Bollywood is a dominant cultural source for defining the respondents’ relationship with India. Moreover, the repeated consumption of Bollywood cinema stirs the desire to actually travel to India, seldom in search of ‘home’, but to visit sites associated with multiple Bollywood movies. Bollywood cinema being from their ‘distant homeland’ also incentivizes their travels to India thereby making it a meaningful experience. This study contributes to film (and) tourism research by introducing the concept of ‘cinematic itinerary’ to refer to these comprehensive film tourism practices.

PurposeThe revival of local foods in the tourism context plays a significant role in attracting visitors. Unexpectedly, empirical evidence on food festivals aimed at reviving local cuisine in non-Western countries is scarce. This study aimed to examine and clarify the concept of food culture attributes on visitors' satisfaction and patronage intention in a food festival setting to revive local foods.Design/methodology/approachA quantitative approach was used. Convenience sampling and questionnaires were administered to 172 attendees as the final response to a food festival. The conceptual framework identifies the assumptions of structural equation modelling (SEM).FindingsFood culture attributes significantly impacted visitor satisfaction based on the results. Cooking methods had an insignificant influence on satisfaction and indirect effects on patronage intention. Additionally, the authors persuaded satisfaction to act as a mediator, and food culture was a significant contributor to the hypothesised framework.Originality/valueTo the best of the authors’ knowledge, this is one of the first empirical studies to employ food culture attributes (flavour, presentation, cooking method and gastronomic identification) and patronage intention in the mediating role of satisfaction with Iranian cultural heritage as a revival of a visitor’s attraction towards local cuisine. The results revealed that the resurrection of local dishes serves as an alternative truth that aids in preserving Iranian cultural heritage.

In the ‘Museo Archeologico Nazionale della Magna Grecia' in Reggio Calabria (south Italy) are located two full-size bronzes cast around the 5th century BC: The Riace Bronzes; thanks to their outstanding manufacture, they truly represent significant sculptural masterpieces of Greek art in the world. This paper describes the methodology used by the Geomatics Laboratory of the DICEAM of the Mediterranean University of Reggio Calabria to achieve a 3D model of the two sculptures. The 3D modelling is based on the use of imaging techniques, such as digital photogrammetry and computer vision. The achieved results demonstrate the effectiveness of the technique used in the cultural heritage field for the creation of a digital production and replication through 3d printing. Moreover considering that in the renewed interest in the context of international museological studies, Augmented Reality innovation represents a new method for amplifying visitor numbers into museums despite concerns over returns on investment, the procedure to develop a touristic app is described. In fact the enhancement of cultural heritage through the use of 3D acquisition and modeling tools represents one of the fields of study that will see rapid development in the near future. Thus, in order to further valorize and disseminate archaeological heritage, we are developing an app for tourism purposes. The created app allows the user, in real time, to obtain additional information on the object of investigation, even allowing them to view the 3D model in AR. Moreover, the app combines AR and VR technologies with the opportunities offered by 3D printing,

Purpose Underpinned by the consumer-based model of authenticity (CBA), this study aims to investigate whether leisure involvement, object-based and existential authenticity, host sincerity and engagement stimulate positive memorable visitor experiences in a distinctive commercial hospitality setting: a living history site. Design/methodology/approach Quantitative data were gathered from living history site visitors (n = 1,004), with partial least squares structural equation modeling used to test the hypothesized relationships. Findings The results confirm the inclusion of the hypothesized relationships between leisure involvement, sincerity and authenticity, relative to engagement and subsequent memorability. The findings suggest that engagement can be a predictor of a positive memorable experience, contingent on CBA constructs (sincerity; object-based authenticity; existential authenticity). The significant association between object-based authenticity and memorable experience identified herein differs from some published studies, while other results are broadly consistent with extant research. Results also reveal significant differences for visitors who purchased souvenirs when compared to those who did not. Research limitations/implications The research extends the CBA by positing sincere hospitality as a relationship-based encounter between host and guest that influences social interaction, engagement and memorability within the novel living history site context. Further, the ability to differentiate visitors based on their purchases at the site is illustrated. Originality/value Given the ubiquity of engagement and authenticity as precursors to memorable experiences within contemporary commercial hospitality and heritage discourses, the findings apply to hospitality experiences beyond the living history site context examined herein.

The article examines various aspects of descriptions of the past and archeological sites of Crimea prepared by travelers that visited the peninsula in the first decades after its incorporation into Russia in 1783. It demonstrates that Crimea, which had previously been quite unknown to the European audience, became a popular place for educational trips – largely because of the unique concentration of the cultural heritage on its area. The analysis of the travelers’ notes showed that the foreigners had been attracted by monuments associated with the Ancient Greece and Rome, Scythians, Sarmatians and Tauridians, Crimean Goths and Byzantines, medieval Genovese colonies, the Golden Horde and the Crimean Khanate. The vogue of Crimea was boosted by the fashion for antiquity and fascination of the Europeans with the mysterious and romantic Islamic East. The study unveils that the travelers created an extensive, though rather mixed set of sources, whose authors had different intellectual level and varying interests, found themselves in different life circumstances, pursued various objectives and worked in a range of genres. The study of the travel essays helped to reveal the unknown pages in the history of archeological studies of Crimea, specifically, the history of the search for the ancient Chersonese or discovery of the capital of the late Scythians. The paper shows the importance of the travelers’ sketches for the modern architectural and archeological research and restoration projects. It is detected that the travelers turned individual monuments into tourist attractions, created and communicated stereotypes and legends. It is demonstrated that some foreigners applied to the history and archeology of Crimea to back up their economic and political projects.