ArtsHub spoke to the Anangu people, the traditional custodians of Uluṟu, about their hopes and concerns regarding this new venture. The Anangu people have a deep connection to Uluṟu, seeing it as a sacred site. They believe that Uluṟu is a living entity, and they have a responsibility to protect it. This connection is deeply rooted in their cultural heritage and spiritual beliefs.
The big shifts While the origins of cultural tourism could be argued existed as early as the 1950s, as planes trundled alongside the sacred face of Uluṟu up until 1984, and people clambered their way to the top of “the rock” until October 2019, today the “I was here” mantra has been replaced with a new respect-driven desire to connect. For Uluṟu, that shift started with the development of the service town Yulara, which became fully operational in 1984. Today the town has a population of 835 people, most of whom work in some capacity in the tourism sector. Matt Cameron-Smith, CEO of Voyages Indigenous Tourism Australia, explained, ‘Cultural tourism is an interesting space to be in, because it is about how you create a connection – how you bring culture forward.’
It’s not just about taking a picture and posting it on Instagram.’ Wintjiri Wiṟu, a proud Arrernte man from the Northern Territory, is a leading figure in Indigenous storytelling. He is a renowned photographer and filmmaker, and his work is deeply rooted in his cultural heritage. His work explores themes of identity, belonging, and the resilience of Indigenous communities.
Keeping cultural tourism genuine When asked what cultural tourism means on the ground, Cameron-Smith said that tourists today have ‘a pretty good bullshit detector as travellers; you can smell it if it’s not authentic.’ Remember when the self-led travel network Air BnB introduced ‘experiences’? It took the idea of cultural tourism out of the hands of tour operators and connected it genuinely at a groundroots level, busting open the silos of elitism and economics. This has especially been a win for the arts and cultural sector, and has forced a rethinking. It is about that magic exchange between the visitor and the visited, when you go somewhere that has a cultural purpose. Matthew Cameron-Smith
Read: Cultural Tourism that breaks down elitism Another great example of keeping it genuine is Hadley’s Orient Hotel in Hobart. They have employed a full time Director of Art and Cultural Experiences, Amy Jackett, who has created a QR-trail around the hotel sharing stories and histories, as well as a bespoke game cards for guests and a murder mystery game drawing out history in a fun and innovative way. Dean White, General Manager of the Hotel, explained: ‘It’s really interesting to me, to see how the cultural tourism offering has changed, especially in the post-Covid climate. Without the art work and the stories, it’s a bit of an empty shell.’
They are no longer satisfied with just the basics. They want more, they want better, they want to be seen and heard.
This is a growing trend, and it’s becoming increasingly popular. It’s not just about visiting a museum or a gallery, but about experiencing the culture and history of a place in a meaningful way. This is what Aboriginal Cultural Tourism is all about. Aboriginal Cultural Tourism is a form of tourism that focuses on the cultural heritage of Aboriginal peoples.
This is a prime example of how cultural marketing is evolving. It’s moving beyond traditional marketing strategies that focus on product features and price. It’s about creating experiences that resonate with people’s emotions, values, and aspirations.
The impact of political decisions on the world of art and culture is undeniable. This impact is often manifested in the acquisition, preservation, and display of cultural heritage. Political decisions, whether they be national or international, can significantly influence the fate of cultural artifacts, shaping their accessibility, visibility, and ultimately, their value.
This is a positive sign for the future of tourism, as it suggests that people are increasingly valuing cultural experiences over purely materialistic ones. The rise in demand for cultural experiences is driven by several factors. First, the increasing popularity of social media has led to a greater awareness of diverse cultures and traditions.
This is where tourism boards and other organizations are using predictions about the future to promote their destinations. This is a powerful tool for attracting tourists, but it can also be a risky strategy if not executed carefully. Here’s a breakdown of how predictions are playing a role in touting cultural tourism:
The summary provided focuses on the increasing trend of arts organizations and institutions using economic predictions to justify their existence and funding. This trend is driven by a growing awareness of the economic impact of the arts and a desire to demonstrate the value of arts organizations to potential funders. **Key points:**
* Arts organizations are increasingly using economic predictions to justify their existence and funding.
The APT11 artist list, released in 2011, was a significant event in the contemporary art world. It provided a comprehensive overview of the most influential artists working in the United States at the time. The list, compiled by the American Academy of Arts and Letters, was a testament to the vibrant and diverse landscape of American art.
Read: Chihuly to transform Adelaide Botanic Garden with epic glass installation Like a trail of bread crumbs, journalists were also told that Adelaide Botanic Garden sees over 1.3 million visitors per year, with South Australian Minister for Tourism, Zoe Bettison adding, ‘What’s more, its lifespan across spring, summer, and autumn, alongside some of our longest-running tourism drawcards in the Adelaide Fringe and Adelaide Festival, lends itself to multiple visits.’ Much has been said about Cultural Tourism – let’s face it, it’s not a new term, and it’s a ‘whitefella’ one at that. But there is an underlying factor that remains in bed with all offerings – it is a billion-dollar industry – and it is in flux.
The visitor economy is a growing trend, but it can be a double-edged sword. On one hand, it can bring economic benefits and tourism growth. On the’ other hand, it can lead to the commodification of culture and the exploitation of local communities. The visitor economy is often associated with the rise of “experiential tourism,” which focuses on creating unique and memorable experiences for visitors.
Yes, be prepared to adjust to the machinations of the tourism sector and fall into their stride, but like any partnership negotiation at the board table of any arts organisation, remain true and remain genuine to grow in this space. * Voyages Indigenous Tourism Australia is a wholly-owned subsidiary of the Indigenous Land and Sea Corporation (ILSC) and manages tourism and resorts on its behalf.
