Efnisyfirlit

• Title page
• Imprint page
• Table of contents
• Foreword
• Introduction
• Glossary
• Picture Credits
• List of text boxes, tables, figures and photographs
• Section 1: An introduction to cultural tourism development
• Introduction
• Chapter 1: The dimensions of culture
• 1.1 Introduction
• 1.2 What is culture?
• 1.2.1 How do we learn about culture?
• 1.2.2 Social control – a means of maintaining a group’s culture
• 1.2.3 Agencies of social control
• 1.3 The traditional nature of culture
• 1.3.1 Cultural identities and cultural pride
• 1.3.2 Cultural communities
• 1.3.3 Oral cultures and traditional communities
• 1.4 Aspects of culture
• 1.4.1 Material aspects of culture
• 1.4.2 Non-material aspects of culture
• 1.4.3 Cognitive aspects of culture
• 1.4.4 Language and culture
• 1.5 Approaches to defining culture
• 1.5.1 Culture seen as a process
• 1.6 Elements of culture most attractive to tourists
• 1.7 UNESCO’s definition of culture
• 1.8 Summary
• Chapter 2: The ‘old’ and ‘new’ phenomena of culture
• 2.1 Introduction
• 2.2 The ‘old’ phenomenon of culture
• 2.2.1 Humanism and the Renaissance – setting the stage for the Grand Tour
• 2.2.2 The ‘Classical’ Grand Tour
• 2.2.3 The Romantic Grand Tour
• 2.3 The ‘new’ phenomenon of culture
• 2.4 The consequences of broadening the basis of culture
• 2.4.1 ‘High’ culture
• 2.4.2 ‘Low’ culture
• 2.4.3 Mass culture and cultural industries
• 2.5 ‘Low’ and ‘high’ cultural integration
• 2.5.1 The postmodern perspective on culture
• 2.5.2 Implications of ‘low’ and ‘high’ cultural integration for tourism
• 2.6 Summary
• Chapter 3: Globalisation and tourism
• 3.1 Introduction
• 3.2 The face of globalisation
• 3.2.1 Globalisation and developing countries
• 3.2.2 Ten consequences of globalisation
• 3.3 Tourism as an export strategy
• 3.3.1 Tourism and world trade
• 3.3.2 Tourism and the least developed countries (LDCs)
• 3.4 The world’s leading destinations and tourism earners
• 3.5 Future growth in international tourism
• 3.6 Tourism in South Africa – the new ‘gold’
• 3.7 Summary
• Chapter 4: Cultural tourism defined
• 4.1 Introduction
• 4.2 Approaches to defining cultural tourism
• 4.2.1 Defining cultural tourism: The ‘sites-and-monuments’ or technical approach
• 4.2.2 Defining cultural tourism: The ‘conceptual activity’ or process-based approach
• 4.2.3 UNWTO definitions of cultural tourism
• 4.2.4 The ATLAS and ICOMOS definitions of cultural tourism
• 4.3 The scope of cultural tourism
• 4.4 Melanie Smith’s main forms of cultural tourism
• 4.4.1 Heritage tourism
• 4.4.2 Arts tourism
• 4.4.3 Urban cultural tourism
• 4.4.4 Rural cultural tourism
• 4.4.5 Indigenous cultural tourism
• 4.4.6 Contemporary (popular) cultural tourism
• 4.5 Cultural tourism as special-interest tourism (SIT)
• 4.5.1 Creative tourism
• 4.5.2 Ethical tourism
• 4.5.3 Life-seeing tourism
• 4.6 Summary
• Chapter 5: Conceptualising cultural tourism
• 5.1 Introduction
• 5.2 The market and tourism development approaches to tourism development
• 5.3 Cultural tourism processes (the tourism development approach)
• 5.4 The basic structure of cultural tourism (the market approach)
• 5.5 Summary
• Section 2: Resource-based development in cultural tourism
• Introduction
• Chapter 6: Cultural resources, attractions and destinations
• 6.1 Introduction
• 6.2 Defining resources in cultural tourism
• 6.3 Defining tourist attractions
• 6.3.1 Natural attractions
• 6.3.2 Cultural attractions
• 6.3.3 Special events
• 6.3.4 Tourism as a threat
• 6.3.5 Tourism as beneficial activity
• 6.3.6 Permanent and temporary attractions
• 6.3.7 Other classifications of attractions
• 6.4 Defining tourist and cultural tourism destinations
• 6.5 Classification of cultural attractions
• 6.5.1 Forms of culture which do not animate or directly involve human activity
• 6.5.2 Forms of culture reflected in the normal, daily life of a destination
• 6.5.3 Forms of culture that are specially animated and may involve special events or depict historic
• 6.6 The authenticity and uniqueness of cultural attractions
• 6.6.1 Authenticity as an attribute of a cultural attraction
• 6.6.2 Cultural events and staged authenticity
• 6.6.3 Determining the authenticity and uniqueness of cultural attractions
• 6.7 The protection and conservation of cultural heritage sites
• 6.7.1 International conservation charters
• 6.7.2 The South African Heritage Resources Agency (SAHRA)
• 6.7.3 SAHRA’s fundamental principles of heritage conservation in South Africa
• 6.8 Purpose-built (contrived) cultural attractions – theme parks
• 6.8.1 Disney theme parks
• 6.8.2 The Africa Theme Park Resort (ATPR)
• 6.9 Primary attractions and the image of cultural destinations
• 6.10 Secondary attractions and a destination’s cultural menu
• 6.11 The relative importance of socio-economic elements influencing the cultural attractiveness of a
• 6.11.1 Cultural landscapes
• 6.11.2 Intangible (living) heritage
• 6.12 The proclamation of masterpieces of the oral and intangible heritage of humanity
• 6.13 Living human treasures
• 6.14 Summary
• Chapter 7: The selection process for determining cultural attractions
• 7.1 Introduction
• 7.1.1 The inventory phase
• 7.1.2 The description phase
• 7.1.3 The assessment phase
• 7.1.4 The evaluation phase
• 7.1.5 The attraction mix strategies (packaging phase)
• 7.2 An inventory of cultural resources
• 7.3 The description of cultural attractions
• 7.4 Assessment of cultural attractions – the Four A’s
• 7.4.1 Attributes
• 7.4.2 Authenticity
• 7.4.3 Activities
• 7.4.4 Attractiveness
• 7.5 Evaluation of cultural attractions
• 7.5.1 Cultural attraction quality
• 7.5.2 Cultural attraction activity expansion
• 7.5.3 Cultural attraction drawing power
• 7.5.4 Cultural attraction accessibility
• 7.5.5 Community value of a cultural attraction
• 7.5.6 Criteria for ‘post-selection’ of previously assessed and evaluated cultural attractions
• 7.6 Cultural attraction mix strategies
• 7.6.1 Bunching/clustering of cultural attractions
• 7.6.2 Theming of cultural attractions
• 7.6.3 Labelling of cultural attractions
• 7.6.4 Adaptive re-use or altering of cultural attractions
• 7.6.5 Mixing the strategies
• 7.7 Summary
• Chapter 8: The interpretation and presentation of cultural heritage
• 8.1 Introduction
• 8.2 The educational character of cultural heritage
• 8.2.1 The role of cultural heritage in formal education
• 8.2.2 The role of cultural heritage in informal education
• 8.3 The historical development of the interpretation and presentation of cultural heritage
• 8.3.1 The origins of heritage interpretation and presentation
• 8.3.2 The World Exhibitions
• 8.3.3 Early museums
• 8.3.4 Artur Immanuel Hazelius (1833-1901) – the open-air museum concept
• 8.3.5 The development of open-air museums in the United States
• 8.4 The interpretation of cultural heritage sites
• 8.4.1 ICOMOS and heritage interpretation
• 8.4.2 Freeman Tilden (1883-1980) – the father of heritage interpretation
• 8.4.3 Sources of bias in heritage interpretation
• 8.4.4 The role of interpretation in contemporary cultural heritage tourism
• 8.5 The presentation of cultural heritage
• 8.5.1 Digital museums and the use of intelligent information in the presentation of exhibits
• 8.5.2 Innovative concepts for interactive multimedia presentation of cultural heritage sites
• 8.5.3 The presentation of intangible heritage
• 8.6 Summary
• Section 3: The production and consumption of cultural heritage in cultural heritage tourism
• Introduction
• Chapter 9: The cultural tourism product
• 9.1 Introduction
• 9.2 Defining the cultural tourism product
• 9.3 Elements and characteristics of the cultural tourism product
• 9.3.1 The core cultural product
• 9.3.2 The tangible cultural product
• 9.3.3 The augmented cultural product
• 9.4 Approaches to cultural tourism product development
• 9.4.1 The destination zone level of cultural product development
• 9.4.2 The operational level of cultural product development
• 9.4.3 Tactics for transforming cultural heritage assets into tourism products
• 9.4.4 A special case of transforming political or national cultural heritage
• 9.5 South African cultural tourism product development
• 9.5.1 The domestic market perspective
• 9.5.2 The international market perspective
• 9.5.3 The tourism industry perspective
• 9.6 ‘Proudly South African’ cultural and heritage tourism products
• 9.6.1 Township tours – a Soweto case study
• 9.6.2 African Dream Routes – a rural cultural tourism product
• 9.6.3 Cultural villages
• 9.7 The ‘McDonaldisation’ and ‘Disneyfication’ of culture
• 9.8 Summary
• Chapter 10: The popularity of cultural heritage attractions
• 10.1 Introduction
• 10.2 Attributes of the popularity of cultural heritage attractions
• 10.2.1 Product attributes
• 10.2.2 Experiential attributes
• 10.2.3 Marketing attributes
• 10.2.4 Cultural attributes
• 10.2.5 Leadership attributes
• 10.3 Cultural differences as determinants of destination popularity
• 10.3.1 The tourist ‘bubble’
• 10.3.2 South Africa versus New York
• 10.3.3 The influence of crime on destination popularity – the case of Cape Town
• 10.4 The most-visited (popular) cultural heritage attractions and sites in cultural tourism worldwid
• 10.4.1 Elements of distinctiveness in the image of a cultural destination
• 10.5 The most-visited cultural heritage sites in South Africa and sub-Saharan Africa
• 10.6 Summary
• Chapter 11: Cultural tourism demand
• 11.1 Introduction
• 11.2 The role of ‘need’ and ‘motivation’ in cultural tourism travel
• 11.2.1 The role of ‘need’ in cultural travel
• 11.2.2 The motivation for cultural travel
• 11.2.3 The theory of tourist motivation: Pearce’s Travel Career Ladder
• 11.2.4 McIntosh’s motivational categories: the centrality of cultural motives
• 11.2.5 The correlation between motivation for travel and the consumption of culture
• 11.2.6 Travel awareness and tourist attitudes
• 11.2.7 Mathieson and Wall’s tourist decision-making process
• 11.3 Mass tourism demand and the consumption of culture
• 11.3.1 Catalysts for mass tourism demand
• 11.3.2 The homogeneity of mass tourism demand
• 11.3.3 Mass tourism and the consumption of culture
• 11.3.4 The emergence of Special Interest Tourism
• 11.4 The experiential economy and the consumption of culture
• 11.4.1 Lifestyle demand and cultural experience
• 11.4.2 The EXCITE Economy
• 11.5 The characteristics of demand for cultural tourism
• 11.6 New market niches for cultural tourism
• 11.6.1 Creative consumption in cultural tourism
• 11.7 Summary
• Chapter 12: The cultural tourist and the consumption of tourist experiences
• 12.1 Introduction
• 12.2 The tourist
• 12.2.1 Becoming a tourist: ‘the rite of passage’ or ‘the sacred pilgrimage’
• 12.2.2 Tourist profile characteristics
• 12.3 The cultural tourist
• 12.3.1 The typology of cultural tourists by McKercher and Du Cros (2002)
• 12.3.2 The tourist of the future: the ‘authentic’ tourist
• 12.4 The ATLAS survey: characteristics of cultural tourists
• 12.4.1 Demographic profile characteristics of cultural tourists
• 12.4.2 Behavioural characteristics of cultural tourists
• 12.5 The nature of consumption of tourist experiences in cultural tourism
• 12.5.1 The Excite experience
• 12.5.2 The standardised tourist experience
• 12.5.3 The authentic tourist experience
• 12.6 Tourist consumption of cultural experiences/products in South Africa
• 12.6.1 Consumption of South African cultural experiences by domestic tourists
• 12.6.2 Consumption of South African cultural experiences by international tourists
• 12.7 The authenticity of cultural tourism experiences
• 12.7.1 MacCannell’s ‘staged authenticity’
• 12.7.2 Cohen’s ‘emergent authenticity’
• 12.7.3 Wang’s existential authenticity
• 12.8 Summary
• References and recommended reading
• Index