Relevant bibliographies by topics / Tourism and the arts Australia

Academic literature on the topic 'Tourism and the arts Australia'

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Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Tourism and the arts Australia"

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Butler, Sally. "Inalienable Signs and Invited Guests: Australian Indigenous Art and Cultural Tourism." Arts 8, no. 4 (December 6, 2019): 161. http://dx.doi.org/10.3390/arts8040161.

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Australian Indigenous people promote their culture and country in the context of tourism in a variety of ways but the specific impact of Indigenous fine art in tourism is seldom examined. Indigenous people in Australia run tourism businesses, act as cultural guides, and publish literature that help disseminate Indigenous perspectives of place, homeland, and cultural knowledge. Governments and public and private arts organisations support these perspectives through exposure of Indigenous fine art events and activities. This exposure simultaneously advances Australia’s international cultural diplomacy, trade, and tourism interests. The quantitative impact of Indigenous fine arts (or any art) on tourism is difficult to assess beyond exhibition attendance and arts sales figures. Tourism surveys on the impact of fine arts are rare and often necessarily limited in scope. It is nevertheless useful to consider how the quite pervasive visual presence of Australian Indigenous art provides a framework of ideas for visitors about relationships between Australian Indigenous people and place. This research adopts a theoretical model of ‘performing cultural landscapes’ to examine how Australian Indigenous art might condition tourists towards Indigenous perspectives of people and place. This is quite different to traditional art historical hermeneutics that considers the meaning of artwork. I argue instead that in the context of cultural tourism, Australian Indigenous art does not convey specific meaning so much as it presents a relational model of cultural landscape that helps condition tourists towards a public realm of understanding Indigenous peoples’ relationship to place. This relational mode of seeing involves a complex psychological and semiotic framework of inalienable signification, visual storytelling, and reconciliation politics that situates tourists as ‘invited guests’. Particular contexts of seeing under discussion include the visibility of reconciliation politics, the remote art centre network, and Australia’s urban galleries.
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Halim, Hengky Sumitso, Zhang Qian nan, and Miraj Ahmed Bhuiyan. "Developing green marketing tourism in Perak, Malaysia." E3S Web of Conferences 251 (2021): 03019. http://dx.doi.org/10.1051/e3sconf/202125103019.

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Perak is the second largest state in Malaysia. Meanwhile, the trend of tourists to Perak has declined. The local government is working with the Ministry of Tourism, Arts and Culture to increase the number of tourists for the Visit Malaysia 2020 program. They focus on campaigning for markets: Europe, Australia, the Middle East, Central and East Asia. Meanwhile, environmental health problems worsen the quality of tourist destinations in Perak. To respond to this program, they are trying to increase a tourist visits by conducting a Silver Tourism promotion campaign that uses English and Chinese as part of its marketing strategy. The aim is to increase the attractiveness of tourists from Europe and China. We recommend paying attention to social influences, environmental awareness, pro-environment behavior, and awareness of pro-environment behavior. By paying attention and building this empathy, it will prepare the application of green marketing strategy.
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Phillips, Louise Gwenneth, and Catherine Montes. "Walking Borders: Explorations of Aesthetics in Ephemeral Arts Activism for Asylum Seeker Rights." Space and Culture 21, no. 2 (September 11, 2017): 92–107. http://dx.doi.org/10.1177/1206331217729509.

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Australia’s Operation Sovereign Borders vehemently enforces closed borders to asylum seekers arriving by boat to Australia. Policed urban borders were enforced in Brisbane, Australia, during the G20 Summit in 2014, to protect visiting dignitaries from potential violent protest. The ephemeral arts intervention Walking Borders: Arts activism for refugee and asylum seeker rights symbolically confronted border politics by peacefully protesting against Australian immigration policy. Rather than focusing on the direct effects of the ephemeral arts intervention, this article attends to the affective workings of the aesthetic elements of the project through sensory ethnography and storying. Informed by Ranciere’s aesthetics of politics, this article explores the affective experience and potential educative gains of the ethical turn attended to in participatory arts such as ephemeral arts interventions.
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Hofmeister, Burkhard. "Department of Arts, Sports, the Environment and Territories (1992): Cultural Tourism in Australia." Zeitschrift für Australienstudien / Australian Studies Journal 09 (1995): 96–97. http://dx.doi.org/10.35515/zfa/asj.09/1995.12.

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Anderson, Margot. "Dance Overview of the Australian Performing Arts Collection." Dance Research 38, no. 2 (November 2020): 149–67. http://dx.doi.org/10.3366/drs.2020.0305.

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The Dance Collection at Arts Centre Melbourne traces the history of dance in Australia from the late nineteenth century to today. The collection encompasses the work of many of Australia's major dance companies and individual performers whilst spanning a range of genres, from contemporary dance and ballet, to theatrical, modern, folk and social dance styles. The Dance Collection is part of the broader Australian Performing Arts Collection, which covers the five key areas of circus, dance, opera, music and theatre. In my overview of Arts Centre Melbourne's (ACM) Dance Collection, I will outline how the collection has grown and highlight the strengths and weaknesses associated with different methods of collecting. I will also identify major gaps in the archive and how we aim to fill these gaps and create a well-balanced and dynamic view of Australian dance history. Material relating to international touring artists and companies including Lola Montez, Adeline Genée, Anna Pavlova and the Ballet Russes de Monte Carlo provide an understanding of how early trends in dance performance have influenced our own traditions. Scrapbooks, photographs and items of costume provide glimpses into performances of some of the world's most famous dance performers and productions. As many of these scrapbooks were compiled by enthusiastic and appreciative audience members, they also record the emerging audience for dance, which placed Australia firmly on the touring schedule of many international performers in the early decades of the 20th century. The personal stories and early ambitions that led to the formation of our national companies are captured in collections relating to the history of the Borovansky Ballet, Ballet Guild, Bodenwieser Ballet, and the National Theatre Ballet. Costume and design are a predominant strength of these collections. Through them, we discover and appreciate the colour, texture and creative industry behind pivotal works that were among the first to explore Australian narratives through dance. These collections also tell stories of migration and reveal the diverse cultural roots that have helped shape the training of Australian dancers, choreographers and designers in both classical and contemporary dance styles. The development of an Australian repertoire and the role this has played in the growth of our dance culture is particularly well documented in collections assembled collaboratively with companies such as The Australian Ballet, Sydney Dance Company, and Chunky Move. These companies are at the forefront of dance in Australia and as they evolve and mature under respective artistic directors, we work closely with them to capture each era and the body of work that best illustrates their output through costumes, designs, photographs, programmes, posters and flyers. The stories that link these large, professional companies to a thriving local, contemporary dance community of small to medium professional artists here in Melbourne will also be told. In order to develop a well-balanced and dynamic view of Australian dance history, we are building the archive through meaningful collecting relationships with contemporary choreographers, dancers, designers, costume makers and audiences. I will conclude my overview with a discussion of the challenges of active collecting with limited physical storage and digital space and the difficulties we face when making this archive accessible through exhibitions and online in a dynamic, immersive and theatrical way.
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BOLLEN, JONATHAN. "‘As Modern as Tomorrow’: Australian Entrepreneurs and Japanese Entertainment, 1957–1968." Theatre Research International 43, no. 2 (July 2018): 147–64. http://dx.doi.org/10.1017/s0307883318000275.

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This article compares the efforts of two Australian entrepreneurs to import Japanese entertainments for theatres in mid-twentieth-century Australia. David N. Martin of the Tivoli Circuit and Harry Wren, an independent producer, were rivals in the business of touring variety-revue. Both travelled to Japan in 1957, the year that the governments of Australia and Japan signed a landmark trade agreement. Whereas Martin's efforts were hampered by the legacy of wartime attitudes, Wren embraced the post-war optimism for trade. Wren became the Australian promoter for the Toho Company of Japan, touring a series of Toho revues until 1968. These Toho tours have been overlooked in Australian histories of cultural exchange with Japan. Drawing on evidence from archival sources and developing insights from foreign policy of the time, this article examines why Australian entrepreneurs turned to Japan, what Toho sent on tour, and how Toho's revues played in Australia. It analyses trade in touring entertainment as a form of entrepreneurial diplomacy that sought to realize the prospects of regional integration.
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Mitchell, Tony. "Doppio: a Trilingual Touring Theatre for Australia." New Theatre Quarterly 8, no. 29 (February 1992): 70–75. http://dx.doi.org/10.1017/s0266464x00006333.

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Doppio is a theatre company which uses three languages – English, Italian, and a synthetic migrant dialect it calls ‘Emigrante’ – to explore the conditions of the large community of Italian migrants in Australia. It works, too, in three different kinds of theatrical territory, all with an increasingly feminist slant – those of multicultural theatrein-education; of community theatre based in the Italian clubs of South Australia; and of documentary theatre, exploring the roots and the past of a previously marginalized social group. The company's work was seen in 1990 at the Leeds Festival of Youth Theatre, but its appeal is fast increasing beyond the confines of specialisms, ethnic or theatric, and being recognized in the ‘mainstream’ of Australian theatrical activity. Tony Mitchell – a regular contributor to NTQ, notably on the work of Dario Fo – who presently teaches in the Department of Theatre Studies in the University of Technology in Sydney, here provides an analytical introduction to the company's work, and follows this with an interview with one of its directors and co-founders, Teresa Crea.
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Vett. "Australian Indigenous Art Centres Online: A Multi-Purpose Cultural Tourism Framework." Arts 8, no. 4 (October 26, 2019): 145. http://dx.doi.org/10.3390/arts8040145.

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In early 2019, Australia’s Northern Territory (NT) government announced the $106 million funding and promotion of a new state-wide Territory Arts Trail featuring Indigenous art and culture under the banner “The World’s biggest art gallery is the NT.” Some of the destinations on the Arts Trail are Indigenous art centres, each one a nexus of contemporary creativity and cultural revitalisation, community activity and economic endeavour. Many of these art centres are extremely remote and contend with resourcing difficulties and a lack of visitor awareness. Tourists, both independent and organised, make their travelling decisions based upon a range of factors and today, the availability of accessible and engaging online information is vital. This makes the quality of the digital presence of remote art centres, particularly their website content, a critical determinant in visitor itineraries. This digital content also has untapped potential to contribute significant localised depth and texture to broader Indigenous arts education and comprehension. This article examines the context-based website content which supports remote Indigenous art centre tourism and suggests a strategic framework to improve website potential in further advancing commercial activities and Indigenous arts education.
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Sobocinska, Agnieszka, and Jemma Purdey. "Enduring Connections?" Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 175, no. 2-3 (July 12, 2019): 225–51. http://dx.doi.org/10.1163/22134379-17502001.

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Abstract Since 2013, the Australian government has funded Australian students to undertake short periods of study abroad with an emphasis on Asia, including Indonesia. Universities, too, have been enhancing their study-abroad options as part of broader internationalization campaigns. In a short time, the number of Australian higher-education students undertaking study abroad as part of their undergraduate degrees has doubled, to one in five students. This significant investment follows from two beliefs: that Australia’s relations with Asia are significantly impacted by people-to people relations; and that formal, experiential learning is a particularly effective pedagogical method. But is this investment warranted? Do periods of short-term study in Indonesia enrich students’ understanding of the region, and of Australia’s relations with Asia? And do current undergraduates, who have unprecedented access to mobility through travel and tourism, gain anything from a formal and guided people-to-people experience? This article explores these questions through an in-depth investigation of the intensive-mode undergraduate unit ‘Australia and Asia’ run by the Faculty of Arts at Monash University from 2014 to 2017. It suggests that, for many students, study tours facilitate a short-term period of emotional involvement and self-reflection, rather than forging enduring connections.
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Ochoa Jiménez, Sergio, Alma Rocío García García, Sacnicté Valdez del Río, and Carlos Armando Jacobo Hernández. "Entrepreneurship in Tourism Studies in the 21st Century: A Bibliometric Study of Wos and Scopus." SAGE Open 12, no. 2 (April 2022): 215824402211024. http://dx.doi.org/10.1177/21582440221102438.

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Entrepreneurship and tourism are linked as relevant aspects of study due to their influence on the society’s development. In attempt to identify the main theoretical contributions in the 21st century, a bibliometric study was carried out, based on publications of tourism entrepreneurship in the Web of Science (WoS) and Scopus databases. As a result, data from 268 documents were obtained and processed in VosViewer. The main findings place Haber, Altinay, and Hallak as the most cited authors; when analyzing co-authorship, co-citation, and bibliographic coupling by authors, the distribution changes in relation to the contribution. England, Australia, and United States are the main countries that originate publications on the subject and have an impact on their dissemination; and Tourism Management is the Journal with the highest number of citations. The topics were grouped into three clusters: (1) Sustainable Rural Tourism, (2) Small business and lifestyle, and (3) Social entrepreneurship, with a predominantly human and social focus over the economic vision. This study can be the basis for further studies about adjacent, related, or emerging topics to entrepreneurship in tourism, as well as to generate practical proposals for new or potential entrepreneurs.
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Dissertations / Theses on the topic "Tourism and the arts Australia"

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Young, Amanda M., University of Western Sydney, of Performance Fine Arts and Design Faculty, and School of Design. "Several interpretations of the Blue Mountains : a juxtaposition of ideas over two hundred years." THESIS_FPFAD_SD_Young_A.xml, 1997. http://handle.uws.edu.au:8081/1959.7/607.

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In 1815 the Blue Mountains were first identified as a unique landscape when Governor Macquarie took a tour over them and located the nineteenth century principles of the Sublime and Picturesque within its' landscape. Until this time the Blue Mountains were considered to be a hostile impenetrable barrier to the West. This paper examines some of the ways the Blue Mountains has been represented in the past, and has been identified as a tourist destination through interpretations imposed on the landscape by the tourist industry since that time. The areas covered deal with the heritage of British Colonialism as a way of forming opinions about the Australian landscape. Then, the theories of the Picturesque and Sublime are examined when applied to the Blue Mountains landscape. The final chapters in this paper deal with contemporary issues that have shaped the way the tourist industry is encouraged to encounter the Blue Mountains landscape
Master of Arts (Hons)
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Macionis, Niki, and n/a. "Wine tourism in Australia : emergence, development and critical issues." University of Canberra. Communication, Media & Tourism, 1997. http://erl.canberra.edu.au./public/adt-AUC20060825.142128.

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Wine tourism has emerged as a strong and growing area of special interest tourism in Australia, and as such it has become an increasingly significant component of the Australian regional tourism product. The Australian Wine Foundation (1996) estimates total Australian wine tourism figures to be in the order of 5.3 million visits per annum, worth $428 million in 1995 and which is expected to grow substantially to around $1100 million by 2025. As a consequence, Australia's Federal and State Governments and regional communities (including regional associations) are recognising the benefits of promoting their wine districts as tourism attractions in their own right. While the destinational appeal of wine regions and the concept of wine tourism is generally acknowledged, research concerning wine tourism development, marketing and impacts is lacking. Therefore, this thesis examines the nature and potential of wine tourism in Australia, and documents its historical development and current status. The activities and initiatives of a number of agencies involved in wine tourism development and marketing are also critically examined, and significant wine tourism developmental issues are investigated through a case study of the Canberra District, an emerging Australian wine region. A number of developmental similarities between rural tourism and wine tourism are noted, including: a lack of tourism and marketing awareness and knowledge by practitioners, and a lack of industry integration and cohesion. These issues are compounded by the infancy of wine tourism and the dominant product focus of wine makers and the Australian wine industry, resulting in the absence of effective inter sectoral linkages. While a number of tourism agencies and wine industry associations are pursuing wine tourism development initiatives, the success and sustainability of these activities is dependent upon addressing various developmental issues.
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Tooke, Nichola Carole. "Tele-tourism : investigating the inter-connections between television and tourism." Thesis, University of Bristol, 1999. http://hdl.handle.net/1983/423caed8-6927-400b-b857-d0a2c45ec8b5.

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Beeton, Sue 1956. "Film-induced tourism impacts and consequences." Monash University, National Centre for Australian Studies, 2002. http://arrow.monash.edu.au/hdl/1959.1/7570.

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Ingram, Gloria. "Farm tourism in the South West Tapestry Region, Western Australia : experiences of hosts and guests." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2001. https://ro.ecu.edu.au/theses/1064.

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This thesis describes a research project in the South West Tapestry Region of Western Australia which uses phenomenological method to investigate the experiences of farm tourism hosts and guests. The overall aim of the research was to identify motivations of both hosts and guests in order to determine to what degree farm tourism in the SWTR provides the kind of holiday experience people are seeking. Phenomenology was chosen as a flexible yet rigorous methodology for researching lived experience, which would enable an in-depth understanding of motivations surrounding hosting farm tourism and choosing a farm tourism holiday. The initial stage of the project involved the collection of sociodemographic data from farm tourism operators with the purpose of documenting the current status of farm tourism in the region, and to build a regional profile as a context for the phenomenological investigation. Stage I of the research produced some significant findings in terms of expansion in the self-catering sector, seasonal demand patterns and visitor sources, all of which have obvious implications for future development and sustainability of farm tourism in the region. The research found that the amount of time hosts spent with guests in activities was a more important factor in the development of close relationships than accommodation type. The phenomenological investigation found hosts to be highly motivated to provide an enjoyable holiday experience on the farm for their guests, meaningful activities for children, and an opportunity for people to relax and recover from the stresses of city life. They enjoyed meeting new people and engaging in social activities with guests. There were some tensions, particularly around shared space, which need further investigation. The guests' motivations indicated they were seeking the sorts of experiences hosts were able to provide, which augurs well for the sector in terms of future business development. There was a preference from both groups for developing friendships with people who shared a common interest.
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Wang, Jie, and n/a. "Is tourism education meeting the needs of the tourism industry? An Australian case study." University of Canberra. n/a, 2008. http://erl.canberra.edu.au./public/adt-AUC20081211.112039.

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Despite the rapid growth in the provision of tourism higher education in the past 40 years, uncertainties remain about the content and nature of tourism degrees and how these are aligned with the needs of the tourism industry. Some research has been done on tourism higher education curriculum design, but the extent to which tourism higher education meets industry needs has not yet been closely investigated. This study aims to ascertain whether a gap exists between what education institutions provide in their undergraduate curricula in the way of tourism knowledge and skills sets, and what knowledge and skills sets are required by the tourism industry. A conceptual framework was developed to outline the research process, which involved two steps. First, content analysis of tourism curricula was conducted as the preliminary research. A list of 34 subject areas was synthesised from all core subjects offered in tourism courses in a sample of Australian universities according to subjects? titles, themes and detailed descriptions. A list of 27 skills and abilities was identified by collating university generic skills and tourism discipline attributes from these institutions. Based on the study of tourism curricula, two web-based surveys were then designed and distributed in order to investigate the respective perceptions of industry professionals and academic providers on the subjects and skills sets necessary for tourism employment. In analysing the data, perceptions about the subjects and skills sets were compared between tourism industry professionals and academic providers. Importance- performance analysis, gap analysis, and SPSS statistical tools were applied to analyse this data. The study found considerable variance between the views of industry professionals and academic providers in Australia. Their views vary firstly on the relative value of tertiary degrees for tourism professionals; secondly, on the relative merits of skills and abilities needed to work in the tourism sector; and thirdly, on the relative merits of various subjects taught at university. These findings establish the existence of a gap between the existing tourism curriculum at university level, and the needs of the tourism industry. The findings of this study also provide evidence to suggest that tourism higher education provision should not be isolated from real practice and that those involved in curriculum design should work closely with industry representatives to ensure a strong connection between theory and practice, thus improving the likelihood that graduates of tourism higher education courses will graduate with knowledge and skills sets which are closely aligned with the needs and expectations of the tourism industry
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Stewart, Sally. "Contemporary Kitsch: An examination through creative practice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1717.

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This exegesis examines the theoretical concept of contemporary kitsch within a creative practice that incorporates sculptural and installation art. Kitsch is a distinct aesthetic style. Once designated to the rubbish bin of culture, kitsch was considered to be low class, bad taste cheap fakes and copies (Greenberg, 1961; Adorno & Horkheimer, 1991; Calinescu, 1987; Dorfles, 1969). I argue, however, that this is no longer the case. This research critically examines the way in which contemporary kitsch now plays a vital and positive role in social and individual aesthetic life. Although there are conflicting points of view and distinct variations between recent cultural commentators (Olalquiaga, 1992; Binkley, 2000; Attfield, 2006) on what kitsch is, there is a common sentiment that “the repetitive qualities of kitsch address . . . a general problem of modernity” (Binkley, p. 131). The research aligns the repetitive qualities to what sociologist Anthony Giddens (1991) refers to as “dissembeddedness” (1991) or “the undermining of personal horizons of social and cosmic security” (Binkley, 1991, p.131). The research investigates: how the sensory affect of sentimentality imbued in the kitsch experiences, possessions and material objects people covet and collect, offer a way of the individual moving from disembeddedness to a state of being re-embedded; and locates the ways in which the artist can facilitate the re-embedding experience. Through this lens it is demonstrated that kitsch has become firmly rooted in our “lifeworlds” (Habermas, 1971), as an aesthetic that reveals “how people make sense of the world through artefacts” (Attfield, 2006, p. 201) and everyday objects; that the sensory affect of sentimentality on connections to possessions and material objects that contemporary kitsch offers is shared across cultures and societies
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Farmer, Margaret Art College of Fine Arts UNSW. "Terra Alterius: land of another." Awarded by:University of New South Wales. School of Art, 2007. http://handle.unsw.edu.au/1959.4/29574.

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What would Australia be like if it had been recognised as terra alterius, ???land of another???, by the British, rather than claimed and treated as terra nullius, ???land of no-one???? This question was posed by the exhibition Terra Alterius: Land of Another, which comprised works by Gordon Bennett, Barbara Campbell-Allen, Julie Dowling, Shaun Gladwell + Michael Schiavello, Jonathan Jones, Joanne Searle, Esme Timbery, Freddie Timms, Lynette Wallworth, Guan Wei and Lena Yarinkura, created or nominated in response to the theme. This thesis describes the concept of terra alterius and the exhibition Terra Alterius: Land of Another. It considers the utility of the concept terra alterius, whether the exhibition achieved its ambition to explore the political and social terrain of a reconciled Australia, and, briefly, whether the concept of terra alterius might be useful to other ???terra nullius??? countries. It argues that the curatorial strategies ??? the ???What if???? re-imagination of Australia???s past, multiplicity of vision and active creation, grounding of the exhibition in affect (in response to Aboriginal painting), and working within Indigenous protocols ??? were effective, and that the exhibition was a useful means of exploring the relationships between Indigenous and non-Indigenous Australians. Comparisons with the exhibition Turn the Soil curated by Kevin Murray and the ???retrospective utopia??? W.H. Oliver argues has been created for New Zealand by the Waitangi Tribunal provide insight into the nature of the reconciled Australia presented in the exhibition and what might be achieved by a counterfactual exhibition. From these comparisons, it is argued, first, that the exhibition points to a disjuncture between Australia???s ongoing official, psychological and legal terra nullius and the approaches and relationships present in Australian society (characterised as a performance of Bloch???s utopian function); and secondly, that a counterfactual exhibition, because it is not bound to the factual, causal or narrative qualities traditionally attributed to history, is able to explore the future in a way that contains rather than denies the past. Although the concept of terra alterius is seen as having played a crucial role in the realisation of the exhibition, it is questioned whether the concept???s utility extends beyond Australia.
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Veitch, Sarah. "Tourism as Rationale and the Resident-Tourism Relationship as Democratic Practice: The Politics of Tourism in the city of Fremantle, Western Australia." Thesis, Veitch, Sarah (2012) Tourism as Rationale and the Resident-Tourism Relationship as Democratic Practice: The Politics of Tourism in the city of Fremantle, Western Australia. PhD thesis, Murdoch University, 2012. https://researchrepository.murdoch.edu.au/id/eprint/41702/.

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This dissertation weaves together the three interrelated themes of the politics of tourism, democratic practice, and tourism-based rationale in order to enhance understanding of the resident-tourism relationship in a Western city context. The dissertation sits within the broad theme of the politics of tourism and the political nature of tourism policy, planning, development and management at the local level. The focus within this is an analysis of the resident-tourism relationship as democratic practice. The dissertation applies a theoretical framework in which democratic theory is central and is extended to sustainability and networks theory. Tourism as rationale, or tourism-based rationale, is defined as an explanation or justification that is based upon content directly relating to or referring to tourism and where the intention is to influence processes of decision-making. Succinctly, tourism-based rationale is rationale that intends to influence through reference to tourism. Tourism-based rational is at once a particular aspect of the politics of tourism, and a part of democratic practice. Running adjacent to these themes are implications for the concept of community-based tourism. The broad political theme of the politics of tourism and the specific theme of democratic practice are linked in three key ways in the conceptual framework that informs the methodology. First, residents are conceived as politically and collectively active in development debate in the city. Second, the focus of the resident-tourism relationship is consequently on the planning and development issues that residents are concerned and involved with and, specifically, the use of tourism as rationale within these. Thirdly, stakeholders, including residents, participate in development debate democratically through the application of various rationales – as argument, justification and reasoning. Rationale is at once a part of democratic practice through engagement with reason, and, when shared, is an act of political participation. Similarly, stakeholders engage with the phenomenon of tourism in contemporary development debate in the city through the use of tourism as rationale, or tourism-based rationale. Succinctly, this is direct reference to tourism as part of rationale intended to influence or justify decision-making or development outcomes. Tourism-based rationale is, therefore, the political and democratic engagement with tourism in the broader context of city policy, planning, development and management, and is the third theme of the dissertation. This dissertation is situated within a qualitative and constructivist paradigm, and employs a critical ethnographic methodology to investigate the resident-tourism relationship in the city of Fremantle. The study used a variety of methods, including interviews and participant observation, with a major focus on content analysis and discourse analysis of a broad range of informal and formal documentary sources concerning development debate and contestation. A series of case studies is divided into two foci: first, tourism policy, planning, development and management, and second, waterfront development and tourism. The dissertation proposes three key outcomes within the context of Western urban tourism. First, the traditional model of ‘impacts of tourism on residents’ is rejected as too narrowly prescriptive to be the foundation of the resident-tourism relationship. Rather, a more proactive and dynamic framework is proposed, in which the resident-tourism relationship is redefined from hosts to public sphere participation in a networked policy and planning environment. Second, and in contrast to the democratic participation of public spheres, formal democratic participation and practice is subsumed by liberal capitalist democracy. As such, governance is conducted by the state and business, resulting in formal public consultation practices that exclude public spheres. Finally, tourism-based rationale is the most prominent and significant impact of tourism. In particular, the use of tourism-based rationale reveals both the content and context of tourism. The content is how tourism itself is conceived, and the context is where tourism is politically situated in broader city policy and planning. Furthermore, discourse analysis of tourism-based rationale, together with analysis of democratic practice, reveals that contestation concerning tourism and its relationship to broader city policy, planning and development is fundamentally a contestation of values, namely social and environmental values contrasted with economic, profit-making values. These findings necessarily have implications for tourism policy and planning and its integration with city policy and planning.
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Ressom, Robert. "Forest ecotourism in the Mount Lofty Ranges of South Australia /." Title page, contents and abstract only, 1993. http://web4.library.adelaide.edu.au/theses/09ENV/09envr435.pdf.

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Books on the topic "Tourism and the arts Australia"

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Brokensha, Peter. Cultural tourism in Australia: A report on cultural tourism. Canberra: Australian Government Publishing Service, 1992.

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Grey, Peter. Tourism in Australia: Challenges and opportunities. Melbourne, Australia: Longman Cheshire, 1991.

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McCarthy, Bridget Beattie. Cultural tourism: How the arts can help market tourism products, how tourism can help provide markets for the arts. Portland, Ore: B.B. McCarthy, 1992.

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Cultural tourism. Cape Town, South Africa: Juta, 2008.

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Laura, Lawton, ed. Tourism management. 4th ed. Milton, Qld: John Wiley & Sons Australia, 2010.

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Atkinson, Ann. Dictionary of performing arts in Australia. St. Leonards: Allen and Unwin, 1996.

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Peter, Spearritt, ed. Holiday business: Tourism in Australia since 1870. Carlton South, Vic: Miegunyah Press, 2000.

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Arguing the arts: The funding of the arts in Australia. Ringwood, Vic., Australia: Penguin Books, 1985.

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Canada, Tourism, and Market Facts of Canada Ltd, eds. Pleasure travel markets to North America: Australia. [Washington, D.C.]: The Administration, 1989.

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Geoffrey, Serle, ed. The creative spirit in Australia: A cultural history. Richmond, Vic: W. Heinemann Australia, 1987.

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Book chapters on the topic "Tourism and the arts Australia"

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Ruhanen, Lisa. "Australia, tourism." In Encyclopedia of Tourism, 1–3. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-01669-6_431-1.

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Ruhanen, Lisa. "Australia." In Encyclopedia of Tourism, 65–67. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-01384-8_431.

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Smithies, John, and Surajen Uppal. "Australia." In Palgrave Studies in Business, Arts and Humanities, 127–58. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-98860-3_6.

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Huddart, David, and Tim Stott. "Australia and New Zealand." In Adventure Tourism, 355–402. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-18623-4_11.

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Hudson, Simon. "Australia." In International Case Studies on Tourism Destination Management and COVID-19, 21–28. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003310624-4.

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Evans, Nigel. "Queensland Australia." In Strategic Management for Tourism, Hospitality and Events, 655–73. Third Edition. | New York: Routledge, 2019. |: Routledge, 2019. http://dx.doi.org/10.4324/9780429437601-23.

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du Cros, Hilary, and Bob McKercher. "Intangible cultural heritage and creative arts." In Cultural Tourism, 103–21. Third edition. | Abingdon, Oxon ; New York, NY : Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429277498-8.

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Darcy, Simon, Bruce Cameron, and Stephen Schweinsberg. "7. Accessible Tourism in Australia." In Best Practice in Accessible Tourism, edited by Dimitrios Buhalis, Simon Darcy, and Ivor Ambrose, 79–113. Bristol, Blue Ridge Summit: Multilingual Matters, 2012. http://dx.doi.org/10.21832/9781845412548-011.

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Kaefer, Florian. "Tony Charters on Ecotourism in Australia." In Sustainability Leadership in Tourism, 589–92. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-05314-6_101.

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Brinkman, Tim. "Arts Centre Melbourne, 1982 Melbourne, Australia." In Modern Theatres 1950–2020, 296–307. New York: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781351052184-36.

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Conference papers on the topic "Tourism and the arts Australia"

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Reid, Sacha. "Direct Tourism Property Investment in Australia." In 25th Annual European Real Estate Society Conference. European Real Estate Society, 2016. http://dx.doi.org/10.15396/eres2016_300.

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Kafno, Paul. "High Definition Production in Arts and Documentaries." In SMPTE Australia Conference. IEEE, 1994. http://dx.doi.org/10.5594/m001159.

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Pointon, Stuart. "Arts and Science – Building the Educational Bridge." In SMPTE Australia Conference. IEEE, 2015. http://dx.doi.org/10.5594/m001735.

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Margareta, Regine, and Lisetyo Ariyanti. "Attributive Words in Tourism Magazines in Australia." In 2nd Social Sciences, Humanities and Education Conference: Establishing Identities through Language, Culture, and Education (SOSHEC 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/soshec-18.2018.33.

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Wang, Xiuhong. "Multi-goals of Sino-Australia rural tourism proprietors." In International Conference on Information Management and Management Engineering. Southampton, UK: WIT Press, 2014. http://dx.doi.org/10.2495/imme140481.

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Warnken, J., and C. Guilding. "Serviced apartment complexes in Australia: a critical analysis of their potential and challenges for sustainable tourism." In SUSTAINABLE TOURISM 2006. Southampton, UK: WIT Press, 2006. http://dx.doi.org/10.2495/st060051.

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Stone, M., and D. Smith. "An outline of Parks Victoria’s Tourism Partnerships Strategy and challenges for sustainable park tourism in Australia." In SUSTAINABLE TOURISM 2006. Southampton, UK: WIT Press, 2006. http://dx.doi.org/10.2495/st060031.

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Rini, Yuli Sectio, Herlinah, Supriyadi Hasto Nugroho, and Sutiyono. "Wayang Orang Sriwedari Performance to Support Surakarta Tourism." In 4th International Conference on Arts and Arts Education (ICAAE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210602.022.

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Medhekar, Anita. "Government Initiatives for Developing Medical Tourism: India, Singapore, and Australia." In 2nd Annual International Conference on Tourism and Hospitality Research (THoR 2013). Global Science and Technology Forum Pte Ltd, 2013. http://dx.doi.org/10.5176/2251-3426_thor13.04.

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Yang, Song, Liu Yumeng, and Yu Ziqi. "Tourists’ Risk Perception of Smart Tourism Impact on Tourism Experience." In 2022 International Conference on Social Sciences and Humanities and Arts (SSHA 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220401.072.

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Reports on the topic "Tourism and the arts Australia"

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Hearn, Greg, Marion McCutcheon, Mark Ryan, and Stuart Cunningham. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geraldton. Queensland University of Technology, August 2020. http://dx.doi.org/10.5204/rep.eprints.203692.

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Grassroots arts connected to economy through start-up culture Geraldton is a regional centre in Western Australia, with 39,000 people and a stable, diverse economy that includes a working port, mining services, agriculture, and the rock-lobster fishing industry (see Appendix). Tourism, though small, is growing rapidly. The arts and culture ecosystem of Geraldton is notable for three characteristics: - a strong publicly-funded arts and cultural strategy, with clear rationales that integrate social, cultural, and economic objectives - a longstanding, extensive ecosystem of pro-am and volunteer arts and cultural workers - strong local understanding of arts entrepreneurship, innovative business models for artists, and integrated connection with other small businesses and incubators
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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Coffs Harbour. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208028.

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Coffs Harbour on the north coast of NSW is a highway city sandwiched between the Great Dividing Range and the Pacific Ocean. For thousands of years it was the traditional land of the numerous Gumbaynggirr peoples. Tourism now appears to be the major industry, supplanting agriculture and timber getting, while a large service sector has grown up around a sizable retirement community. It is major holiday destination. Located further away from the coast in the midst of a dairy farming community, Bellingen has become a centre of alternative culture which relies heavily on a variety of festivals activated by energetic tree changers and numerous professionals who have relocated from Sydney. Both communities rely on the visitor economy and there have been considerable changes to how local government in this region approach strategic planning for arts and culture. The newly built Coffs Harbour Education Campus (CHEC) is an experiment in encouraging cross pollination between innovative businesses and education and incorporates TAFE NSW, Coffs Harbour Senior College and Southern Cross University as well as the Coffs Harbour Technology Park and Coffs Harbour Innovation Centre all on one site. The 250 seat Jetty Memorial Theatre is the main theatre in Coffs Harbour for local and touring productions while local halls and converted theatres are the mainstay of smaller communities in the region. As peak body Arts Mid North Coast reports, there is a good record of successful arts related events which range across all genres of music, art, sculpture, Aboriginal culture, street art, literature and even busking and opera. These are mainly managed by passionate local volunteers.
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Gattenhof, Sandra, Donna Hancox, Sasha Mackay, Kathryn Kelly, Te Oti Rakena, and Gabriela Baron. Valuing the Arts in Australia and Aotearoa New Zealand. Queensland University of Technology, December 2022. http://dx.doi.org/10.5204/rep.eprints.227800.

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The arts do not exist in vacuum and cannot be valued in abstract ways; their value is how they make people feel, what they can empower people to do and how they interact with place to create legacy. This research presents insights across Australia and Aotearoa New Zealand about the value of arts and culture that may be factored into whole of government decision making to enable creative, vibrant, liveable and inclusive communities and nations. The COVID-19 pandemic has revealed a great deal about our societies, our collective wellbeing, and how urgent the choices we make now are for our futures. There has been a great deal of discussion – formally and informally – about the value of the arts in our lives at this time. Rightly, it has been pointed out that during this profound disruption entertainment has been a lifeline for many, and this argument serves to re-enforce what the public (and governments) already know about audience behaviours and the economic value of the arts and entertainment sectors. Wesley Enoch stated in The Saturday Paper, “[m]etrics for success are already skewing from qualitative to quantitative. In coming years, this will continue unabated, with impact measured by numbers of eyeballs engaged in transitory exposure or mass distraction rather than deep connection, community development and risk” (2020, 7). This disconnect between the impact of arts and culture on individuals and communities, and what is measured, will continue without leadership from the sector that involves more diverse voices and perspectives. In undertaking this research for Australia Council for the Arts and Manatū Taonga Ministry for Culture & Heritage, New Zealand, the agreed aims of this research are expressed as: 1. Significantly advance the understanding and approaches to design, development and implementation of assessment frameworks to gauge the value and impact of arts engagement with a focus on redefining evaluative practices to determine wellbeing, public value and social inclusion resulting from arts engagement in Australia and Aotearoa New Zealand. 2. Develop comprehensive, contemporary, rigorous new language frameworks to account for a multiplicity of understandings related to the value and impact of arts and culture across diverse communities. 3. Conduct sector analysis around understandings of markers of impact and value of arts engagement to identify success factors for broad government, policy, professional practitioner and community engagement. This research develops innovative conceptual understandings that can be used to assess the value and impact of arts and cultural engagement. The discussion shows how interaction with arts and culture creates, supports and extends factors such as public value, wellbeing, and social inclusion. The intersection of previously published research, and interviews with key informants including artists, peak arts organisations, gallery or museum staff, community cultural development organisations, funders and researchers, illuminates the differing perceptions about public value. The report proffers opportunities to develop a new discourse about what the arts contribute, how the contribution can be described, and what opportunities exist to assist the arts sector to communicate outcomes of arts engagement in Australia and Aotearoa New Zealand.
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Ryan, Mark David, Greg Hearn, Marion McCutcheon, Stuart Cunningham, and Katherine Kirkwood. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Busselton. Queensland University of Technology, January 2021. http://dx.doi.org/10.5204/rep.eprints.207597.

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Located a two-and-a-half hour drive south of Perth, Busselton is one of the largest and fastest growing regional centres in WA, a lifestyle services hub and the gateway to the internationally renowned wine region and popular tourist destination of Margaret River. Promoted by the City of Busselton council as the ‘Events Capital of WA’, Busselton has a strong festival and events economy that fuels local creative and arts production, supported by demographic shifts and population growth that is resulting in more creatives living and working in the city.
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Cunningham, Stuart, Marion McCutcheon, Greg Hearn, Mark Ryan, and Christy Collis. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Sunshine Coast. Queensland University of Technology, December 2020. http://dx.doi.org/10.5204/rep.eprints.136822.

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The Sunshine Coast (unless otherwise specified, Sunshine Coast refers to the region which includes both Sunshine Coast and Noosa council areas) is a classic regional hotspot. In many respects, the Sunshine Coast has assets that make it the “Goldilocks” of Queensland hotspots: “the agility of the region and our collaborative nature is facilitated by the fact that we're not too big, not too small - 330,000 people” (Paddenburg, 2019); “We are in that perfect little bubble of just right of about everything” (Erbacher 2019). The Sunshine Coast has one of the fastest-growing economies in Australia. Its population is booming and its local governments are working together to establish world-class communications, transport and health infrastructure, while maintaining the integrity of the region’s much-lauded environment and lifestyle. As a result, the Sunshine Coast Council is regarded as a pioneer on smart city initiatives, while Noosa Shire Council has built a reputation for prioritising sustainable development. The region’s creative economy is growing at a faster rate that of the rest of the economy—in terms of job growth, earnings, incomes and business registrations. These gains, however, are not spread uniformly. Creative Services (that is, the advertising and marketing, architecture and design, and software and digital content sectors) are flourishing, while Cultural Production (music and performing arts, publishing and visual arts) is variable, with visual and performing arts growing while film, television and radio and publishing have low or no growth. The spirit of entrepreneurialism amongst many creatives in the Sunshine Coast was similar to what we witnessed in other hotspots: a spirit of not necessarily relying on institutions, seeking out alternative income sources, and leveraging networks. How public agencies can better harness that energy and entrepreneurialism could be a focus for ongoing strategy. There does seem to be a lower level of arts and culture funding going into the Sunshine Coast from governments than its population base and cultural and creative energy might suggest. Federal and state arts funding programs are under-delivering to the Sunshine Coast.
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Бондаренко, Ольга Володимирівна, Світлана Вікторівна Мантуленко, and Андрій Валерійович Пікільняк. Google Classroom as a Tool of Support of Blended Learning for Geography Students. CEUR-WS.org, 2018. http://dx.doi.org/10.31812/123456789/2655.

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Abstract. The article reveals the experience of organizing blended learning for geography students using Google Classroom, and discloses its potential uses in the study of geography. For the last three years, the authors have tested such in-class and distance courses as “Cartography and Basics of Topography”, “Population Geography”, “Information Systems and Technologies in Tourism Industry”, “Regional Economic and Social World Geography (Europe and the CIS)”, “Regional Economic and Social World Geography (Africa, Latin America, Asia, Anglo-America, Australia and Oceania)”, “Socio-Economic Cartography”. The advantages of using the specified interactive tool during the study of geographical disciplines are highlighted out in the article. As it has been established, the organization of the learning process using Google Classroom ensures the unity of in-class and out-of-class learning; it is designed to realize effective interaction of the subjects learning in real time; to monitor the quality of training and control the students’ learning achievements in class as well as out of it, etc. The article outlines the disadvantages that should be taken into account when organizing blended learning using Google Classroom, including the occasional predominance of students’ external motivation in education and their low level of readiness for work in the classroom; insufficient level of material and technical support in some classrooms; need for out-of-class pedagogical support; lack of guidance on the content aspect of Google Classroom pages, etc. Through the test series conducted during 2016-2017, an increase in the number of geography students with a sufficient level of academic achievements and a decrease of those with a low level of it was revealed.
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Secretary's Department - Lectures - Governor - Athenaeum Club, Liverpool, England - "The Arts in Australia" - 1965. Reserve Bank of Australia, September 2022. http://dx.doi.org/10.47688/rba_archives_2006/06088.

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