A Position Paper on CULTURAL & HERITAGE TOURISM IN THE UNITED STATES

A Position Paper on Cultural & Heritage Tourism

Th is position paper was developed by the U.S. Department of Commerce and the President’s Committee on the Arts and the Humanities for the 2005 U.S. Cultural & Heritage Tourism Summit.

PHOTO CREDITS

Front Cover: Chuck Davis of the African American Dance Ensemble at Durham’s Festival for the Arts, courtesy of the North Carolina Arts Council. Poster for Montana Festival of the Book, courtesy of the Montana Committee for the Humanities. Patrick Kastoff in N.C. Dance Theatre’s “Nutcracker,” photo by Rolland Elliott. Minnesota Historical Society, Fort Snelling, courtesy of the Minnesota State Arts Board. 1 Cherokee soapstone carving, photo by Cedric N. Chatterley. Young fi ddler at Bluff Mountain Festival, Madison County, N.C., photo by Cedric N. Chatterley.

Back Cover: Children’s Theatre Company, “A Year with Frog and Toad,” courtesy of the Minnesota State Arts Board. North Dakota Prairie Church, photo by Jim Lindberg, courtesy of the National Trust for Historic Preservation. Blacksmith at John C. Campbell Folk School, Brasstown, N.C., courtesy of the North Carolina Arts Council. Asheville’s Urban Trail, courtesy of the North Carolina Arts Council. Frederick R. Weisman Art Museum (architect Frank Gehry), courtesy of the Minnesota State Arts Board. Saint Paul Chamber Orchestra harpsichordist Layton James, courtesy of the Minnesota State Arts Board. San Francisco Conservatory of Flowers, photo by Kevin J. Frest, courtesy of the National Trust for Historic Preservation.

Design: Christopher Jacobi A Position Paper on Cultural & Heritage Tourism

BACKGROUND positions established at convention and visitors bureaus, in state agencies and regionally; ground- Ten years ago a seminal blueprint for cultural and breaking research by the Travel Industry Associa- heritage tourism was adopted by the more than tion of America (TIA) on the impact of cultural 1,500 dedicated political and industry leaders and and heritage tourism that spawned subsequent practitioners as part of their national agenda for national and local studies; and broad-based multi- the travel industry, which they developed at the sector initiatives such as North Carolina’s award- 1995 White House Conference on Travel and winning Blue Ridge Heritage Initiative, Maine’s Tourism. Recognizing the extraordinary opportu- New Century program and the White House’s nity presented by this landmark event to expand Preserve America program. the creative dialogue between this industry and America’s cultural and heritage institutions, a co- Over the last decade, travel industr y research con- alition representing the arts, historic preservation, fi rms that cultural and heritage tourism is one the humanities organizations and the federal cultural fastest growing segments of the travel industry. agencies—the National Endowment for the Arts, For some travelers, cultural and heritage experi- the National Endowment for the Humanities, the ences are “value added,” enhancing their enjoy- Institute of Museum Services, and the President’s ment of a place and increasing the likelihood that Committee on the Arts and the Humanities— they will return. For a growing number of visitors, submitted a white paper, Cultural Tourism in the however, who are tired of the homogenization of United States, to provide specifi c responses to the places around the world, authentic experiences industry’s nine issue areas and outline goals for the are an important factor and motivator for their culture and heritage tourism segment. travel decisions and expectations.

In that paper, the authors encapsulated a defi ni- 2 tion for cultural and heritage tourism—“travel CULTURAL & HERITAGE directed toward experiencing the arts, heritage, TOURISM TODAY and special character of a place. America’s rich heritage and culture, rooted in our history, our The industry today encompasses cultural and heri- creativity and our diverse population, provides tage specialists, who are an important resource for visitors to our communities with a wide variety of the travel and tourism industry in providing these cultural opportunities, including museums, historic customers with accurate, insightful interpretation of sites, dance, music, theater, book and other festi- local assets. Communities throughout the U.S. have vals, historic buildings, arts and crafts fairs, neigh- developed successful programs linking the arts, hu- borhoods, and landscapes.” manities, history and tourism. Cultural and heritage organizations—such as museums, performing arts Its adoption at the 1995 conference initiated new organizations, festivals, humanities, and historic relationships between unlikely partners—the cul- preservation groups—have formed partnerships tural, heritage and tourism sectors—who sought with tour operators, state travel offi ces, convention to fulfi ll its key values and vision of a sustainable and visitors bureaus (CVBs), hotels, and air carriers industry with appropriate growth. Collaborations to create initiatives that serve as models for similar spread across the country following the white efforts across the U.S. paper’s roadmap of action steps, and the results have surpassed expectations: six regional forums An integral but often invisible component of the that catalyzed state action on cultural and heri- cultural and heritage sector are the artists, per- tage tourism; cultural and heritage tourism staff formers, writers and other creative workers whose skills and vision bring to life our nation’s genius and Yet cultural and heritage tourism is different from ideas. These living traditions are often supported other “mass market” travel industry segments in by the cultural and heritage tourism infrastructure several ways. First, many cultural and heritage in- of institutions, galleries, performance spaces and stitutions are nonprofi t organizations where tour- other community venues that make a signifi cant ism is only one strategy that meets their mission. contribution to economic and community develop- In many cases, funds are dedicated to an artistic or ment. The arts, humanities and heritage involve and educational mission or the preservation, interpre- benefi t local residents in developing the narrative tation and management of a resource rather than that creates a sense of place, which the travel and to marketing. Second, limited capacity or the fragil- tourism industry can promote, market and brand. ity of cultural, natural and heritage resources and Cultural and heritage tourism also provides a means sites sometimes constrains the number of visitors of preserving and perpetuating our nation’s cultural that can be hosted annually or seasonally. Overuse heritage through education, increased revenues or excess capacity can result in negative impact and audiences, and good stewardship. on resources and can diminish the quality of the visitor and resident experience. Many cultural and

A SNAPSHOT OF CULTURAL & HERITAGE TOURISM

Domestic • Eighty-one percent of the 146.4 million U.S. adults who took a trip of 50 miles or more away from home in the past year can be considered cultural and heritage tourists. Compared to other travelers, cultural and heritage tourists: • Spend more: $623 vs. $457 • Use a hotel, motel or B&B: 62 percent vs. 55 percent • Are more likely to spend $1,000+/-: 19 percent vs. 12 percent • Travel longer: 5.2 nights vs. 3.4 nights • Historic/cultural travel volume is up 13 percent from 1996, increasing from 192.4 million person-trips to 216.8 million person-trips in 2002. • Th e demographic profi le of the cultural heritage travel segment today is younger, wealthier, more educated and more technologically savvy when compared to those 3 surveyed in 1996. • 35.3 million adults say that a specifi c arts, cultural or heritage event or activity infl uenced their choice of destination.

Source: Travel Industry Association of America and Smithsonian Magazine, Th e Historic/Cultural Traveler, 2003 Edition. International In 2004, according to the U.S. Department of Commerce, there were over 10.6 million overseas visitors who participated in cultural and heritage tourism activities while within the country. Th e top vefi markets interested in cultural and heritage tourism as a share of their total visitors are: United Kingdom, Japan, Germany, France and Australia.

• Th e average overseas cultural and heritage tourism traveler visits the country for over 19 nights (16 nights for all overseas travelers). • More than 72 percent are here for leisure/holidays as one of the purposes of their trip (62% for all overseas travelers). • Th ey are more willing to visit more than one state (41percent) compared to only 30 percent for all overseas visitors. A Position Paper on Cultural & Heritage Tourism

heritage sites are open year round, but some re- for the benefi t our nation’s economy, residents, sources—including performance groups—have traveling consumers, cultural and heritage institu- limited schedules or operations. tions, and the travel and tourism industry.

Finally, cultural and heritage assets are tradition- To enhance and sustain this industry segment, ally “one of a kind” and seek to provide unique we believe the recommendations set forth in this experiences not replicated in any other commu- document must be addressed and adopted. Each nity. Additionally, the artistic or educational mis- citizen, practitioner, and elected and appointed sions of these institutions, as well as the interests offi cial plays a pivotal role in developing this and work of the artists, performers and artisans, industry segment. all contribute to a place’s authenticity. Hence, au- thenticity is a key value and infl uencer in branding PRODUCT DEVELOPMENT a destination that includes, but is not limited to, its events, architecture, music, dance, cuisine, craft Uniquely American Experiences and artistic traditions. This uniqueness is ill-suited to cookie-cutter programming and marketing. Product development encompasses the pres- The travel and tourism industry must work closely ervation, enhancement and promotion of our with cultural and heritage organizations and the nation’s natural, historic and cultural resources. community to provide quality visitor experiences Cultural and heritage specialists can assist the without compromising the integrity of message or travel and tourism industry in developing new negatively affecting these authentic resources and tour itineraries, regional circuits and thematic living traditions. Each constituent group should be packages of attractions and activities. However, proactive in helping its partners in learning more we must fi rst assure that the natural, historic and about how their respective industries work. cultural resources that are the basis of such prod- 4 ucts are identifi ed, preserved and enhanced. THE OPPORTUNITY TODAY Sustaining and developing these historic and cul- The 2005 U.S. Cultural & Heritage Tourism Sum- tural resources, which are often within the public mit is another watershed moment for growing domain, depends in part on the need to increase this industry sector. There has never been a more public and private sector investment. For cultural important time to convene key leaders and de- and heritage organizations such investment de- cision makers, whose sectors and efforts have pends on: 1) adopting sound business practices; contributed to its current success. Cultural and 2) increasing advocacy of the economic and so- heritage tourism has been an engine of growth cial benefi ts of their assets; and 3) diversifying over the last decade, and we can learn much from both their product mix and partnerships. each other in developing strategies to sustain that growth into the future. This Summit also comes Over the last decade, the success of cultural and at a time when many believe that as a global heritage tourism has prompted many states, re- power the U.S. has a vital interest in welcoming gions and cities to undertake a comprehensive visitors from abroad and sharing with them a rich look at their cultural and heritage industry as a and nuanced picture of the diversity of America’s tool for economic and community development. cultural heritage. This holistic policy and investment approach to nurturing the physical and human resources The goal of the Summit is to forge a new vision of culture and heritage, both its for-profi t and and design a national fi ve-year strategy that will nonprofi t sectors, has been labeled the creative expand and develop cultural and heritage tourism economy, which includes (but is not limited to) the arts, preservation, design, fi lm and music ning must be locally driven and focused on the industries. Such a holistic investment by the public connections between natural, historic and cultural and private sectors will create a more competi- resources and the life of the community itself. tive economy and a more vibrant community. Expertise provided by local cultural and heritage organizations and specialists can help the tourism Every place in America—rural area, small town, industry satisfy visitor interest in “real places” by Native American reservation, urban neighbor- providing accurate interpretation of a destination’s hood and suburban center—has distinctive history and assuring the continued vitality of com- cultural and heritage assets that can potentially munity life for residents and visitors alike. attract visitors and their spending. Each must dis- cover and value its own culture and heritage and The tourism planning process should take ad- decide for itself what kind of tourism and how vantage of technology in coordinating and assist- many visitors are appropriate/desired to meet ing efforts amongst the different sectors in the their tourism goal, and what assets it wants to cultural and heritage tourism industry. It should share with visitors. Each must tell its own col- also recognize and encourage the growth of small lection of stories to visitors using various tradi- businesses—both for-profi t and not-for-profi t tional media such as maps, publications, Internet services, such as local guided tours, cooperatives sites and tours and through creative expressions selling authentic arts and crafts, galleries, bed and including exhibits, songs, paintings, dance dem- breakfasts, museum shops, and ethnic restaurants, onstrations and interpreters. Each community which are all important components that refl ect seeking to develop its tourism potential can and support the local culture. Training and educa- build on its foundation of cultural and heritage tion will assist these institutions and self-employed resources by engaging local residents—from an creative artists to improve their business success, existing network of volunteers who contribute which furthers their sustainability and contribu- services to their local cultural and heritage insti- tion to the tourism industry. Capital investments tutions, to artists and other experts employed in and technical expertise can enhance the cultural these disciplines—to help tell its story, which can and heritage experiences for all audiences through be packaged in numerous ways. increased programming and special attention to the requirements and spirit of the Americans with Authenticity and Quality Disabilities Act. Historic and cultural attractions express, interpret and preserve our national cultural heritage. Their Public-Private Partnerships contribution to the visitor experience is twofold: Cultural and heritage organizations; federal, state, fi rst, the interpretive programs and materials they local, and tribal arts and humanities agencies; oth- present must be of high quality, providing accurate er federal, state, local and tribal government agen- 5 information in engaging and memorable ways. Sec- cies; and the travel and tourism industry should ond, the artisans, performers, writers and artists establish public-private partnerships to identify that bring a place to life for visitors should meet opportunities for cultural and heritage tourism de- the highest standards of that community. The velopment. A foundation of these collaborations cultural and heritage segments should fulfi ll their should be the implicit recognition of the value of important role in the travel and tourism industry cultural and heritage tourism to a community’s by increasing understanding of the signifi cance of quality of life and economic well-being. Equally authenticity and its effect on visitation, marketing important to partnerships is the recognition of and branding. Travel and tourism industry profes- the value of public sector leadership since many of sionals should recognize visitors’ desires to experi- these cultural and heritage resources belong to all ence the “real America,” which can best be done Americans. As part of a knowledge base, there is through its historic sites and monuments, its living a need to increase understanding and use of part- traditions and landscapes, museums and other cul- nership examples at the local, state and federal tural organizations, and, above all else, its people. levels that refl ect broad coordination in delivering needed human, technical and fi nancial resources. Tourism Planning These partnerships can implement cooperative Comprehensive planning for cultural and heritage programs and projects and ensure the preserva- tourism development is crucial to assuring positive tion of unique resources by creating greater incen- visitor experiences with minimal adverse impacts tives to attract private sector investment whether on local residents and resources. Tourism plan- it be human, fi nancial or technical. Such collabora- A Position Paper on Cultural & Heritage Tourism

tion can leverage the potential of existing institu- Destination USA tions, expand the economic impact of cultural and Promotional campaigns for U.S. tourism should heritage tourism, and ameliorate or even avoid feature our nation’s unique natural, historic and adverse effects of unplanned tourism. cultural resources, as well as the creative talent, that defi ne and sustain our country’s distinctive PROMOTION character. The U.S. needs a well-funded inter- national presence that draws on the richness of these resources and artists. A successful interna- Revealing Our Character tional promotional effort depends on a proactive approach to developing new international markets Historic and cultural attractions and their living and expanding public and private sector support traditions make each destination unique. Promo- for cooperative marketing at the local, regional tional campaigns must follow a thoughtful prod- and national levels. National branding campaigns uct development process to ensure that quality need to be localized and involve community lead- services, attractions or experiences are in place ers and residents in articulating their heritage, cul- before a destination is promoted. ture and image. Success will depend on all sectors—tourism, cul- Thematic Tourism ture, heritage, nature—seeing themselves as part Thematic tours should be inclusive of natural, cultur- of the cultural and heritage tourism industry. Giv- al and historic assets to maximize the opportunities en the technological and media savvy of the next for attracting a cross-section of audiences to multiple generation of consumers, the industry needs to sites and events that transcend geographic boundar- reinvent and reposition itself in promoting cultural ies. The stories, themes and partners should refl ect and heritage resources. Promotion will need to the diversity of the U.S. and include the broader stay current with trends in technology in reaching cultural and historic tourism industry. Linking similar 6 new consumers, and be committed to coopera- assets together as a linear “strings of pearls” tive messaging, programming and marketing that allows consumers to travel by motivation and inter- cuts across sectors, generations and interests. ests—such as military history, ethnic settlements, music, commerce and industry, architecture or land- Building Blocks for Tours scapes—to expand opportunities for these visitors and Conventions to stay longer and spend more. Cultural and heritage assets, as well as natural re- sources, should be primary ingredients for group tour experiences that seek to develop new re- RESEARCH gional and thematic packages. Cultural, natural and heritage resources are also important components A Lens on the Landscape for individual travelers and groups who create their own itineraries by drawing on the Internet and Research supports and intersects with all the other resources. Cultural and heritage institutions key issue areas in cultural and heritage tourism. also represent a resource for destination manage- It helps identify the consumers and key trends in ment organizations, meeting and convention plan- the industry and supports case making, advocacy ners seeking to promote shoulder season and off- and policy efforts. Although an abundance of in- season travel. formation is being collected, there is a continuing need to increase access to the information and improve distribution of research and consistency in fi ndings. Data Collection and Dissemination should improve the quality, consistency and fre- for Domestic Tourism quency of their respective regional data. Cultural Communities, their cultural and heritage institu- and heritage institutions should share the results tions, and the tourism industry need national mar- of their research with their local destination mar- ket research that identifi es domestic travelers’ in- keting organizations (DMOs) including convention terest in cultural and heritage activities and tracks and visitors bureaus, chambers of commerce and their actual visitation to specifi c sites and organi- other like entities. These DMOs should use their zations. The tourism industry and relevant federal surveys to obtain information that will assist their agencies should better publicize and make easily local heritage and cultural institutions in promot- available existing travel and tourism data, using ex- ing themselves as visitor attractions and activities. isting Internet sites and other vehicles to publish and distribute studies and key information. All the Return on Investment Studies sectors in the cultural and heritage tourism indus- The initiatives currently defi ning and measuring try should examine using new tools to measure the for-profi t and nonprofi t sectors of the creative the impact of the industry, from the North Amer- industry should incorporate, examine and build ican Industry Classifi cation System (NAICS), to on the travel industry’s studies of the economic travel and tourism satellite accounts and current impact of tourism. All sectors in the cultural and employment data, to the broader examination of heritage tourism industry should agree on a set culture, heritage and tourism’s contribution to the of common data points so that comparisons can creative economy. be made and impacts measured between these sectors. All data should be collected and analyzed International Visitors to demonstrate how investments, activities and The Offi ce of Travel and Tourism Industries, a visitation contribute to the overall cultural heri- division of the U.S. Department of Commerce’s tage tourism goal and benefi t cultural and heri- International Trade Administration, conducts tage resources, residents, customers, institutions important and relevant research on international and industry. inbound visitation to America. Given that inter- national consumer understanding of cultural and TECHNOLOGY heritage tourism is different from that of their counterparts in the U.S., it is recommended that Communications Tools for the federal agency broaden its research and de- velop more detailed international visitor surveys Today and Tomorrow to identify and analyze foreign visitors’ motiva- tions and activities regarding culture and heritage. The explosive growth in technology has made Specifi cally, the research should capture infor- a signifi cant impact on every aspect of the cul- 7 mation on interest in and visitation to national tural and heritage tourism industry. Striking a parks, heritage sites and areas; historic buildings, balance between keeping current with technol- neighborhoods and districts; and performing arts ogy and having the resources to deploy these centers, museums and other arts organizations, as tools, as well as using these tools to enhance and well as rural and multicultural tourism experienc- not undermine an authentic experience, are key es, including the appeal of regional and thematic considerations for all the sectors in cultural and tours. Public access to this additional detailed in- heritage tourism. Technology in this case encom- formation is vital for cultural and heritage tourism passes three areas: 1) technology that supports practitioners to proactively develop and market business/industry strategy; 2) programmatic desired experiences. technology to deliver content; and 3) operation- al effi ciency technology that helps administrators Data Collection by Cultural and experts work smarter. and Heritage Institutions Individual cultural and heritage institutions, and Delivering Content their national affi liates, should collect meaningful Using technology to map assets, analyze impact data about their visitors including, but not limited of potential infrastructure improvements and to, projected visitation, actual visitation, and eco- interpret sites will streamline the planning and nomic and cultural impacts and make it available development process. The design of interfaces, hy- to the travel industry. Cultural and heritage insti- perlinks, calendars and other Internet information tutions involved in regional or thematic promotion systems should make it easier for both individu- A Position Paper on Cultural & Heritage Tourism

als and groups to access, organize and custom- downtowns and scenic byways to cultural cen- ize thematic, rural and regional trip itineraries. ters and parks. Accurately assessing the physical Management software will allow practitioners needs and threats to these resources; engaging to track visitation and sources of revenue and to in thoughtful planning to address capacity, ac- monitor capacity. cess and service issues; and acknowledging that infrastructure improvements should benefi t both Business Application residents and visitors, requires careful delineation Technological advancements should be shared and coordination of the roles and responsibilities among all the sectors in the cultural and heritage of the various levels of government, as well as the tourism industry, from creating and expanding private sector. Assuring the physical preserva- shared databases to developing new partnerships tion and viability of all of these facilities and main- with other businesses to exploit smart card and taining a healthy relationship between a place’s other emerging technology. With an ultimate goal natural, cultural and heritage resources is crucial of effi ciency and effectiveness, technology can to the continued vitality of the industry, to cre- help cultural and heritage institutions provide cus- ating a multidimensional and dynamic customer tomers greater fl exibility in accessing information experience and to preserving the spirit of the and making purchases. Mentoring programs and community and its residents. tapping specifi c technical assistance will help level the fi eld of knowledge among all sizes of cultural The Visitor and Resident Experience and heritage institutions. The travel and tourism industry and cultural and heritage organizations must work together to Enhanced Experiences ensure that the visitor experiences available in Cultural, heritage and tourism partners should the U.S. are memorable, visually attractive and collaborate on developing content for a broad rewarding. Quality design of environmentally 8 range of high- and low-tech vehicles to meet sensitive signage, entryways, streetscapes and customer preferences for information. Technol- public facilities—combined with good interpreta- ogy offers many opportunities to assist visitors in tion— can illuminate the landscape for the visitor, planning and experiencing the cultural, natural and provide coherence to the visitor’s experience, and historic riches of this nation. Exploiting the use of ensure that the tourism infrastructure is itself a handhelds and other devices to overcome barriers part of a high-quality tourism and resident experi- in language and wayfi nding offers potential areas ence. Good design can also make an important of collaboration for the public and private sec- contribution to safety and security, mitigating the tors in the cultural and heritage tourism industry. physical and intangible barriers to visitors by creat- Geographic Information Systems (GIS) mapping ing a sense of welcome for visitors. tools, assistive audio devices, wireless machines, handhelds and other technological hardware and Transportation and software provide customers the fl exibility, afford- the Visitor Experience ability and convenience they desire. The cultural and heritage tourism sectors should strengthen partnerships with transportation INFRASTRUCTURE agencies at the local, state, regional and federal levels to address how transportation affects the Access to Excellence visitor experience. In urban areas, public transit agencies can improve the visitor experience by The cultural and heritage tourism industry com- working with the cultural and heritage tourism prises many components large and small, ranging partners in addressing visitor issues through coop- from heritage corridors and living landscapes to erative marketing and wayfi nding, particularly for the international market. In sensitive landscapes Natural, Cultural and Historic and historic areas, especially in rural areas, public Infrastructure transport can help address the carrying capacity The authenticity of the visitor experience in- issues of these sites. Cultural, heritage, tourism cludes many pieces that encompass downtowns, and natural resource managers should collaborate living landscapes, heritage corridors, cultural in- in examining the opportunities presented by the stitutions and historic structures and sites. We web of bikeways, trails, historic roads and horse must make sites as accessible as possible to both paths in telling the story of a place. Increasing lo- international and domestic visitors while minimiz- cal fl exibility in developing signage and wayfi nding ing adverse impacts on these natural, historic and systems that knit together sites and institutions by cultural resources. The natural resource, historic using trails, roads and bikeways allows communi- preservation and cultural organizations should ties to develop a more positive resident and visi- work with the travel and tourism industry to as- tor experience. sure the preservation and appropriate promotion of these resources. Transportation facilities in rural areas should be designed in a way that does not threaten the very Addressing both the capital needs and threats to attributes that make rural areas attractive places these resources and demonstrating how these to live in or visit. Where possible, infrastructure resources contribute to job creation and other development should use art, architecture and site economic benefi ts requires new leadership in de- design to refl ect or be compatible with local cul- veloping public and private investment. Creating ture and landscape. Transportation plans should new models in economic and community devel- be sensitive to the value of historic buildings and opment that focus on the needs of the cultural neighborhoods and to the need to preserve local and heritage tourism entrepreneurs and organi- communities. Transportation facilities should in- zations benefi ts visitors, residents, communities clude services for travelers and be integrated with and the industry. surrounding buildings that serve both visitor and resident needs. Finally, Transportation Enhance- Wayfi nding and Visitor Orientation ment and other highway funds should be used to Advances in technology have created numerous address these and other issues, as well as leverage opportunities to guide and orient visitors and more public and private investment. residents to cultural, natural and historic sites and attractions. The growth in technology has many Impact of Infrastructure Design benefi ts, but it also threatens to create a digital Cultural and heritage organizations should ensure divide between visitors and sites trying to meet that their activities and facilities are accessible for ever-increasing technological changes. Leader- travelers with disabilities. Advances in the “univer- ship at the local, state and federal levels that in- 9 sal design” of products, programs, graphics, build- cludes communities, transportation and the vari- ings, and public spaces can enhance America’s ous sectors in the cultural and heritage tourism competitive edge if tapped by all sectors of the industry should explore how to integrate and cultural and heritage tourism industry. harness technology into a consistent wayfi nding and orientation system. Wireless wayfi nding and The cultural impact of infrastructure improve- orientation strategies must complement maps ments must be considered in the planning and de- and highway signage, which should use consistent velopment of infrastructure design standards. For symbols nationwide to identify cultural, historical example, in rural areas the landscape/natural envi- and natural attractions. ronment contributes to the traditions and cultural values of the people who settled there. Tourism EDUCATION/TRAINING infrastructure planning and development must ad- dress broader cultural and geographic regions, not just one specifi c tourism destination such as a park Cultural Conversations or resort. Heritage area partnerships and regional Education and training forms a bridge between tour routes such as scenic and historic highways the educational missions of most nonprofi ts and and themed corridors are excellent mechanisms the commercial for-profi t sectors in the cultural for such planning and development. and heritage tourism industry. Community resi- dents should be among the fi rst contingent of A Position Paper on Cultural & Heritage Tourism

cultural and heritage visitors, fi nding out about to tourism planning and development issues, this themselves, their neighbors and their cultural should include visitor service issues. All the sec- and heritage assets. In the process of educating tors should assure that needed information about residents about the value of its own place, the the destination community, including any safety is- for-profi t and nonprofi t interests in the cultural sues, reaches front-line staff such as ticket sellers, and heritage tourism industry can address op- hotel clerks, concierges, bus and taxi drivers, tour portunities to educate their leaders and staff in guides and others who interact with the traveling crafting a cultural and heritage tourism product public every day. that integrates all the ingredients of place—nat- ural, cultural and historical resources, and living The cultural and heritage tourism industry should traditions. Educating community residents is an facilitate cooperation and understanding amongst effective means of using local citizens as tourism the marketing and communications staffs to broad- ambassadors for a region. en awareness and promotion of area attractions, and keep them informed about visitor interests, Knowledge Base needed visitor services, and planned promotional A comprehensive set of training objectives, tools campaigns. and materials should be developed for all sectors in cultural and heritage tourism. While the knowl- All the interests in cultural and heritage tourism edge base in each segment of the cultural and her- should join together in celebrating the diversity itage tourism industry is different, education and and uniqueness of place. This includes preparing training needs to be coordinated to create a uni- communities to receive visitors, addressing fears fi ed team, bringing the different sectors together. and concerns, as well as enhancing their apprecia- tion of the value of their own traditions, heritage, Education and training programs should include culture and institutions. In particular, educational 10 the signifi cance and value of natural, historic and efforts should assist smaller organizations in par- cultural resources, as well as an awareness of ticipating as equal and full partners. It also means community development techniques such as land educating the community about the benefi ts of use planning, historic preservation and community cultural and heritage tourism and educating travel- cultural planning. Educators should involve cultur- ers about the culture of their destinations. Finally, al, heritage and business specialists in their training training and education should assist residents and programs. Programs should include cultural sensi- visitors in understanding and welcoming different tivity training for cultural and ethnic etiquette. cultures in a sensitive and respectful way.

All segments in the cultural and heritage tourism Cultural and Heritage industry should identify current training materials Tourism Entrepreneurs and toolkits, address the gaps with new materials Recognizing and supporting cultural and heritage and put all this material into a collective national entrepreneurs—business owners, self-employed toolkit. This information should be made broadly artists and artisans and others—as legitimate available in user-friendly formats through the and important to local economies should be Internet, conferences and training programs. part of the training programs developed by the cultural and heritage tourism industry. These Visitor and Resident Education include identifying public and private sources and Training of seed funding or training assistance for new Hospitality issues and concerns should be part or existing businesses or artists and artisans. of the education and training of all sectors of the All sectors should cooperate in encouraging uni- cultural and heritage tourism industry. In addition versity or college arts administration and tourism management programs, both undergraduate and Access with Minimum Impact graduate programs, to develop and integrate cur- The cultural and heritage tourism industry should ricula that address cultural and heritage tourism work with local communities to fi nd ways to en- and entrepreneurship. sure visitor access to natural, historic and cultural resources in ways that will avoid damaging or de- SUSTAINABILITY stroying those resources. New technologies (e.g., lightweight viewing platforms in fragile landscapes, Preserving a Viable Sense of Place specialized vehicles, software) and creative man- agement practices (e.g., conservation easements, The 1995 White House Conference on Travel and design guidelines) should be used wherever pos- Tourism’s issue paper states, “The responsibilities sible to minimize impact. Representatives of the of the travel and tourism industry, the states and industry should be a voice for resource protection communities, and the federal government include as well as promotion. making certain that tourism development and activities are carried out in such a way as to sus- Cultural Stewardship tain or improve the natural, social, and cultural Poorly planned tourism development can endan- foundations of a destination.” ger not only a destination’s environment, but also the very culture of the people who live there. The stewards of natural, cultural and historical Local cultural organizations should: 1) work with assets must be assured that cultural and heritage the travel and tourism industry to improve visitor tourism respects the traditions, values and sen- awareness of the need to preserve natural, his- sitivities associated with these assets. They must toric and cultural resources by minimizing the im- believe that tourism and other development ac- pacts of visitation; 2) expand or develop training tivities provide sustainable benefi ts that do not and outreach programs for all the stakeholders in sacrifi ce the integrity of a community’s assets cultural and heritage tourism to address planning, for greater marketability. Sustainability addresses marketing, product development, technology, both programmatic needs, and the viability of the economic opportunity and their effects on sus- resources themselves. Strengthening local leader- tainability; and 3) focus on educating government ship and support from all the stakeholders is key agencies, civic leaders, natural resource managers to striking a balance between an optimal visitor and others on the inherent potential of cultural, experience and economic opportunity and the natural and heritage assets, and the need for in- needs of the community to preserve and sustain vestment in these assets, to provide educational its historic, cultural and natural resources. value, recreation opportunities and a stimulus for community and economic development. Sustainability 11 The implications of tourism and other development Stakeholders in Stewardship should include impacts not just on natural resourc- In planning and executing development, the in- es, but also on historic and cultural resources such volvement of stakeholders—local community as the built environment and local ways of life that leaders; resource managers; cultural and heritage attract visitors to a destination. In planning for tour- institutions; artists, interpreters and performers; ism, the stakeholders should anticipate develop- tourism, business and other representatives—is mental pressures and apply limits and management key to creating and sustaining cultural and heri- techniques that sustain natural resources, heritage tage tourism projects and resources. Sustainability sites and local culture and institutions. requires investment in fi ne-tuned assistance like micro-lending institutions, common venues, and Sustainability should conserve resources; respect Internet sales and marketing, as well as in other local culture, heritage and tradition; focus on areas to help communities and individuals par- quality balanced with economic opportunity for ticipate and stay viable in the tourism economy. residents; optimize the visitor experience through Sustainable cultural and heritage tourism should a creative mix of cultural, natural and historic strive to give local stakeholders more control over resources; and measure success not in numbers their product mix and their story, and instill an alone, but also in the integrity of the experience ethic of inclusiveness and sense of participation in that contributes to economic viability of the insti- a larger global enterprise. tutions, resources, community and its residents. A Position Paper on Cultural & Heritage Tourism

PUBLIC POLICY & SUPPORT Key Values The cultural and heritage tourism industry should Cultural and heritage tourism is a major industry, develop alliances and messages that effectively and an instrument of federal, state, tribal and lo- convey the public benefi ts of its industry, including cal policy (rural and urban; community and re- but not limited to economic value, authentic expe- gional development; transportation; recreation; riences, and “sense of place.” In policy, programs public education). Arts, humanities and heritage and process, leaders should advocate for and im- resources and their creative workers, together plement policies that also align with public values with the travel industry, are a key to healthy and of diversity, accessibility and sustainability. Public vibrant communities, increasing their competi- policymakers, the cultural and heritage tourism tiveness as places to live, work and visit. industry and private leaders should recognize and actively address the needs of preserving, protect- There is a public interest and role for supporting ing and sustaining the broad array of cultural, natu- and sustaining these resources in collaboration ral and historic resources and creative talent that with the travel industry and the private sector at form the backbone of our national identity. large. The nation’s and local communities’ stake in improving, enhancing and sustaining the quality of Investment life for Americans, and the contributions of the cul- Public sector development policies and programs tural and heritage tourism industry in this effort, often do not acknowledge cultural and heritage need to be taken into account by decision makers tourism strategies as true sustainable develop- and responsible planning and management authori- ment in terms of job creation, tax revenue and ties. As a global power and a nation of immigrants, leveraged investment. There is therefore a broad the U.S. has a vital national interest in cultural and lack of understanding of this sector by public heritage tourism for increasing understanding of agencies, and insuffi cient community and en- 12 other cultures and peoples, as well as using the arts trepreneurial assistance available in the form of and humanities to transmit our confi dence in the grants and loans, tax incentives, sales and market- free exchange of ideas to strengthen our econom- ing support, and similar mechanisms to help the ic, cultural and diplomatic relationships. travel and tourism economy be competitive and viable. Civic, government and private sector lead- Partnership Framework ers should build on policies at the state, local and Legal, fi nancial and policy barriers, both real and federal levels to foster complementary strategies, imagined, to effective cultural and heritage tour- tools and resources to encourage and leverage ism programs exist at all levels of government. private investment in cultural and heritage tour- Business and the not-for-profi t sector should ism and support citizen volunteerism. work together to support the development and expansion of cultural and heritage tourism to the International maximum extent with appropriate policies, pro- Our nation’s cultural, heritage and natural as- grams and funding. Programs and policies should sets play a signifi cant role in attracting inter- enhance and support partnerships as strategic, national visitors. With the increasingly global effi cient and effective and increase federal inter- reach of our creative industries, public and pri- agency partnerships, as well as cross-sector state, vate sector leaders should cultivate an inter- local, tribal and private sector partnerships in sup- national approach that puts greater emphasis port of cultural and heritage tourism. on cultural and heritage tourism as a way to illuminate the international roots of our exhibits, artistic exchanges and collaborations, history, language and cultural expressions. performances, etc.—tapping into tourism mar- At all levels, leaders should expand sponsorship of keting efforts and expertise to raise awareness international scholarly and cultural programs— and access to these offerings.

ACKNOWLEDGEMENTS

A Position Paper on Cultural & Heritage Tourism in the United States is the work of many tal- ented people who were brought together to review the original 1995 white paper, Cultural Tourism in the United States, published by the President’s Committee on the Arts and the Humanities and the American Association of Museums. The resulting document refl ects their experience and success in developing a thriving cultural and heritage tourism industry. A debt of gratitude is also due the National Endowment for the Arts, the National Endow- ment for the Humanities and the Institute of Museum and Library Services, whose vision and leadership in meeting the goals of the original white paper has contributed to this success and affi rmed the public sector’s role in supporting the nation’s cultural life.

Finally, my thanks to the members of Partners in Tourism and the Cultural & Heritage Tour- ism Alliance for their contributions to revising this white paper, to the Shop America Alliance for their support of the 2005 Summit and to Cheryl Hargrove, Helen Marano and Barbara Steinfeld for their help in realizing this document. Thanks as well to the National Assembly of State Arts Agencies for editorial assistance.

Kimber Craine, Editor President’s Committee on the Arts and the Humanities 13 2005 WHITE PAPER WORKING GROUPS

Product Development Patricia Mooradian (Chair), Chief Operating Offi cer, The Henry Ford Cathy Herlihy, Deputy Commissioner, Vermont Tourism David Phillips, Chair, Maryland State Arts Council Abel Lopez, Associate Producing Director, GALA Hispanic Theatre Curt Cottle, President, Curt Cottle Consulting Lorraine Lunow-Luke, Coordinator, Hawa’i Capital Cultural District Karen Scates, Deputy Director, Arizona Offi ce of Tourism Research Adam Sacks (Chair), Managing Director, Travel and Tourism, Global Insight Dawn Drew , Vice President and Publisher, National Geographic Traveler Barbara Richardson , Vice President, Marketing and Sales, Amtrak Suzanne Cook, Senior Vice President, Research, Travel Industry Association of America D. Bambi Kraus , President, National Association of Tribal Historic Preservation Offi cers Bill Nix, Vice President, Marketing and Government Affairs, Palm Beach County Cultural Council Bill Hardman, President and CEO, Southeast Tourism Policy Council Jane Preston, Director of Programs, New England Foundation for the Arts Infrastructure Todd Davidson (Chair), Executive Director, Oregon Tourism Commission Anne Pope, Federal Co-Chair, Appalachian Regional Commission Jo Ann Haden-Miller, Director, Cultural Tourism, Atlanta Convention & Visitors Bureau Carole Summers, Director of Tourism, Handmade in America Reshma “Rae” Sinanan, Director of Promotions and Packaging, CulturalTouirsm DC Annie Harris, Executive Director, Essex National Heritage Area Promotion/Marketing Christine Szalay (Chair), Director of Marketing and Tourism, NorthPark Center Mary Margaret Tate, CEO, ATI/American Tours International Dexter Koehl, Vice President Industry Relations, Travel Industry Association of America Susan Wilcox, Chief Deputy Director, California Tourism Commission Judy Billings, Chair, Kansas Humanities Council Felicia W. Shaw, Program Manager, City of San Diego Commission for Arts and Culture Randy Fluharty, Senior Vice President, Biltmore Estate Karen MacDonald, Director of Communications, Taubman Company 14 Technology Mark Sherouse (Chair), Executive Director, Montana Committee for the Humanities Lalia Rach, Ed.D. , Dean and HVS International Chair, Preston Robert Tisch Center for Hospitality, Tourism & Sports Management, New York University Anne L’Ecuyer, Director of Arts Policy Information, Americans for the Arts Tracey Wickersham, Director of Cultural Tourism, Seattle Convention and Visitors Bureau Liz Bittner, Executive Director, Travel South USA Beverly Barsook, Executive Director, Museum Store Association Sustainability Jon Smith (Chair), Director, Division of Historic Preservation, Indiana Vicki Dixon, Special Assistant, U.S. Department of the Interior Michelle Johnson, Deputy Director, America’s Byways Resource Center Colleen Kalchthaler, Assistant Director, Cultural Heritage Tourism, Greater Pittsburgh Convention & Visitors Bureau Geraldine O’Brien, Arts & Tourism Manager, San Francisco Convention & Visitors Bureau Kerri Post, Vice President of New Product Development, Visit FL USA Martha Ketelle, Assistant Director, Recreation, U.S. Forest Service Debby Silverfi ne, Deputy Director, New York State Council on the Arts Education Amy Jordan Webb (Chair), Director, Heritage Tourism, National Trust for Historic Preservation L. B. Spike Herzig, Commissioner, Erie Canalway National Heritage Corridor Patricia Washington, Vice President, Grants, Greater Philadelphia Tourism Marketing Corporation Bruce Beckham, Executive Director, Tourism Cares For Tomorrow Mark Pachter, Director, National Portrait Gallery, Smithsonian Institute Deborah Doyle Schechtman, Cultural Heritage Tourism Consultant Tom Aageson, Executive Director, Museum of New Mexico Foundation Chris Howell, Member, National Council of the Lewis & Clark Bicentennial-Circle of Tribal Advisors Public Policy & Support Ron Anzalone (Chair), Advisory Committee on Historic Preservation Bonnie Carlson, President & CEO, Bloomington (Minnesota) Convention & Visitors Bureau Kris Tucker, Executive Director, Washington State Arts Commission Chad Prosser, Director, South Carolina Dept. of Parks, Recreation & Tourism Janie Headrick, State Coordinator, Texas Historical Commission Sen. Nick Jordan, Kansas State Senate Rep. Diane Winston, Louisiana House of Representatives

PARTNERS IN TOURISM: CULTURE AND COMMERCE Partners in Tourism is a coalition of national associations and federal agencies building a common agenda for cultural and heritage tourism. www.culturalheritagetourism.org

National Partners Corresponding Federal Partners

Americans for the Arts Advisory Council on Historic Preservation www.artsusa.org www.achp.gov

Alliance of National Heritage Areas National Endowment for the Arts www.nationalheritageareas.com www.nea.gov

Cultural & Heritage Tourism Alliance National Endowment for the Humanities www.chtalliance.com www.neh.gov

Federation of State Humanities Councils Institute of Museum and Library Services www.statehumanities.com www.imls.gov 15

National Assembly of State Arts Agencies President’s Committee on the www.nasaa-arts.org Arts and the Humanities www.pcah.gov National Association of Tribal Historic Preservation Offi cers U.S. Department of Agriculture www.nathpo.org Natural Resources Conservation Service www.nrcs.usda.gov National Conference of State Historic Preservation Offi cers U.S. Forest Service www.ncshpo.org www.fs.fed.us

National Geographic Society U.S. Department of the Interior www.ngs.org National Park Service www.cr.nps.gov/heritageareas National Trust for Historic Preservation www.nthp.org U.S. Department of Transportation Federal Highways Administration-National Scenic Travel Industry Association of America Byways Program www.tia.org www.byways.org This publication funded through a generous contribution from: