Cultural Tourism In Zimbabwe Pdf Download [TOP]
This webpage provides UNWTO resources aimed at strengthening the dialogue between tourism and culture and an informed decision-making in the sphere of cultural tourism. It also promotes the exchange of good practices showcasing inclusive management systems and innovative cultural tourism experiences.
Cultural Tourism In Zimbabwe Pdf Download
This empowerment model, based on promoting a responsible tourism development, cultural transmission and fair-trade principles, will represent a novel community approach with a high global replication potential.
In February 2021, UNWTO launched the UNWTO Inclusive Recovery Guide - Sociocultural Impacts of COVID-19, Issue II: Cultural Tourism. UNWTO invited UNESCO to contribute to this second set of guidelines relating to the sociocultural impacts of COVID-19. The publication draws on the insights of the two UN agencies to analyse the impact of the pandemic and suggests solutions for cultural tourism to prosper again, under the principles of shared responsibilities and greater inclusion.
The release of the guidelines comes within the context of the International Year of Creative Economy for Sustainable Development 2021, a UN initiative designed to recognize how culture and creativity, including cultural tourism, can contribute to advancing the SDGs.
Highlighting innovative forms of policy-making, the UNWTO Study on Tourism and Intangible Cultural Heritage recommends specific actions for stakeholders to foster the sustainable and responsible development of tourism by incorporating and safeguarding intangible cultural assets.
In Africa, tourism is largely marketed to Western tourists, with little effort made to attract domestic tourists. Despite the changing policies of countries such as Zimbabwe, the number of tourists from Asia also remains small (Karambakuwa et al., 2011). Except for Egypt promoting the Great Pyramids, most countries attracting international tourism, including South Africa, Kenya, Botswana, and Zimbabwe, emphasize natural landscapes over cultural heritage. South Africa, for example, boasts no fewer than four World Heritage cultural sites. However, the management and policy documents of South African National Parks clearly state their mission is to promote nature-based tourism (SanParks, 2019/2020). As a result of these policies, the number of tourists visiting cultural sites in Africa is small, and the benefits are not necessarily significant for any individual country. This can only change if countries in Sub-Saharan Africa move cultural sites to the center of their tourism policy. Given the current COVID-19 pandemic, there is a need for Africa, and indeed the world, to reevaluate the marketing and promotion of world heritage sites for purposes of tourism.
The island of KK has exceptional tourism potential, but it remains undeveloped in ways that could attract tourists and generate income for the local community. Further developments to support tourism include setting up lodges and guest house accommodations on the island and expanding the current site museum to exhibit unique objects such as the Kilwa coins, various glass and non-glass beads, and ceramics and other cultural objects that are important to the history of KK. Another important move would be to support local artisan groups who could make materials to sell to tourists. These materials would include clothing, beads, pottery, and other souvenirs that are based on the history of KK and maritime cultural heritage of the area. Within the environs of the recently established site museum, there could be a summary of the site history and demonstrations of local crafts, such as boat building. This would contribute to creating a sustainable and healthier local community on Kilwa Island.
Cultural heritage tourism (or just heritage tourism) is a branch of tourism oriented towards the cultural heritage of the location where tourism is occurring.The National Trust for Historic Preservation in the United States defines heritage tourism as "traveling to experience the places, artifacts and activities that authentically represent the stories and people of the past", and "heritage tourism can include cultural, historic and natural resources".
According to the Hollinshead, cultural heritage tourism defines as cultural heritage tourism is the fastest growing segment of the tourism industry because there is a trend toward an increase specialization among tourists. This trend is evident in the rise in the volume of tourists who seek adventure, culture, history, archaeology and interaction with local people.
Cultural heritage tourism is important for various reasons; it has a positive economic and social impact, it establishes and reinforces identity, it helps preserve the cultural heritage, with culture as an instrument it facilitates harmony and understanding among people, it supports culture and helps renew tourism. As Benjamin Porter and Noel B. Salazar have ethnographically documented, however, cultural heritage tourism can also create tensions and even conflict between the different stakeholders involved.
Cultural heritage tourism has a number of objectives that must be met within the context of sustainable development such as; the conservation of cultural resources, accurate interpretation of resources, authentic visitors experience, and the stimulation of the earned revenues of cultural resources. We can see, therefore, that cultural heritage tourism is not only concerned with identification, management and protection of the heritage values but it must also be involved in understanding the impact of tourism on communities and regions, achieving economic and social benefits, providing financial resources for protection, as well as marketing and promotion. (J. M. Fladmark, 1994)
Another possible form involves religious travel or pilgrimages. Many Catholics from around the world come to the Vatican and other sites such as Lourdes or Fátima. Islam commands its followers to take the hajj to Mecca, thus differentiating it somewhat from tourism in the usual sense, though the trip can also be a culturally important event for the pilgrim.
Another problem with heritage tourism is the effect on indigenous peoples whose land and culture is being visited by tourists. If the indigenous people are not a part of the majority, or ruling power in the country, they may not benefit from the tourism as greatly as they should. For example, in Mexico tourism has increased because of the predicted end of the Maya Calendar. However, some activists claim the indigenous Maya are not benefitting from the increased traffic through the ruins and other cultural landmarks.
This volume provides an accessible overview of cultural tourism in southern Africa. It examines the utilisation of culture in southern African tourism and the related impacts, possibilities and challenges from deep and wide-ranging perspectives. The chapters use case studies to showcase some of the cultural tourism which occurs in the region and link to concepts such as authenticity, commodification, the tourist gaze and 'Otherness', heritage, sustainability and sustainable livelihoods. The authors scrutinise both positive and negative impacts of cultural tourism throughout the book and explore issues including the definition of community, ethical considerations, empowerment, gender, participation and inequality. The book will be a useful resource for students and researchers of tourism, geography, anthropology and cultural studies.
This book is a comprehensive, critically informed overview of cultural tourism in Southern Africa. Drawing on a range of examples from Southern Africa, the book critically explores and challenges the growth of cultural tourism in the region. The book provides deep insights into the impacts and management of cultural tourism in Southern Africa, offering lessons for developing regions around the world.
This fascinating book covers a wide range of topical and pertinent issues in cultural tourism studies from a previously under-researched region of the world. The authors provide an intelligent and sensitive analysis of the ways in which cultural and community-based tourism are being developed, managed and promoted with a focus on both ethics and sustainability.
The book is a great reference to open people's eyes on current cultural tourism issues in Southern Africa. The book also discussed on specific cases of how problems were addressed and tried to be solved. Due to that, the book is an extremely important reference for further discussion and development of cultural tourism; especially for the Africans. On top of that, the book can definitely assist in future projects and initiatives, to ensure a higher rate of success, as it emphasizes on the concept of authenticity.
Haretsebe Manwa is Associate Professor at North-West University, South Africa. Her research encompasses tourism and poverty alleviation, wildlife tourism, community-based tourism and cultural tourism.
The first part of the book is looking more into the theoretical understanding of cultural tourism in Southern Africa. Cases from South Africa, Namibia, Zimbabwe and Botswana were discussed; where the authors looked for basic but crucial answers to this issue. Nearly all articles discussed the originality of culture, their products and their presentation to tourists. This can be especially observed with the recurring question that is intensely discussed of which cultural handcraft should be produced and sold to tourists. Is it good to overflow the market with products? Who should be given the entitlement to produce the products? How to assess the quality that the products should have? Who should sell and benefit from the sale of these products? No matter in which country or region, the answers to these questions are always the same. Cultural handcrafts should be produced and managed by each of their respective local cultural community. The government and local authorities should limit their engagement in the production and trade of these handcrafts. Alternatively, they should take up a mentoring position instead. Besides, big private investors should avoid from interfering with the local handcraft businesses. One example that was pointed out, discussed the quality of the handcrafted cultural goods. The suggestion by the community is that local citizens should craft their own cultural goods to control their quality and quantity.