By Howard Hughes

ISBN-10: 0585459770

ISBN-13: 9780585459776

ISBN-10: 0750645334

ISBN-13: 9780750645331

'Arts, leisure and Tourism' is a pioneering textual content that, through concentrating on the shopper, investigates the connection among those three industries and the way this courting will be constructed to its most sensible aggressive advantage.

Issue-led, this article attracts on acceptable disciplines instead of utilizing one unmarried technique, to ascertain matters in arts and leisure in the framework of cultural tourism.

Written to satisfy the desires of scholars learning on administration classes within the arts, tourism and relaxation, 'Arts, leisure and Tourism':

* Describes the final arts and tourism background

* Identifies a framework for research that recognizes differing degrees of curiosity within the arts and entertainment
* Discusses the humanities and leisure that characteristic (past and current) in tourism
* Examines the explanations why the humanities, leisure and tourism be interested in one another and the way they pass approximately constructing the relationship
* Examines the connection: are there travelers in audiences and do the humanities and leisure allure travelers to a destination?
* Evaluates the broader results (good and undesirable) on either the humanities and tourism
* Discusses the course of destiny advancements by way of arts and tourism agencies and for destiny research

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Additional info for Arts, Entertainment and Tourism

Example text

Sponsors are looking for a ‘return’ in the form of a raised corporate profile or the promotion of particular products as well as a favourable public relations image. The organization A&B (ex-ABSA) has operated since 1976 in the UK to encourage partnerships between the arts and the private sector. One of the issues that arts organizations have to face when raising money from governments or sponsors is that not all art forms are equally popular with funders. There is limited sponsorship of novel, adventurous and controversial artistic activity and there can be threats to artistic independence as evidenced for instance by Mayor Giuliani of New York threatening (in 1999) to withdraw financial support from the Brooklyn Museum of Art.

In the UK, government responsibility for tourism was divided amongst a number of departments until the establishment of the Department of National Heritage in 1992, renamed the Department for Culture, Media and Sport (DCMS) in 1997. This body is also responsible for policy on the arts. Given the wide-ranging nature of tourism it is not surprising that different government departments have had an interest in and influence on tourism. Many matters that bear upon tourism, such as care of historic monuments and the maintenance of museums and support for the arts, have been brought together in the DCMS – but only so that some co-ordination might occur, not that tourism interests should dominate.

An international comparison of orchestras showed that in the USA, central and local government provided 6 per cent of total income whereas in England the figure was 30 per cent (Feist, 1998). In the USA there has always been more reliance than in the UK on funding from charitable trusts and foundations and on sponsorship from individuals and corporations than on government. The US situation is a reflection of a philosophy about the role of government that differs from that in most of western Europe.

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Arts, Entertainment and Tourism by Howard Hughes

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