Slides: Dr. Breda Mc Carthy


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Tourism Clusters as a means of fostering the cultural tourism product are discussed in this presentation.

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  • Slides: Dr. Breda Mc Carthy

    1. 1. Cultural Tourism Clusters in Ireland: Leveraging a Community’s Capabilities <ul><li>Fáilte Ireland </li></ul><ul><li>Thursday, May 3rd, 2007 </li></ul><ul><li>Dr. Breda McCarthy </li></ul><ul><li>Fáilte Ireland Fellow </li></ul><ul><li>Department of Management & Marketing </li></ul><ul><li>University College Cork </li></ul>University College, Cork Colláiste na h'Ollscoile Corcaigh
    2. 2. Cultural tourism: what is it? why study it? an example of the ‘amorphous economy’? (Krugman, 1991).
    3. 3. Cultural tourism: a public policy perspective <ul><li>New Horizons for Irish Tourism: An Agenda for Action (2003) </li></ul><ul><li>Interdependence of arts and tourism </li></ul><ul><li>Festival Tourism </li></ul><ul><ul><li>estimated to be worth €200m ( Fáilte Ireland: Supporting Festivals and Cultural Events to Enhance the Tourism Product, 2006). </li></ul></ul><ul><ul><li>144 festivals were supported with grant-aid of €3.4m in 2005 ( Fáilte Ireland Annual Report, 2005). </li></ul></ul><ul><ul><li>€ 5.6 million was provided by the Arts Council in 2005 to 56 major festivals </li></ul></ul><ul><li>“ Research indicates that significant additional tourists can be attracted here by the quality of the cultural and heritage product. It is patently clear that the potential of Ireland’s cultural and heritage attractions, including music venues and performing arts facilities, needs to be better developed and marketed.” Tourism Action Plan Implementation Group (2006, p. 20). </li></ul>
    4. 4. <ul><ul><li>Do performing arts clusters exist in regional (non-city) areas? </li></ul></ul><ul><ul><li>Do certain areas have a cultural identity to which artists, tourism and cultural entrepreneurs are attracted? </li></ul></ul><ul><ul><li>Do they a terrain or environment in which new ideas, new products, new opportunities can be explored, discussed, tried and tested? </li></ul></ul><ul><ul><li>Do they provide the flow of people and the markets necessary to sustain viable cultural production ? (Montgomery, 1992) </li></ul></ul><ul><ul><li>What are the implications for policy makers? </li></ul></ul>Key Questions
    5. 5. Regional performance: total tourist revenue.
    6. 6. Challenge: how do we explain regional imbalances?
    7. 7. ‘ Distinctive Capabilities’ for Tourism Production <ul><li>Central theme: successful areas/regions like successful firms, possess resources and develop distinctive capabilities that impart competitive advantage to tourism enterprises </li></ul><ul><li>Capabilities are developed cumulatively and collectively </li></ul>
    8. 8. Iconic Attractions: Top Ten Fee-Paying Visitor Attractions, Ireland
    9. 9. Figure 1. Regional Marketing – an array of experiences Soft-adventure, activity-orientation Cultural Pursuits & Cultural Infrastructure (castles, historic homes, gardens, performing arts, festivals, etc) Scenery/Landscape People Hospitality Food & Beverages Retailing Transportation Golf, angling, sailing, surfing, hill-walking, etc
    10. 10. What are the characteristics of clusters in the context of the performing arts?
    11. 11. Cultural Tourism Cluster evolution: alignment imperative and viewpoints Pool of Related & Supporting Industries New Business Model Performing Arts Focal Actor International Event Largest/Most Visited Event Fast Growing Organizations Recent Entrants Skill Formation Artistic capabilities, craft, creative Event management skills
    12. 12. Cluster & Skills Formation Process Hybrids/Fusion Festival New Arts Infrastructure New cultural organisations Cluster/Skills Formation Process Specialisation Diversity Demand Supply Government: proactive or reactive Related & Supporting Industries: Responsive or non-responsive Co-opetition Diffusion of ideas
    13. 13. Micro-clusters <ul><li>South West Clare: ‘Burren region’ </li></ul><ul><li>Kerry : ‘Dingle Peninsula’, the ‘Beara Peninsula’ </li></ul><ul><ul><li>Product champion </li></ul></ul><ul><ul><li>Translocation of capabilities established by in-migrants </li></ul></ul><ul><ul><li>Cultural heritage: music, language, literary, island heritage, etc </li></ul></ul><ul><ul><li>Funding of arts infrastructure </li></ul></ul><ul><ul><li>County Development Plan </li></ul></ul><ul><ul><li>Impressive landscape, uniquely local attributes </li></ul></ul><ul><ul><li>Co-location of complementary firms </li></ul></ul><ul><ul><li>Accessibility </li></ul></ul><ul><ul><li>New initiatives, festivals – old and new – and work shops </li></ul></ul><ul><ul><li>Community culture, networks, planning </li></ul></ul>
    14. 14. In conclusion <ul><li>Education & training – module development </li></ul>