Cultural Placement
The tourism connected to the cultural heritage of a country is the branch of the tourism industry which has the fastest growth.
Standing to the forecasts of the World Tourism Organization this tendency will be constantly growing in the next years.
The growth in demand of cultural tourism is also supported by the evolution of the touristic models, which highlights a clear tendency towards shorter stays and fragmented vacations.
The shortening of holidays increases the short visits, which rotate mostly around urban and cultural tourism.
In fact, cultural tourism attracts a constantly bigger number of tourists. Basing on the study of an European Commission, about 20% of tourists in Europe respond to Cultural Travelling motivations, while the 60% european of tourists seek for a cultural discovery during their holidays.
Other than the constant increase of the world's touristic demand, either international and national, which overtakes each destination, comorehending the cultural sites, there are other factors which explain this tendency, amongst which we can also consider the progressive transformation of the tourist himself, whom is moving towards a more and more sophisticated Pattern, looking for experiences connected to expressions with different origins.
Standing to what many Researchers say (Urry, Richards and Wilson), culture became, in the last decade, an essential element of the touristic system. The growth of cultural Consumption (art, gastronomy, ashion and music) and the industries which relate to it have feeded the so called "symbolic economy" of the cities (Ray, Zukin).
At the same time, the demand of the costumer/consumer/user is moved by the increasing importance of the non-material dimension, which reflects the "soul of the city", but it is at the same time the essential element tu build his own future.
According to Pine and Gilmore and Amin and Thrift, the increasing competition in the market implies that goods and services are no longer enough and that the producers have to start differentiating the products, transforming them in 'experiences' capable of involving the costumer. The same process concerns the cities over the whole world, especially the touristic ones, in competition today to attract residents an visitors. The production of culture in this way becomes a main factor for the strategies of urban development based on tourism.
Globalization, the changes in demography, technological advances and a change in the systems of value of costumers, have Shaped the demand of a new, post-materialist tourist product. The so-called experience-based tourism is the new concept which is gradually emerging to satisfy the aforsaid needs.
This implies the need of going further than the quick experience, enlarging the tourist experience over time through an intellectual and emotional involvement, capable of continuing after experience, capable of stimulating the fixing of memory and memories.
The Cultural Placement represents the main lever over which a wide range of integrated services, focused on the satisfaction of the new emerging needs of leisure and edutainment, which come out in the modern cultural hyper-tourist.
Standing to the forecasts of the World Tourism Organization this tendency will be constantly growing in the next years.
The growth in demand of cultural tourism is also supported by the evolution of the touristic models, which highlights a clear tendency towards shorter stays and fragmented vacations.
The shortening of holidays increases the short visits, which rotate mostly around urban and cultural tourism.
In fact, cultural tourism attracts a constantly bigger number of tourists. Basing on the study of an European Commission, about 20% of tourists in Europe respond to Cultural Travelling motivations, while the 60% european of tourists seek for a cultural discovery during their holidays.
Other than the constant increase of the world's touristic demand, either international and national, which overtakes each destination, comorehending the cultural sites, there are other factors which explain this tendency, amongst which we can also consider the progressive transformation of the tourist himself, whom is moving towards a more and more sophisticated Pattern, looking for experiences connected to expressions with different origins.
Standing to what many Researchers say (Urry, Richards and Wilson), culture became, in the last decade, an essential element of the touristic system. The growth of cultural Consumption (art, gastronomy, ashion and music) and the industries which relate to it have feeded the so called "symbolic economy" of the cities (Ray, Zukin).
At the same time, the demand of the costumer/consumer/user is moved by the increasing importance of the non-material dimension, which reflects the "soul of the city", but it is at the same time the essential element tu build his own future.
According to Pine and Gilmore and Amin and Thrift, the increasing competition in the market implies that goods and services are no longer enough and that the producers have to start differentiating the products, transforming them in 'experiences' capable of involving the costumer. The same process concerns the cities over the whole world, especially the touristic ones, in competition today to attract residents an visitors. The production of culture in this way becomes a main factor for the strategies of urban development based on tourism.
Globalization, the changes in demography, technological advances and a change in the systems of value of costumers, have Shaped the demand of a new, post-materialist tourist product. The so-called experience-based tourism is the new concept which is gradually emerging to satisfy the aforsaid needs.
This implies the need of going further than the quick experience, enlarging the tourist experience over time through an intellectual and emotional involvement, capable of continuing after experience, capable of stimulating the fixing of memory and memories.
The Cultural Placement represents the main lever over which a wide range of integrated services, focused on the satisfaction of the new emerging needs of leisure and edutainment, which come out in the modern cultural hyper-tourist.
Intangible Cultural Heritage | Unesco