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A new Visitor Economy Strategy adds to the possibilities of creating partnership between the tourism and cultural sectors, writes Mary Clarke.

Arts Professional
4 min read

Aesculus bowls by Gillies Jones and Rainbow by Sabrina Cant at the International Festival of Glass

Definitions, interpretations and academic discourses about the term ‘cultural tourism’ are wide-ranging, and numerous working groups, academic departments and voluntary bodies exist to debate and theorise over cultural tourism as a concept. However, relatively little information exists on how to make partnerships between the cultural and tourism sectors work. I have been working with Audiences Central to identify opportunities for activity to support partnership-working between arts and tourism organisations. We also looked at the experience of other places – nationally and internationally – to identify critical success factors.

Many reports refer to the contrasts between the cultural (particularly arts) and tourism sectors, highlighting different organisational cultures and use of language, the different timescales they work to and the lack of mutual understanding. These factors have been identified in activity of all scales and across all geographical areas, including in the evaluation of the impact of the European Capital of Culture Programme. However, our study found that the gulf between the sectors appears to be closing. The tourism sector is starting to recognise ‘soft targets’ – perceptions and social inclusion measurements – whilst the arts increasingly emphasise customer focus and economic impacts. Even arguments about language problems between the sectors would appear to be blurring.

The points of convergence are becoming more pronounced, partly through an increasing emphasis on the collection and use of data to monitor and evaluate impacts. Furthermore, both sectors are characterised by low paid employment and few opportunities for career progression, with jobs often based around seasonal work and focusing on ‘soft’ skills rather than qualifications. We may actually have more in common than we previously thought, but that doesn’t necessarily mean we need to work together, or to think about adding amorphous ‘visitors’ to our already extensive list of target audiences. What tangible benefits are to be gained through relationships between arts organisations and tourism bodies?

Advantage West Midlands has recently published a new Visitor Economy Strategy, which identifies Festivals & Events and Culture amongst its priority groups. Delivery will be led by sub-regional Destination Management Partnerships (DMPs), which recognise the diversity of the region and enable the distinct identities of each to be represented. This will mean that the industrial heritage of the Black Country can actively distinguish itself from Elgar’s Malvern Hills or Shakespeare Country. Arts and cultural organisations that reflect these identities, such as the International Festival of Glass, the Black Country Living Museum or Three Choirs Festival, can also contribute to preserving and promoting sub-regional identity.

The DMPs are actively looking for images or hooks to represent their areas and distinguish them from others, but some admit that they struggle to engage effectively with the arts sector. Yet they do have considerable influence with the private sector and access to a different set of funding and skills resources. They also have more influence on infrastructure development and regeneration. There are a number of key issues:
• Identifying points of common interest, in order to find ways of working together to address them
• Recognising the importance of individual personalities, particularly in relationships between different types of organisation
• Long-term commitment to develop trusting relationships; and
• Understanding and respecting the skills each brings to the partnership.
Clearly, not every arts organisation can develop a productive relationship with its DMP. However, Audiences Central is promoting greater understanding between the sectors and identifying specific activity to achieve strategic goals. In an age of increased competition – for funding, for audiences, for leisure pursuits, etc. – the opportunities appear to be too good to miss. Perhaps the message should be to forge real partnerships with the local tourism agency: ask not what your tourism agency can do for you, but what you can achieve together.