Culture and Tourism

CULTURE AND TOURISM According to Eagletoon (2005) Culture is a complex of values, customs, beliefs and practices that constitute a way of life of a particular group, which brings the ideas of 'culture' and 'social' closer together and makes culture 'everything that is not' inherited systematically. genetics. The meaning of culture is increasingly broader, not only about customs but also the word culture is used for words, for example 'cafe culture', the term 'cafe culture' to denominate habits related to a way of life, not the simple act of going to a cafe. In tourism studies eventually the word culture was also used to become the term 'tourism culture' spreading through research in the field, especially after World War II, when a set of more or less recognizable customs and practices of certain social groups emerged as part of the routines of tourists and certain economic sectors, and schools that teach and research various aspects of tourism. Because a lot has been studied about culture, culture has begun to be linked to tourism. Furham draws on Oberg's (1960) U-curve model (Fig. 12), which describes five stages that refer to how visitors feel when they come into contact with a particular culture: euphoria (from a new and different perspective), disappointment (when confronted by familiar elements and frustrating), hostility (an exacerbation of their frustration), adaptation (when adjustment mechanisms are developed and activated) and assimilation (this final stage refers to a foreign subject's complete insertion into that culture). In this sense, there have been attempts to identify and characterize the results of (not always harmonious) encounters between different cultures, as represented by the differences between visitors and hosts. Difficulty in communication (which doesn't always mean it's just a language problem). Three places which have cultural activities and are related to tourism : • Tourist attraction: something built or intended for tourism, where the tourist experience is negotiated. In general, visible signs and signs (such as tourist signs, food services, accommodation; see Figure 13) announce the presence of other tourists, thereby indicating that tourists are welcome. These places include both spaces that were built with a specific tourist purpose in mind (as in the example of the beach resort) and those that have incorporated tourist activities (such as its toric city center). ● Non-tourism places: spaces where residents carry out their daily routines and activities, displaying signs on the landscape (direct or subtle) indicating that tourists are not welcome. While these signs are sometimes subtle (for example, when places treat unsuspecting visitors with impatience or hostility), they can be more explicit, generally due to a history of clashes with groups of visitors who insist on demanding certain areas of the city. even when they are not accepted (see Figures 14 15). ● Shared places: mixed places suitable for tourists and local residents, represented by transport terminals and commercial and service areas, where tourists and residents share space in their activities. From this approach which focuses on context analysis, it can be assumed that all tourist activities are cultural in nature because cross-cultural encounters create opportunities for experiences based on otherness, the complexity of which will depend on the level of tourism relationship with the lives of the people visited. Cultural heritage has value for tourism because a culture definitely has different attractions, activities and experiences that can be used as a tourist attraction. Tourism as a means of preserving and caring for cultural heritage: - Preserving culture by introducing it to incoming tourists - Caring for cultural heritage objects from income from tourism activities - Preserving culture through cultural festivals that will be presented to tourists Culture-based tourism as a means of improving socio-economics: - Increase local community knowledge about new cultures that can be taken from tourists - Improving the economy of local communities UNESCO noted that in 2015 there were 1007 items registered in world heritage, of which the majority of 779 were categorized as cultural. World cultural and natural heritage is defined as the outstanding universal value of particular cultural expressions (monuments, complexes and places of interest) and natural heritage. On the other hand, tourism can encourage the production of prosperous tourism, create jobs and generate foreign exchange, so this can be a function of driving further growth in various countries. Besides the good side, there is also a bad side, namely there is a risk that there will be an increase in visits which will result in the threat of damage and destruction to the environment and cultural integrity due to excessive numbers of tourists. There are 2 functions of the heritage protection and valorization process for tourism designed by the Organization of American States (OAS): 1. The 1967 Quito norm which gives special attention to monuments because monuments are part of tourism. 2. Santo Domingo Resolution 1974 where tourism is considered as a means to protect and preserve America's cultural heritage monuments. The definition of cultural tourism is according to (Stylianou-Lambert, 2011) where individuals or groups visit cultural institutions or places such as museums, archaeological sites and opera , theater and festivals. However, assuming there is no single cultural tourist, researchers have attempted to categorize cultural tourists according to several emphases, considering their motivations, their interests and the depth and quality of their experiences. Stylianou-Lambert emphasizes the fact that, although these typologies describe how cultural tourists behave, they fail because they do not address why these tourists seek certain experiences or want to have certain experiences. Consequently, from a market perspective, there are many opportunities to link cultural aspects with tourism. Examples include, but are not limited to, gastronomy and other issues related to food as a cultural factor, such as the production and consumption of coffee and global wine production chains, visits to museums to view objects of historical value, pilgrimages and other religious expressions where we You can make pilgrimages to the graves of important figures to see and pray for those who fought, as well as festivals and cultural events such as the European Capital of Culture program. In this sense, when it is necessary to understand cultural appropriation for tourism, a paradoxical logic emerges. On the one hand, tourism can appreciate the cultural manifestations of a particular society. In this sense, in the context of tourism, aesthetic quotidian consumption has become central to urban life, defining contemporary tourist behavior and affirming the purpose of tourism as a space of consumption, not production. Thus, cities which are generally spaces for the spread of industry now – when experiencing deindustrialization – act as spaces for consumption. Notable examples are large cities in Europe and North America, where various structures and locations in the city are known for their cultural and entertainment activities. It moves from the logic of cultural tourism, which focuses on the passive consumption of products and learning usually associated with high culture, to the logic of creative tourism, which requires more dynamic activities in the process of co-creation and active development of capabilities, thereby enabling creative consumption and creative production by tourists. Freeman Tilden (1957) proposed a set of principles for interpreting heritage, taking the activity of visiting as one of the great tools for knowledge and valorization. Thus, a total of six 'Tilden principles' were devised experimentally, based on the author's experience at the US National Park Service. Simply put, the principles generally suggest the idea that a process of interpreting heritage that focuses on the visitor's experience should reveal meaning through provocation and significant learning, rather than showing or teaching, as shown below: 1. Any interpretation that does not relate to what is shown or is described with something in the visitor's personality or experience will be sterile. 2. Information, as such, is not interpretation. Interpretation is revelation based on information. But they are completely different things. However, all interpretations include information. 3. Interpretation is an art that combines many arts, both scientific, historical and architectural material presented. Every household can be taught to some degree. 4. The main aim of interpretation is not instruction but provocation. 5. Interpretation should aim to present the whole rather than the part and should address itself to the whole rather than to any phase. 6. Interpretations addressed to children (say, up to 12 years of age) should not be a dilution of presentations to adults but should follow a fundamentally different approach mentally. Interpretation should aim to present the whole rather than the part and should orient itself to the whole rather than any phase. Interpretations addressed to children should not be a dilution of presentations to adults but should follow a fundamentally different approach. It may be a productive strategy to integrate the visiting public with the cultural expressions of a particular community using specialized techniques and professionals trained in their presentation and meaning. , suggests that the visitor experience will be more optimal when there is more effective articulation with the cultural elements that make up the environment visited. This notion clearly includes an adequate interpretation of the destination's cultural meaning, which can be better communicated with appropriate community involvement.