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TABLE OF CONTENTS
. . ........ List of Figures ............................... ..,........................o.o..o....s..........ooo..s...o vil ... List of Tables .................................................................................................. VIII
........................................................... Glossary ............................. ix
................................................................................. .......... Acknowledgments .. xi . . ......................................................................... ..................... Abstract .......... XII
1.0 INTRODUCTION
1 . 1 Methodology of this Study ....................................................................... 2
1 . 2 Scope of the Chapters .............................................................................. 2
2.0 CHAPTER
2.1 Defining
W O : Nova Scotia Cultural Tourism: Marketing the "Exotic"
Tourism ..................................................................................... 4
2.2 The
2.3 The
2.4 The
2.5 The
Rise of Cultural Tourism ................................................................... 4
Nova Scotia Experience .................................................................... 7
Tourism Nova Scotia Market Assessment: Structure and Function . . . .8
Results of the Study .......................................................................... 9
2.6 Identifjing the Characteristics of Demand for Nova Scotia
3.0 CHAPTER THFtEE: Planning Tbeory Through a Historical Context and its Relation to Cultural Tourism
3.1 Introduction ........................................................................................... 21
...................... 3.2 Sustainable Development and Cultural Tourism Planning.. 2 1
3.3 Places, Images, and Marketing. .............................................................. 25
.............................................. 3.5 Ethnicity and the Marketability of Culture 28
................................... 3 . 6 Concepts of Authenticity and its Role in Tourism 29
.................................................. 3 . 7 Acculturation and Community Tourisrn 31
3.8 Market-Incentive Planning and Efforts to lntegrate Planning with Business .............................................................................................................. 34
................................. 3 . 9 Planners and the Socio-Cultural Issues of Tounsm 36
4.0 CHAPTER FOUR: A Case Study in Developing a Cultural Tourism Authenticity Guideline: Lancaster County. Pennsylvania
........................................................................................... 4.1 Introduction 41
...................................... 4.2 Background on lancaster County, Pennsylvania 41
................... 4.3 The Lancaster County Heritage Tourism Initiative (LCHTI) 4 2
................................................................... 4.4 The Make-up of the LCHTI 4 3
4.5 The Role of the 'tocal Resident". "Visiter". and "Visitor Domain" within ............................................................................................ the LCHTI 4 5
..................................................... 4.6 The Heritage Authenticity Guidelines 46
................................................................. 4.7 An Assessrnent of the LCHTI 49
5.0 CHAPTER F M : Defining and Assessing Community Heritage in Nova Scotia
........................................................................................... 5.1 Introduction 52
.............................................................. 5.2 The Acadien French Study Site 53
..................... ...................... 5.2.1 The Municipal District of Argyle ... 53
.................................................... 5.2.2 The Municipal District of Clare 53
.................. 5.2.3 A Review of the Clare / Argyle Region Questionnaire 54
...... 5.2.4 Responses to the Questionnaire: Defining Cultural and Heritage ......................... .............................. Features .. 55
5.2.5 Interviews and Questionnaires Comments on Authenticity and ........ .............................. Cultural Tourism in the Clare / Argyle Region 57
........................................................................ 5.3 The Lunenburg Germans 62
....................................................................... 5.3.1 Lunenburg County 62
5.3.2 The Lunenburg County Questionnaire Results ............................ 62
.......................... 5.3.3 A Review of the Responses to the Questionnaire 63
5.3.4 Interview and Questionnaire Comments on Authenticity and Cultural ...................................................... Tourisrn in Lunenburg County 65
5.4 The Black Comunity: North and East Preston . Observations and Interviews .
........................................................ 5.5 Concluding Remarks and Observations 72
6.0 CHAPTER SM: Conclusions and Recommendations Regarding the Planning and Design of a Heritage Authenticity Guideline for Nova Scotia
Introduction ............................................................................................. 74
6.2 Putting the Proposals within Context of the Provincial Tourisrn Strategy ...... 76
6.3 The Provincial Proposds for a Cultural Tourism Authenticity Guideline ....... 79
..................................................................... 6.4 The Municipal Level Proposais 80
.................................................................................... 6.5 Concluding Remarks 81
8.0 APPENDICES 8.1 Appendix One: Census Data on Ethnic Origin .................................. 89
8.2 Appendix Two: Questionnaires and Results ....................................... 94
LIST OF FIGURES
Number Page
3.1 Diagram displaying operation of "place-images" in motivating behavior 27
3.2 Types of "Touristic" Situations 30
4.1 The LCHTI syrnbol used to indicate an authentic tour& site, event, or service 5 1
5.1 "What makes your community unique.. .?" (Clare 1 Argyle) 60
5.2 Rated Response to the level of Quality / Authenticity / and Business Support 61
5.3 "What makes your community unique.. .?" (Lunenburg County) 69
5.4 Rated Response to the level of Quality / Authenticity / and business Support 70
Num ber
LIST OF TABLES
Page
2.1 Origin of Cultural Tourists
2.2 Education of Cultural and Non-Cultural Tourists
2.3 Income of Cultural and Non-Cultural Tourists
2.4 Reason of Travel for Culturd and Non-Cultural Tourists
2.5 Extension of Stay between Cultural and Non-Cultural Tourists
2.6 Reasons for Traveling to Nova Scotia
2.7 Method of Transportation for Cultural and Non-Cultural Tourists
2.8 Spending Cornparisons between Cultural and Non-Cultural Tourists
2.9 Activities of Cultural and Non-Cultural Tourists
2.10 Cornparison of Physical Activity between Cultural and Non-Cultural Tourists
2.1 1 Prior Visits of Cultural and Non-Cultural Tourists
2.12 Likelihood Cultural and Non-Cultural Tourists will Travel Elsewhere in Atlantic Canada
5.1 Frequency of Qudity / Authenticity / 'Business Help' in Tourism Products in the Clare / Argyle Region 56
5.2 Frequency of Quality / Authenticity / 'Business Help' in Tourism Products in
Lunenburg County 65
. S .
Vlll
GLOSSARY
Authenticity : Of undisputed ongin; genuine.
Authentic Resource: A site, service, or event which reflects a community's heritage or
culture, A resource shows evidence of authenticity through the survival of features which
existed dunng its penod of significance, and through its association with historic events,
persons, architectural or engineering design, or technology.
Authentic Interpretation: The conveyance of information about a community's heritage
or culture through an accurate, objective portrayal of people, sites, places, or events.
Acculturation: Adapt to or adopt another culture.
Community: All the people living in a specific locality. A specific locality, including its
inhabitants.
Culture: The customs, civilizat ion, and achievement s of a particular time or people.
Cultural Integrity: The honest interpretation or conveyance of culture to an observer or
visitor.
Cultural Tourism: Visits by persons fiom outside the host community rnotivated wholly
or in part by interest in the historical, artistic, scientific, or lifestyleheritage offerings of a
community, region, group, or institution.
Heritage: A nation's historic buildings, monuments, countryside, etc., especially when
regarded as worthy of preservation.
LCHTI : Lancaster County Heritage Tourism Initiative
Market-Incentive Planning: Planning for site development that utilizes strategic building
projects and marketing to create a "climate of enterprise" that will encourage private
participation and investment .
Place-Images: Term used to define the rigorous selection of specific images from the
many characteristics of a location to help 'commodifL' it as part of a marketing strategy.
Post-Modernism: Denoting a movement reacting against modem tendencies, especially
by drawing attention to former conventions.
Social Carrying-Capacity: The point in the growth of tourism where local residents
perceive on balance an unacceptable level of social detractors from tourism development.
Sustainable Development: Positive socio-economic change that does not undermine the
ecological and social systems upon which communities and society are dependent.
UNESCO: United Nations Educational. Scientific and Cultural Organization.
ACKNO WLEDGMENTS
The author wishes to thank the following people who helped in the fomulation, research,
and s u p e ~ s i o n of this study: Prof Dimitri Procos of DalTech; Mr. Kim McNutt and Ms.
Darlene MacDonald of the Ministry of Economic Development and Tourkm and my wife,
Ms. Tracy Fleming. Their thoughts, editorial cornments and guidance through the duration
of this study are much appreciated.
I would also like to thank Mr. Bill Plaskett and Mr. Peter Haughn for providing invaluable
information over the course of my research on the communities of Lunenburg. I am also
indebted to Mr. Robert French of the Black Cultural Centre; Mr. And Mrs. Matthew and
Carolyn Thomas of Black Heritage Tours of Preston; and Mr. Scott Standish of the
Lancaster County Planning Department for their help in understanding the issues of the
Black community and in Lancaster, Pennsylvania.
Tdy these people deserve a great deal of praise for their time, patience and expertise.
Again, Thank You! !
ABSTRACT
This research involved the collection and evaluation of survey data which was used to
identi9 and consider "authentic" cultural tourism resources in a sample of rural Nova
Scotia comrnunities. As part of the research, a database of "place images" fiom
comrnunities with distinct cultural groups and levels of tourism activity were collected.
This database was used as a tolls to identify local perceptions of cultural authenticity and
potential cornmunity resources not fiilly developed for cultural tourism use. With this
information, a nurnber of actions are proposed for municipal and provincial planners in
order to fûrther preserve community heritage for the benefit of the community and the
tourist .
The database was created using a mail survey of community groups and tourism
businesses; personal interviews with municipal officials and members of the communities
surveyed; and literature searches on local history.
The fhdings of the research conclude that more local community participation is needed in
identifjmg authentic place images of the surveyed communities. A combination of changes
to planning legislation and greater levels of community involvement in the planning
process are suggested as possible actions to enhance future cultural tourism potential.
Xll
1 . O INTRODUCTION
While considered cornmonplace by many, tourism still remains a marvel when considering
the level of interaction it encourages around the globe, Changes in the nature of both
business and persona1 lifestyle have allowed people the fieedorn and opportunity to travel
throughout many parts of the world. And as would be expected, the resulting growth in
travel has also raised the level of economic importance for the tounsm industry in general.
In Nova Scotia's case, this raises the importance of providing services, products, and sites
that offer something authentic and unique to the traveler. Determining what is considered
authentic to the province is sornething that carries both economic and social importance.
As communities throughout the province market themselves to more and more demanding
travelers, it remains important to identifi and incorporate truly local concepts of
authenticity into how cultural t o u k m is developed and marketed. There remains a fine
line between staying cornpetitive and providing services and products that tourists will
travel for while still remembering who you are as a community and maintaining the
authentic characteristics of the cornmunity that make many tourists want to visit.
For the professional planner, helping to foster community input in defining and
inventorying culturally unique aspects of the cornmunity (as part of an effort t o preserve
what is found) can complement and be appealing to the cultural tourism market (GuM,
1993). Throughout these actions, the planner c m accomplish these goals through
cooperative paftnerships with tourism developers that balance cultural authenticity and
integrity with entrepreneurial fieedorn.
But despite these efforts, given a choice, many community governments prefer to glaze
over some aspects of local history and culture if it means a more expedient development of
2
the local tourism industry - which would be expected to bring in much needed new jobs.
This approach can rob a community of a sustainable future, especially given the rising
cornpetition for cultural tourism destinations.
1.1 Methodolo- of this Studv
This thesis will present data from surveys and interviews from Lunenburg County; the
municipal districts of Clare and Argyle; and the Preston communities. The survey was
targeted toward tourism operators, artisans, and cornmunity groups. The communities
were chosen based on their distinct cultural makeup and the concentration of tourism
development occumng in each community. The result of the research was a collection of
"Place-Images" of what is considered to be culturally authentic about each community.
This information was compared and contrasted in order to conclude what authentic
cultural tourism needs to entai1 fi-om a community perspective.
Proposais were also made on how the planning profession can enrich the level of cultural
authenticity through alterations in both planning legislation and practice.
1.2 Scope of the Chapters
In order to build a case for the value of focusing on the cultural tourism sector, the first
chapter will look into its "demand side" by exploring the changing tastes of tourists who
travel abroad, both generally and specifically in Atlantic Canada. This will be done in
order to understand the reasons behind the increasing interest in cultural tourisrn as a niche
market of which the province has an opportunity to take advantage.
The second chapter will explore planning and marketing theory and its relation to cultural
tourism development and present an argument as t o why the tourism industry needs
assistance from professional planners to both market and protect authentic culture and
3
heritage for the sake of sustainable tourism. In addition, a review of the background of
professional planning will help present reasons why planners are able to provide a bridge
between the protect and promote culture and heritage.
The third chapter will review a case study that will demonstrate a planning approach
offering some lessons in public-private partnerships in cultural tourism development. The
approach involves a partnership between planners, tourism operators, and cornmunity
groups who worked to design and adrninister a cultural authenticity guideline. The
guideline was developed to help tounsm in Lancaster County, Pennsylvania establish a
level of aut henticity, qualit y and integrity in local tourkm operations.
The fourth chapter presents the results of the questionnaire used in this thesis to identiQ
local perceptions about what constitutes authentic cornrnunity heritage and culture. The
cornmunities chosen for the (which do not include any group considered within the
dominant "British" dernographic group) were defined using federal census data to
determine the location of the survey sites. The selected cornrnunities with high
concentrations' of a specific cultural group within the study site will be contacted through
local business and comrnunity representatives and were provided with a questionnaire. The
questionnaire wiIl ask for definitions of local cultural features and asked to estimate the
level of support in promoting local cultural and heritage features as tourist attractions.
The final chapter describes the unique local concepts and features that help define
authentic aspects of local culture. The chapter concludes with suggested recomrnendations
for changing planning policy and legislation to better ensure protection of authentic local
culture in the face of growing tourhm in the province of Nova Scotia.
1 DcGncd as bcing nny group ovcr 1û% of the popuhtion identifLing thcmsch.cs as a mcmbcr of n pirticutr cihnir group withia the 1991
Fcdcnl crasus tract of N o v i ScotiP.
2.0 Nova Scotia Cultural Tourism: Marketing the 'Exotic'
2.1 Definina Tourism
Tourism cm be defined as a "temporary movement of people to destinations outside their
normal places of work and residence, the activities undertaken dunng their stay in those
destinations, and the facilities created to cater to their needs" (Mathieson and Wall, 1982).
Within tourism, many types of activities and interests are catered to. These types of
activities and interests range from the 'sea and sand' style, to the visiting of friends 'up the
road'. In al1 its forms, tourism has a quality of self-discovery and a sense of awareness of a
new and uncertain environment - a feeling of 'differentness' (Boniface, 1995). These
qualities help make the traveling experience enjoyable and exhilarating to many.
2.2 The Rise of Cultural Tourism
Part of this feeling of 'differentness' includes the experience of discovering and learning
from other cultures - both at home and abroad. In many parts of North America, a
growing segment of tourists are demonstrating a desire to experience first hand the
heritage and culture of the places to which they travel to. Cultural tourism, in tum, is
becoming a more important segment of the tourism industry. It has been reported that the
reasons behind this trend are a reflection of the changing tastes and desires of the tourist
population. In a major study conducted for Tourism Nova Scotia, higher levels of
education, the growing influence of women in travel decision-making, and the
demographic effects of the baby boomer generation (who desire more cultural travei
choices in their lives) appear to account for changes in taste (LORD Inc., 1993). Such
news appears promising when looking specifically at Canada, which has spent considerable
effort in the past prornoting the country to both its own popula.tion, and the World's, as a
mode1 'rnulti-culfural' society .
5
While there is growing interest in the cultural tourism industry, it remains a field that is
still perceived as new and with a short history. The idea of cultural tourism grew out of
the 1969 ICOMOS (International Council on Monuments and Sites) congress in Oxford,
which declared "cultural tourism, by creating the conditions for a new humanism, must be
one of the fiindamental means, on a universal level, of insuring man's equilibrium and the
e ~ c h m e n t of his personality." (Moulin, 1989). The feeling at the time was that by
encouraging cultural based tourism, more money and support would be generated to help
sustain the health and vitality of the host culture (as interpreted through physical
monuments and historic sites).
By the early 1980s, it was accepted that cultural tourism was distinct fiom other forms of
recreational tourism. Around this time, a desire to broaden the definition provided by
ICOMOS helped spawn Maclntosh's (1980) definition, that saw cultural tourism
"covering ail aspects of travel whereby people learn about each other's ways of life and
thought.. .an important rneans of promoting the development of cultural factors, cultural
attractions, or cultural resources and directed towards conscious contact with cultural
goods." Other researchers, such as John Kelly, added that bbcultural tourism was the
consurnption of cultural experiences (and objects) by individuals who are away fiom their
normal place of habitation". These alterations to the definition saw the marketability of
culture as a great opportunity for both tourism promoters and host communities.
In Canada, a 1993 study on cultural tourism by LORD Cultural Resources mapped out the
parameters of the cultural tourism industry in Ontario. They concluded:
1) Natural Heritage does not fall within the scope of cultural heritage, unless it relates to
human interaction over time.
2) The visitor's desire to take part in a culture experience must be at least partially a
motivation for travel in order w quakfL rs cultual tourism.
6
3) Culture is both "tangible" and "intangible." Exarnples of tangible cultural products
include arts and crafls, gaileries, theaters, and monuments. Exarnples of intangible
cultural products are customs, beliefs, and languages.
4) A cultural tourist may be considered to be anyone Porn mtside the host community
who travels to that cornmunity And who extends histher stay in it for the purpose of
taking part in a cultural activity (ARA / LORD, 1997).
With this information, a market study was perforrned on cultural tourism in Nova Scotia
which defined cultural tourism as "Visits by persorls from orrtszde the host comrnmity
rnotivated wholly ur in part by irlferesf in the historical, artistic, scienti$ic, or
I!festylti heritage qfSerings of a comrntinify, regio~l, grozrp or znstit~~fim. "(ARA / LORD,
1997).
Within the same market study, the Nova Scotia govemrnent elaborated on the elements of
cultural tourism by defining a series of cultural resource components. They included:
The "Anthropologicai" component of cultural tourism - Including characteristics of the
people like customs, 'folkways', dress, language, religion, food, etc.
The "Arts and Culture" component of cultural tourism - Physical expressions, such as
theater, performing arts, visual arts and crafts.
The "Spatial" component of cultural tourism - Urban landscapes, historic places,
coastal and marine areas, rural landscapes, etc.
The 'Wistoric" component of cultural tourism - Sights and activities that focus on a
historic event, its people, and the interaction with the environment (ARA 1 LORD,
1 997)2.
2 Coosidcring thc conternporary nature of this work and ils focus on Novi Scohi, thc definition usrd ip thc ARA / LORD markci study wiU be uscd during thc roursc of this thcsis.
7
When reviewing the literature on the definition of cultural tourism, most authors would
describe cultural tourism as an economic venture where the tourist discovers or learns
some aspect of the host culture by consuming its cultural products. The cultural product,
therefore, is seen as the vehicle by which the tourist judges the quality and persona1
satisfaction of the experience. Given ttiis assumption, it would seem very important to
ensure that the quality and integrity of the product is maintained and that cultural
authenticity is incorporated into how these products are made and designed. Nova Scotia,
like many locations throughout North America, has begun to explore the potential of
tourism to help improve the economic conditions of communities in the province. This
exploration involves understanding the "tastes and desires" of the potential tourist.
To date, the tourism sector in North America has tended to market geographic regions
with diverse tourism interests in mind. This approach rninimizes risk since a variety of
tourism products, including various visitor experiences, c m be developed and used to help
suppon and offset each other. The visitor experiences generally occur at destination sites,
which try to attract a specific tourist market interested in specific features which the
destination site can offer. Tourism products marketed fiom a destination site can be made
up of a locally grown or made item to sel1 or it can be a combination of the physical
makeup of the site and the representative 'atmosphere' that is projected to the tourist. A
destination site's atmosphere can consist of special features such as a geographic location,
setting, development pattern, history, tradition, or Society (GuM, 1 994).
2.3 The Nova Scotia Exverience
Tourism Nova Scotia tends to view the tourism industry as a market-oriented venture.
This is supported by government. Which provides insight through its marketing studies,
which have enabied small business to better understand tourist behavior and anticipate
tourist needs in a more effective way. The marketing process which develops fiom this
insight has been designed to define the most appropriate market 'segments' for the
province to exploit in the cultural tourism industry,
Marketing literature suggests that three basic conditions need to be met in order to define
a market 'segment' on which the province can focus its resources. First, there must be
great enough numbers of interested tounsts in any new segment to warrant special
attention. Second, there must be enough sidarities within any segment in order to define
a theme or linkage. And third, the new segments must be viable (i.e. worthy of attention as
tourism attractions) (Costa and Bamossy, 1995). These conditions indicate that any
segment of the province's culture must possess enough regional continuity to present unity
when marketed; and be feasible fiom an economic standpoint in order to be sustainable for
tourism development. This is the thrust toward which Nova Scotia's cultural tourism
strategy is working.
2.4 The Tourism Nova Scotia Market Assessrnent: Its Structure and Function Recently, a major marketing study was performed for Tourism Nova which assessed the
demand in Canadian, US and international markets for Nova Scotia's cultural tourism
'products' (as they are perceived by tourists to the province). The study also tried to
identify opportunities for developing cultural tourism products in "response to market
demand" other then what was produced at present (ARA / LORD 1997). The work was
conducted by an inter-departmental team that was composed of eight agencies in five
different departments that were involved in some aspect of cultural tourism (ARA /
LORD, 1997). The work focused on:
Economic Development (Tourism, Marketing, Community Econornic Development);
Municipal Affairs (Heritage Preservation);
~Education and Culture (Nova Scotia Museum, Cultural M i r s ) ; and
Abonginal Affairs.
9
The study was limited by some unknown issues that lay beyond its scope: Since cultural
tourism is still an emerging field in the tourism industry, an adequate understanding of the
"characteristics" of the cultural tourism niche still appeared difficult. Additional research
was also felt necessary in identifjing cultural tourism products, packages, and marketing
strategies that would show promise in enhancing Nova Scotia's 'competitive advantage' in
the cultural tourisrn market. It was thought this could be accomplished by first defining the
'characteristics of dernand' of tourists who do travel to Nova Scotia.
While recognizing a need to further research demand characteristics, Tourism Nova Scotia
also decided to develop a strategy for the selection of tounsm businesses to support. It
was recognized that a 'continuum of potential' existed among tourism businesses in the
province. This continuum consisted of businesses that are 'killing " to attract tourists (
but have not made a commitrnent to do so); that are "ready " (and which have made the
financial and human cornmitment to enhance their products appropriately); and finally who
are "ahle " to do so (and who have the product and the marketing to make it happen)
(ARA / LORD, 1997).
2.5 The Results of the Studv
The ARA \ LORD study tried to determine the characteristics of demand of the consumers
of cultural tourism. This was done by taking a sample fi-orn the 1992 Tourisrn Nova Scotia
exit survey and defining two 'sub-sets' from the sample. One sub-set was composed of
tourists who stated they participated in activities that were defined as having both clear
cultural linkages (i.e. Museums and historical sites, performing arts, art galleries) and
strong cultural associations (e.g. festivals) in the activities they took part in while on
vacation . The other sub-set was composed of individu& who did not identie any cultural
activity as part of their vacation. Their answers are reflected in the following tables.
10
Despite some limitations in the survey, the results showed a number of interesting
findings3. To begin with, it was found that up to 65% of al1 tourists to Nova Scotia have at
least a partial interest in cultural activities. Most cultural tourists tend to be fiom non-
Atlantic Canada origins. Up to three times as many cultural tourism visitors carne fiom
other parts of Canada and fiom international origins as non-cultural tourkm visitors. This
would appear to indicate a strong market of potential tourists willing to travel to Nova
Scotia on the strength of its cultural assets.
Table 2.1: Oririn of Cultural Tourists Origin 1 Cultural Sub-Set ( Non-Cultural Sub-Set Atlantic Canada 26% 73% Canada (Other) 47% 8% International 27% 19% Source: ARA \ LORD
Incomplet e Technical College: Complete 3% lncomplete 19% University: 8% Complete 47%
Table 2.2: Education of Cultural and Non-Cultural Tourists
lncomplete Source: ARA / LORD
Education (Main Earner)
The study states that cultural tourists tend to have higher levels of education than non-
cultural tourists. This kind of information would be consistent when considering that the
cultural tounst prefers to l e m about his or her tourist destination and is willing to take
the time to gain that understanding.
High School: 5% 9% Complete 1 8% 23%
Cultural Sub-Set
? Snmplr sizc of survry i s 84,000 oi'in estbatrd 418,?00 tounsts visiting bctwccn mid-Mny to Octobcr. Thrcr o f the s i . catcgones usrd in the s u n y may ooc bc considercd "pure culture", Tourists nre dcGncd as cu lh id tounst only bccausc thcy pahcipnted in six cultural activitics dcfmcd for thir study.
Non-Cultural Sub-Set
The incomes of cultural tourists tend to be higher than the incomes of non-cultural
tourists. This information is consistent with data from other surveys and observations
made by businesses dealing in the cultural tourism industry (ARA / LORD, 1997).
O to $20,000 7% 8% $20,000 to $40,000 22% 25% $40,000 to $60,000 3 IYo 35% $60,000 and above 40% 35% Source: ARA 1 LORD
Table 2.3: Income of Cultural and Non-Cultural Tourists
Cultural tourism visitors are more likely to be on pleasure trips then non-cultural tourism
visitors. This finding indicate that cultural tourists are half as likely to report that business
Non-Culturd Sub-Set Total Household Income
is their main purpose for traveling to the province. A striking difference was evident when
Cultural Sub-Set
comparing international to Canadian cultural tourists. Around 39% of al1 cultural tourists
reported pleasure as their main reason for traveling to the province.
Table 2.4: Reason of Travel for Cultural and Non-Cultural Tourists 1 Cultural Sub-Set 1 Non-Cultural Sub-Set
1 6% 28% 39% 16% 3 8% 37%
7% 19% Source: ARA 1 LORD
One ARALORD survey question asked whether a business trip was extended to include a
cultural tourism component to their travel plans. The results indicated this was so and that
the extended length of stay translated into increased economic benefits for the province.
This is considered by the authors to be a key finding since it demonstrates that there are
direct economic benefits in cultural tourism development and promotion.
Table 2.5: Extension of Stav between Cultural and Non-Cultural Tourists Business Trips 1 Cultural Sub-Set 1 Non-Cultural Sub-Set Extend to include 35% 1 0% pleasure component Length of Extension 2.9 2.2 (days) Brought Farnily / 22% 11% Friends on Trip Source: ARA 1 LORD
When asking what reasons travelers had for coming to Nova Scotia, the most surprising
result was that no group said that they had corne here for the History 1 Culture. This
Table 2.6: Reasons for Travelin~ to Nova Scotia Reasons for Visiting 1 Cultural Sub-Set 1 Non-Cultural Sub-Set Curiosity 26% 23% Ot her 14% 1 9% Specific Area 10% 9% Visiting Maritimes 7% 5% Been here before 6% 5% Recommended 6% 4% Scenery 6% 7% Visit Friends and 5% 8% Relatives See Coastline 4% 6% Festival or Event 4% 6% Former Resident 3% 4% Advertising 2% 0% History 1 Culture 0% 0% Source: ARA / LORD
appears to indicate that travelers were unaware of the culturd heritage but "discovered"
them upon amving to the province. The most cornmonly given reason for traveling to
Nova Scotia was out of curiosity at 26% and 23% respectively for the two sub-sets
(Culturd and Non-Cultural).
The modes of transport used between cultural and non-cultural tourists indicate a
difference. Cultural tourists appear to more ofien use air travel or recreational vehicles
rather then a car. The larger numbers of airplane amivals for cultural tourists may indicate
a tendency to use long-distance, pre-packaged tours when arriving. This fact is confirmed
in a tour operator survey that indicated that 77% of their clientele traveled by air to reach
their destinations (ARA / LORD, 1997).
The average length of stay of the cultural and the non-cultural tourist was found to be
quite different. The cultural tourist stayed around 7 days as opposed to 4 days for the non-
cultural tourist, This data was confirmed in the tour operators survey in which 32% of
respondents said their cultural-oriented clientele preferred to make trips of more than 1 4
days, with 2 1 % prefemng 8- 14 days instead (ARA / LORD, 1 997).
Table 2.7: Method of Trans~ortation for Cultural and Non-Cultural Tourists Mode of Travel 1 Cultural Sub-Set 1 Non-Cultural Sub-Set Automobile 65% 76% Recreational Vehicle 6% 4% Airplane 29% 20% Source: ARA / LORD
Cultural tourists tend to spend more while traveling than non-cultural tourists. This would
appear to be an important factor especially in combination with the longer length of stay
that cultural tourists tend to have while visiting.
Another interesting discovery ofthis survey was that the cultural tourist is more likely to
take part in a variety of general activities than the non-cultural tourist. It is also important
to note that besides shopping, the non-cultural tourist seems to take part in fewer forms of
Table 2.8: Spendin~ Com~arisons between Cultural and Non-Cultural Tc ExpenditurelPart Trip 1 Cultural Sub-Set 1 Non-Cultural Sub-Set Accommodation $202.42 $94.76 Restaurants $192.97 $83.05 Entert ainrnent $ 52.12 $1 1.50 Taxi and Car rentd $46.75 $14.17 Shopping $126.55 $5 1.63 Gas and Auto Repair $ 8 1.95 $42.9 1 Groceries and Liquor $ 53.47 $1 8.40 Ot her $ 8.54 $ 7.39
[ Total $764.77 $323.81 Source: ARA / LORD
urists
Table 2.9: Activities of Cultural and Non-Cultural Tourists
Rcspondcnts under the culturil tourirt cntcgory wcrc tourkts who chosr six rctivities (crift shop, muscurns nnd historic sigbts. oight clubs
and I O U D ~ C S , wcnts a d fcslj\rds, prrfomiing iris and gnllcrits) thnt &cy bid idcntificd as prrticipnting in. Thosc in the non-cultural c i l egos chose nonc of tbrsr activitics.
Non-Cultural Sub-Set Participation in General Activities Shopping 78% 42% Craft Shops 70% 0% Museums and Histonc 58% 0% Sight s National and Provincial 43% 5% Parks Antique Shops 37% 2% Night Clubs, Lounges, 33% 0% Pubs Special Events and 21% 0% Festivals Guided Tours 1 7% 0% Bird Watching 16% 3% Live Performing Arts 15% 0% Art Galleries 14% 0% WhaIe Watching 12% 1% Theme or Amusement 6% 2% Parks
Cultural Sub-Set
Source: ARA / LORD
The percentages listed under the two sub-sets indicate that most cultural tourists tend to
participate in a wide variety of activities while on holiday in comparison to the non-
cultural tourist.
The research indicates that cultural tourists are more likely to participate in physical
activity than non-cultural visitors. This could indicate a strong linkage between nature or
eco-tourism and cultural tourism which could offer possible CO-operative marketing
ventures. The figures d so show that cultural tourists often take part in many more
out door activities in comparison to the non-cultural tourist .
The anaiysis also showed that a significant number of cultural tourists had not visited the
province before when compared to non-cultural tourists. This result could be a reflection
of the non-cultural tourist being here primarily for business. (ARA / LORD, 1997).
While many cultural tourists appear not to have visited Nova Scotia before, they are likely
to travel to more than one of the other Atlantic Canada provinces when they do corne.
This would appear to indicate that Nova Scotia is likely to compete with the other Atlantic
provinces for the cultural tourist which underscores the need to coordinate efforts among
the four provinces.
In summary, the ARA / LORD study found that the profile of the cultural tourist appears
to have a number of traits needed to be considered when determinhg the characteristics of
demand. To begin with, cultural tounsts tend to be well educated and possess a higher
income. They tend to stay twice as long as others and travel in larger groups. They will
16
Table 2.10: Com~arison of Phvsical Activitv between Cultural and Non-Cultural
Walking 74% Wildemess hiking 25% Going to a beach 38% Swimming 20% Boating, Windsurfing 12% Fishing 9% Golfing 8% Bicycling 5% Canoeing 3%
Tou ris t
Tennis 2% 1% Source ARA / LORD
Table 2.11 : Prior Visits of Cultural and Non-Cultural Tourists, r~revious Trips to 1 Cultural Sub-Set 1 Non-Cultural Sub-Set 1
Non-Cultural Sub-Set Participation -
Nova Scotia 1 1 Visited before 70% 88%
Physical Activity Sight-seeing 84% 41%
Culturai Sub-Set
1 Never visited before 30% 12% 1 Source: ARA / LORD
Table 2.12: Likelihood Cultural and Non-Cultural Tourists will Travel Elsewhere in
Provinces I I Visited at least one 53% 39% other Visited New Brunswick 46% Visited Prince Edward 25% Island Visited Newfoundland 7% 7% Source: ARA 1 LORD
spend more than the average visitor and travel for pleasure more so than others. In
addition, cultural tourists appear to have wide tastes and participate in a Ader variety of
events and activities. They tend not to have visited Nova Scotia before, or are less likely
17
to have visited recently, and are more likely to also visit other provinces in the region.
They are also more likely to use a travel guide when planning and deciding to see things in
Nova Scotia (ARA / LORD, 1997). The cultural tourkt appears to be more selective when
traveling, making the provision of accurate and effective information important when
trying to sway their decision-making.
2.6 Identieing the Characteristics of Demand for Nova Scotia
This ARA study attempted to use a strategic focus to understand the needs of the cultural
tourism market and give a sense of what will be needed to attract and service the cultural
tourism segment (ARA 1 LORD, 1997). Gven the traits identified in the survey, a picture
emerged concerning the things tourists were looking for when traveling to Nova Scotia.
The following is a general listing of the characteristics of demand that appear to influence
tourists in the province. The list is derived from previous research and fiom secondary
sources provided by tourism Nova Scotia. It includes the following:
Awareness: There needs to be an awareness of whatever cultural site, event, or product is
being presented by a community to the cultural tourist. This advertisement can come from
recommendations from fiiends, travel associations, or some other group that the cultural
tourist can access about travel within the province.
Quality: Because cultural tourists are seen as generally coming from a higher educational
and income bracket, they will also tend to want something of higher quality and value as
they travel. This could be interpreted to mean that communities wishing to capitalize on
increased cultural tourist traffic need to create a high standard of quality in the heritage
landmarks visited, cultural products produced, and the experiences created during cultural
events. In this regard, quality could be seen as developing culhirally and historically
accurate portrayals of whatever cultural product or event is identified by a community. A
key component in defining the authentic.
Uniqueness: Given the growing level of world competition for tourism, the need for
communities in the province to develop unique aspects of their local cultures is important
18
to ensure the visitor will come, spend money and perhaps visit longer. It is important to be
perceived as unique, but also to have enough 'depth' in that uniqueness to be able to
sustain the interest of the visitor.
Entertainment Value: The perception of a cultural product's 'entertainment value' will
determine if a visitor (who is primarily traveling for pleasure) will want to stop. M a t
entertainment value means specifically to a cultural tourist could be the ability to have
more of a 'hands on' approach to things like local craA making, access to on-going
archeological digs, or the ability to learn and interact with musicians and artists.
Convenience: There has to be recognition of the need to work within time-fiames and
schedules that are convenient for the tourist. This would imply seasonal considerations,
but it also means that events and sites are accessible over longer periods during the day.
This kind of criteria would suggest that more rural communities need to be willing to alter
their normal business operating hours, at Ieast for tourism-related businesses, perhaps
seasonally. This would be in order to solve potential time restrictions in traveling fiom one
community to another so the traveler has time to reach an event to make the trip worth the
effort.
Value for Time: This would relate to the issue of whether a cultural event or site
developed by a community has the capacity to attract tourists and satise the criteria
mentioned above on its own, or in combination with other tourkm assets in the area. This
depends on whether there is enough CO-operation between cornmunities to 'pool' tourist
assets and CO-market them to better ensure tourists become interested and see a particular
cornmunity as a 'link' in a chah of cornrnunities with unique attractions.
Value for Money: Despite the suggestion that the cultural tourist is willing to pay more
whiIe traveling, this still remains dependent on whether the tourist is receiving his or her
'money's worth', This raises issues of what communities should do to ensure that the
relationship between quality and integrity of a cultural product is established and
maintained to ensure a fair price.
Need to Feel Welcome: The final criterion suggested by the ARA study recognizes that
cultural tourists also want to feel they are being treated as a person with respect and not
simply as a source of money. This criterion depends as much on how the cornmunity feels
about itself as it does about the traveler. There needs to be enough space between the
visitor and the community to allow both to enjoy their own lifestyles, without too much
congestion, possibly causing 'fiction' between the two.
In Nova Scotia, a demand for more diverse samplings of culture by the tourist is good
news for those involved in the tourism industry since it can create new opportunities to
strengthen local community econornies. But first the tourism industry in Nova Scotia
needs to integrate a method of incorporating unique cultural assets in both community and
tourism business plans. Cultural assets would not only include the built heritage of the
many ethnic and cultural groups in the province, but also the 'living' cultural heritage
(which could provide the basis for many events) the products, and the seMces that can be
provided for use in tourism. Clearty a method of integration is needed to change the
perceptions and misconceptions that planners and tourism developers may have toward
each other. This is why efforts have been made to emphasize a need to focus on
est ablishing a 'competit ive advantage' approach to tourism planning.
The need to be honest with the cultural tourist in authentically portraying any tourist site,
event, or service cannot be over stated. However it remains very difficult to design and
maintain some level of product compliance without being seen as limiting ''artistic"
creativity or by "adding another layer" of regulation upon an industry that finds the idea of
too much bureaucracy abhorrent. In light of these concerns, the planner needs to rely on
more non-traditional fonns of planning enforcement.
In order to understand what role planners can play in preserving the authenticity of
cultural tourism development it is important to review some of the theory and research
20
done on both the planning profession and on cultural tounsm management. Such a review
can help draw out lessons that can allow readers to understand both the limits of planning
and the opportunities that exist for the profession to provide a method of preservation and
conservation of local culture.
3.0 Planning Theory Through a Historical Context and its Relation to Cultural Tourism
3.1 Introduction
Mile it has been argued that cultural tourism is primarily an economic venture that must
be planned with marketing strategies in mind, professionai planners still need to consider
the impact on the host community and the effect tourism development has on the quality
of life for local people. With this in mjnd, the planners should help create an environment
where both the community and professionals can ofEer their expertise and advice on a
number of technical and social matters. Such interactions cm lead to more sustainable
approaches in tourism planning.
3.2 Sustainable Development and Cultural Tourism Planning
Sustainable tourism is best viewed as an extension of conservation - which can be
described as the wise use of resources (Gunn, 1994). While defined in many ways, Bill
Rees, of the School of Cornrnunity and Regional Planning at the University of British
Columbia, offers the rnost appropriate description of what sustainable developrnent can
mean for tourism planning.
"Sustainable development is positive socioeconomic change that does not undermine the ecological and social systems upon which communities and society are dependent. Its successful implementation requires integrated policy, planning, and social learning processes; its political viability depends on the full support of the people it affects through their governments, their social institutions, and their private activities" (Rees 1989).
22
When exarnining the impact on touisrn of this definition, some key points corne out. To
begin with, the premise of "positive economic growth" implies growth that is tempered
with the need to be seen as enhancing social and economic growth. A change must be
qualified by whether or not it undermines the "ecological and social systems" which are
seen as vital to the stability of a comrnunity and society (Gunn, 1994). The definition also
states that certain actions, such as "integrated policy, planning, and social leaming
processes" are needed to ensure implementation of a sustainable tourism industry.
Gunn states that sustainable tourism can only be achieved through a recognition by
developers and business operators of the importance of maintaining the cultural and
natural resources (Gunn, 1994). Getting developers to recognize this has proven difficult
in the past. One approach that has had success is through alerting tourism developers and
the host communities of the economic value of retaining and preserving cultural heritage.
By arguing the competitive advantage of preserving Nova Scotia's authentic cultural
assets, the tourism industry has a better chance of remaining a sustainable industry into the
future.
Obviously, Competitive advantage is defined as a way to differentiate oneself from
competitors. Porter describes the concept as follows:
Competitive advantage grows out of value a firm is able to create for its buyers that exceeds the firrn's cost of creating it. Value is what buyers are willing to pay, and superior value stems from offering lower prices than competitors for equivalent benefits or providing unique benefits that more than offset a higher price. There are two basic types of competitive advantage: cost leadership and differentiation (Kotler and Turner, 1989).
The concept of competitive advantage has had a 17 year history as an element in tourism
marketing strategy and has been used as a tool for planning the accommodations sector,
23
the resort s development sector, and the transportation sector (Seaton and Bennett, 1 996).
According to Young Nichols and Gilstrap (1996), planning tounsm around a competitive
advantage approach can achieve a number of goals that can sustain tourkm for a region.
The goals include:
Establishing the idea that the destination competes in a distinctive niche.
Helping establish specialized resources (labor, management, capital, suppliers) that
reinforce that niche and which have been trained or attracted to the market.
Creating the conditions for the customers to perceive that the destination is the leader - often the global leader - in its niche.
Encouraging new investment and resources to be attracted to the market, reinforcing
the destination's leadership position.
In the end, the customers' perception, the focused resources and the attraction of the
new investment is felt to make it harder for other destinations to copy the strategy
successfùlly .
Source: Young Nichols Gilstrap, Inc., 1996
Many of these goals can be achieved once a cost advantage or product differentiation is
achieved. The specific methods used by many cornmunities to achieve these goals involve
developing public-private partnerships and appropriate 'market planning7 techniques to
at tract investment and stimulate local entrepreneurial activity .
However, rnany cases exist where destinations use similar marketing tactics (i.e. lower
prices, increased advertising, etc.) and often lose out to other destinations over time
simply because of natural advantages one destination has over another (such as a physical
proximity to large population centres, etc.) This concern is evident in locations where
there are few major attractions in a given area to attract visitors fiom any great distance.
Part of the solution to developing a tourism industry in relatively isolated locations is to
avoid "head-to-head" cornpetition with local communities, and allow planners dong with
members of business and the community to create distinctive niches that can attract
specific types of tourists. This approach of focusing on local "competitive advantages"
means that choices have to be made regarding what kinds of tourkm products are
developed. Some of those choices, in places like Nova Scotia, must include deciding what
product or cultural feature to market and how best to present this to the touring public.
For planners, a major concern must be how best to maintain comrnunity heritage (which
these products would be based upon) to ensure its continued integrity for future travelers?
In order to maintain a competitive advantage in the cultural tourism market, steps need to
be taken to ensure tourism operators are able to create and maintain value in local
products that exceeds the cornpetition elsewhere. This means that planners and tourism
operators have a cornmon stake in protecting unique aspects of a community for the sake
of fiiture tourisrn stability. Such a goal involves meshing the "presentation and
preservation" of a host community's cultural heritage. In order to present cultural
heritage, action must be taken to ensure the survival of the physical and social f oms of
culture. Some comrnunities, such as Lunenburg, have done a great deal in this regard.
However, preserving culture also rnust involve respecting local sensitivity and attitudes
regarding the impact tourists will have on local lifestyles. While the planner has tools to
deal with some aspects of this issue (such as heritage property preservation, zoning, etc.)
there are other aspects that require closer partnerships with the community in order to
succeed. In this regard, lessons can be learned fiom the experiences of other small
communities that are trying t o create a community-driven tourism industry . In Nova
Scotia, planning legislation may be in need of change on order to allow cuItural tourism
operators the opportunities to take advantage of any competitive advantage they envision.
When looking at the role professional planning has played in cultural preservation to date,
it can be said that planners have failed to play a stronger role in ensuring that local
heritage is correctly interpreted within tourism developments. For example, Nova Scotia's,
23
Upper Clement's Park development, has drawn some cnticism in the past over its
inconsistency in portraying the "living" and built heritage of Nova Scotia culture
(Stevenson, 1997). Some critics have pointed specifically to the lack of community input
into its design and purpose (Plaskett, 1997). Some of these gaps in the park's design were
created due to a lack of research and interest in the design (and choice of material) in both
the products and the buildings within the Upper Clement's "Village". Another concern
involves the focus of the development, with the educational and cultural aspects of the
park being cheapened and undermined by the entertainment which includes such things as
carnival rides and miniature golf courses in the shape of Nova Scotia (Mackay, 1994).
3.3 Places. Images. and Marketing
For any cultural tounsm development to be successfûl, it is clear that successful marketing
and promotion is key. Any promotion or marketing strategy wouId need to include a
description of the physical and intrinsic qualities of the cornmunity, region, and/or
province the destination site is in. Because of the number of intrinsic qualities to any
particular place, which are in themselves made up of many features, it is difficult to fiilly
describe for tourists the location without becoming too obscure - which would only tum
off potential visitors. To avoid this, specific images of the location are carefully created.
The choice of image used by a marketing strategist to attract visitors is important since the
image projected helps the tourist determine if and on what ternis, the tounst will travel to
the site. In this sense, "images are more important than tangible resources" (Hunt, 1975).
While their are vast amounts of material available on the psychology of image projection
and reception, it is best to lirnit our inquiry to material that is the rnost relevant to planning
and tourism marketing. Therefore two limitations should be set:
26
1) Our definition of place needs to be narrower than what many psychologists and
behavioral scientists would prefer to have. In this case, Our definition of place will be
limited to a planned or existing development site or host comrnunity.
2) The marketing process is assumed to be concerned with only one sort of behavior, that
of the tourist.
When someone tries to create an image of a place, it is ofien pojected through a set of
cultural codes. These codes can then be trarmitled through a variety of channels that exist
in Society (media, word-of-mouth, etc.), which can be distorted to the point of losing some
of the information originaily received. Any image received after traveling through these
filters is again decoded by the final receiver and used as images to construct a potential
tounst's perception. It is during the coding and decoding of these images that "signifier"
objects or images cm trigger "signifier" feelings or states of mind within the receiver
(Ashwood and Voogd, 1990). These "signifiers" can be specific place-images, icons, or
feelings that the potentiai tourists normally carry's within themselves.
Image promotion, where community marketing is concerned, is rarely the creation of
images in a "perceptual vacuum." It is more likely the accommodation, modification, or
exploitation of exiçting images, derived fiom rnany sources which marketing has little
control over (Ashworth and Voogd, 1990). Within this environment, the receiver is not
passive to any message that cornes by affecting his or her existing images and behavior.
Rather, the union of message and receiver is more likely a result of 'active collusion'
(Uzzell, 1984), which is the result of pre-existing associations and biases. In most cases, the
promotion of a place without such reference to pnor images is Likely to be used only if it is
clear that existing place-images are so negative that they prevent achieving the desired
effect of attracting tourists.
Describing the properties of a promotional image of a place, despite the amounts of
research done, remains a difficult thing to do. However, enough work has been done in
certain fields to provide some insight. From a marketing perspective, research studies
provide interesting insights on measuring the effectiveness of transmitting particular place-
images (Ashwonh and Voogd, 1990). These studies describe, as ülustrated in Figure 3.1,
the central role of image promotion in creating an 'evaluative image'. Evaluative images
corne fiom an advertisement and ''preferential images" fiom the potential consumers
motivation. These are compared by the potential consumer and is the basic method for
selecting new information. In tirne, this method becomes expanded as the consumer gains
the experience of actual consumption. This can then lead to the attainment of levels of
satisfaction or dissatisfaction for the consumer (Ashworth and Voogd, 1990).
NEEDS AND DESIRES
I I + MOT IVATIOKS 4
images PREFERENCES PFRCEPTIONS 4-' opportunities I I
Place Images in the Decision-making Process
(Figure 3.1 - Ashworth and Voogd, 1990)
Obviously, the work of the marketer is to provide carefùlly designed place-images which
help influence a potential tounsts behavior enough to allow him or her to decide to travel
to a specific destination. Yet, despite the effon, targeting specific markets has rarely
achieved precision. Therefore, anyone promoting a place is never certain and ultimately
the decision is leA to the prejudices of the receiver who accepts, rejects, or modifies the
28
message promoted (Neisser, 1976). Studies of the nature of these prejudices has helped
marketers gain a better understanding of the nature of place-images and their relation to
"image components" that carry special significance to individuals. Some image
components also hold some significance for people from V ~ ~ O U S ethnic and cultural
backgrounds (Lynch, 1 960).
3.4 Ethnicity and the Marketability of Culture
Because of a recognition by marketers of the power of family and cultural ties in many of
us, one marketing technique is used to target people with sirnilar cultural ties to a product
or service that could have some special cultural meaning.
In the past, Worlds Fairs and other global events have allowed cities to present their
cuItures in tems of spectacular structures and landscapes that became symbols to promote
their respective cultures (the Eiffel Tower in Paris comes to mind in this case). Many of
these structures are left as symbols of the power and achievement of the societies that
produced them. Over time, many modem cultures have asserted their existence by creating
products that translate its qualities into cultural meanings (Firat, 1995). In a visually
oriented modem world, this can be the best way to exert ones existence. The more that a
culture translates its qualities into marketable experiences, the more they translate an
essence of their cultural experience beyond their onginal borders. Sorne believe this
difision of cultural symbols around the world has the potential of endangering less
dominant cultures (Alavi & Shanin, 1982; Featherstone, 1990; Keane, 1990), but the
potential is also their to raise the interest level of tourists in cultures that may otherwise
have had little chance to raise their profile.
Contrary to a common fear over the "Americariization" of World culture, the current
trend toward World globalization does not seem to be an event in which one culture or
style of life is dominating. Rather, this trend appears to be turning into a diffusion of
29
different forms of existence from around the world. On the contrary, the rising interest in
culture can be partially attributed to a general weakening of uniforrnity and universality in
the approaches to living. In the United States, the idea of the "Melting Pot" has given way
to the acceptance of a "Cultural Mosaic" within that nation. This tendency to respect and
allow different ethnic, religious, social, and ideological cultures to flounsh appears to be
gaining strength in the U. S. (Firat, 1995). These trends in the U. S. (and sirnilar
experiences in Canada with its multicultural policy) are not limited to North Arnerica.
There seems to be a conscious effort by consumers, regardless of their nationaiity, to
experience different styles and cultural artifacts (Firat, 1995).
3.5 Concepts of Authenticitv and its Role in Tourism
While cultural tourism can take many forms5, some critics have commented that the
challenge of exploration and the chance to experience authentic culture has been
undermined by tourism. Researches, such as Boorstien have strongly criticized the tourism
industry by claiming that traveling in search of authentic experiences has been emasculated
by mass tourism (Murphy, 1985). This kind of concern raises the question of what is
meant by authenticity in cultural tourism.
To begin with, the level of cunosity and desire for authentic experience varies with the
traveler. The type of traveler who wants to seek out authentic experiences has the time
and interest to explore how other cultures operate. Yet, even without the time, the
majority of travelers still have some level of interest in authentic experiences (Murphy,
1985). Besides the different levels of interest in authentic experiences by travelers the level
of authenticity within a destination will also Vary according to the local priorities and
capacity of the host community to accept tourists into an authentic experience.
- - - --
"me of the more popular aspects of local culture that toudsts seek out include: Handicrafts; Language; Traditions; Gastronomy; Art Music; History; Work engaged by residents; .4rchitecture; Religion - including its visible manifestations; Educationai systems; Dress; aud Leisure activities (Muiphy, 1985).
30
Cohen offers a view of authenticity that tries to identiQ the his form for both the host
cornmunity and the tourist (See Figure 3.2). Needless to say, the ideal situation occurs
when both the tourist and the host cornrnunity view an event o r attraction a s authentic.
However, Cohen does point out that situations exist where either host o r guest can
perceive an event or attraction as authentic, while the other does not feel it is so. In
situations where the event or attraction is staged, but based on genuine components and
events and put together for the convenience of both tourist and host comrnunity there is
ofien little problern. But problems c m occur when a setting becomes contrived by being
artificial in content andor location, while portraying t o be otherwise.
Real
(4) Scageà authenmty (3) ConEnd (-a t- -1 (oireriiarristspace)
Types of "Touristic" Situations
(Figure 3.2 - Murphy, 1 989)
Within a contrived cultural tourism setting, Boorstein describes four comrnon
characteristics. First, such settings are not spontaneous or natural events. Second, they are
designed to be reproduced so they occur at times convenient to the tourist rather than
what is normal or appropriate to the comrnunity. Third, the relationship of a contrived
event to authentic events or reality is ambiguous. And fourth, the contnved experience
may become seen as the n o m over time as the contrived representation o f authentic
events is allowed to be interpreted as authentic by visitors (Murphy, 1985). Over t h e , the
perpetuation of contnved cultural tourism developments can make the local cultural
tourism industry lose its sense of uniqueness and this can undermine any cornpetitive
advantage fiom cultural tourism.
3 1
3.6 Acculturation and Cornrnunit~ Tounsm
Part of what Hughes has raised is a concern for the long-term effects o f 'acculturation' on
communities that choose to develop a tourism industry. It is true there is some benefit in
making more people aware of isolated cultures through tourism, however, there are also
some risks in "overexposing" a relatively isolated community culture to a mass tourist
population. One fear is that tourism has the potential t o undermine the cultural uniqueness
of the communities that embrace tounsm without fiilly preparing for it. This type of local
cultural erosion is known as 'acculturation'.
Acculturation is defined as a slow loss of unique cultural assets over time by isolated
comrnunities who absorb or borrow facets fiom a more dominant 'urban-industrial'
cuIture (Murphy, 1985). The concern over acculturation is evident in what Papson calls
"Spurious Reality". Papson raises the concem that reality (as presented within a cultural
site) can become spunous because, in many cases, events, attractions and the physical
design can be created or imposed by agents outside everyday community existence. Such
agents could include developers, planners and govemment officials fiom outside the
community whose main concem would be economic development (Papson 1981) rather
than the accurate reflection o f a local culture.
In rnany locations around the globe, tourism has played a role in transforming collective
and individual values through cornmoditisation (Cohen, 1977). Cohen obsewed that
through increased tourism on isolated communities, ceremonies that had represented a
particular 'cultural' display of living traditions or a 'cultural text' of living authenticity
became a 'cultural product' which then has to meet the needs of commercial tourism.
Over time, the value for any s u ~ v i n g practice becarne based on profit, not on the original
cultural value that originally created it. The impact that this has on members of a host
community can be economically beneficial, but socially destructive unless new meanings
are created by the host community.
32
In recent years, Australian aboriginal art has become very popular in the Art world. In
becoming a marketable cornrnodity, Aboriginal art could become rernoved from its
traditional social and cultural environment with time (Wall, 1994). For example, Hall noted
that art foms fiom the Papunya Tula paintings of Central Australia, are now produced in
large quantities to meet tourist demand. The mass production of this cultural artwork has
led to reduced quality of the copies produced and to a potentiai degradation of meaning in
the artwork through the 'ccornmercialization and trivialisation" of such an important event
in Aboriginal culture (Hall, 1994).
In Nova Scotia, the tourism industry has invested a great deal into creating a "folk"
culture for the province which some argue has been exploited "past the point of
credibility" (MacKay 1994). In the past, the creation of the image of the "folk" has helped
encourage tourkm into Nova Scotia. MacKay feels that because of the past success of this
promotion, the province has increasingly promoted itself as a land of Folk festivals and
handicrafts, which ultimately undermines the tme picture of the province. For example, the
Department of Tourism and Culture have rnounted promotions on the theme of the "Year
of the Quilt." in 1989 and the "Year of the Basket." in 1991. During the late 1980s,
Halifax also began to build its tourism promotion around an "International Street
Pedormers Festival" (The Buskers) which became one of the major events of the summer;
helping to draw large numbers of people to visit the province in 1987. In 1988 the Buskers
Festival was promoted by the then minister for the Department of Tourism and Culture as
part of the province's long standing Folk customs:
"Our Province and our people have much in common with the traditions of the Buskers. We share an appreciation for music and singing and dancing for its own sake, and as part of a community experience. The Buskers establish a very personal relationship with their audience - to the point where the audience becomes part of the perfomance. Its
the same spirit you'ii find at a genuine Cape Breton ceilidh"(MacKay, 1994).
The Buskers Festival provides a good example of MacKayYs concern over the "post-
modem adaptation of the idea of Folk." The Buskers has folk-like qualities, but in reality
has nothing to do with traditions distinctive to Nova Scotia. The Buskers are simply a
'spectacle', organized by private business and supported by govenunent (Mackay, 1994).
According to Greenwood, when a cultural activity is made into a public event, like an
asset to be sold and promoted in the tourkt marketplace, the meaning of the ritual can be
directly violated, "definitely destroying its authenticity and its power for the people"
(Greenwood, 1989). Greenwood explored a case involving the Alarde festival of
Fuenterrabia, Spain. He noted that originally the festival was not performed for pay, but as
an affirmation of local belief in their own culture. When the municipal goverment
declared that the AIarde should be marketed as a tourism package for the t o m , the local
people still performed the 'outward foms of the ritual' for money, but could not subscribe
to the meanings it once heId because it was no longer being performed by 'them for
themselves'. In time however, the community were able to attach a new meaning that was
acceptable to them:
"it has now become much more of a political event and is imbued now with contemporary political significance as part of the contest over regional political rights in SpainW(Greenwood, 1989).
These observations would seem to confirm that while tourisrn potentially can weaken local
culture. The host communities still have the power to create new meaning and significance
into cultural events themselves.
34
The experiences reported on in Spain demonstrate that communities are perhaps more
resilient when faced by tourism than are given credit for. More contemporary academics
are acknowledging this in their recommendations in cultural tounsm design. For example,
Boniface stresses that our attitude toward culture must change in order to better serve the
tourist. She argues that the "idea" of culture needs to be made paramount over its form.
(For example, having no qualms over creating duplicate replicas of cultural sites in order
to better allow public access and to spread tourist dollars around a specsed region).
Boniface dso questions whether one has to travel to the exact site where an event took
place in order to gain some form of experience from it. Her alternative is to create replicas
or facsimiles of a cultural sight as either a physical reconstruction or a computer generated
re-creation (Boniface, 1995). By using such facsimiles, Wear and tear could be kept to a
minimum on sensitive sites (as wefl as communities whose infi-astructure would be
overburdened by potentially high numbers of travelers) and the tourism industry could still
have a cultural 'creation' established for the use of tourists.
3.8 Market-Incentive Planning and Efforts to Inteerate Planninn and Business
As mentioned earlier in this chapter, traditional planning has been under assault from
supporters of the "public-private" partnership. And yet, while Beauregard argues that
these types of arrangements are removing planning decision-making from public review.
This does not have to be the case to satisfy tourism business partners. In fact, market-
incentive planning can ofTer some fiesh insight into how plamers view their role in tourism
planning.
While physical planning is primarily "supply-oriented" (attention being given to
investigating the constraints and physical possibilities of the built environment). The
"demand-side" is usually treated in planning practice as something to be dealt with as a
final goal, but not necessarily something that can determine the treatment of the built
environment (Ashworth and Voogd, 1990). The measures of success and standards of
36
4. The regulation of the urban system in the interest of social groups whose market
position is intrinsically weak;
5. The regulation of developrnent towards longer-term goals than are included within
market processes.
(Ashworth and Voogd, 1990)
While al1 of these methods may not be appropriate in the case of Nova Scotia's cultural
tourism development . there still is potential in reworking planning legislation meet them.
3.8 Planners and the Socio-Cultural Issues of Tourism
Given the conclusions of the marketing research presented, it would appear place-image
recognition is an effective fom of tourism promotion in attracting a potential tourist to
travel to a destination site. However, the limitations in how a promotional image creates a
less than accurate perception of a destination needs to be a concern for planners who want
to sustain the unique features of a local community culture for economic or social reasons.
In searching for a response, authors, such as Hughes, have argued that it is important to
question the form and purpose of place-images promoting a destination site.
The opportunity for planners is there to act in a significant fashion. And in so doing, they
have an opportunity to redirect the profession toward a course that can help return it to
more familiar theoretical ground. Beauregard felt that there was too much good in the
Modernkt planning ideology to cast off altogether. Instead he suggested that an effort be
made by the profession to rebuild itself to take into account its strengths - "the focus on
the city or cornmunity, the cornmitment to reform, the meditative role within the state - and help remove its weaknesses +- the outrnoded view of the city, the lack of dernocratic
participation, and insensitivity to the diversity of communities." (Beauregard, 1997).
37
Much of planning research has focused on the socio-cultural costs of unplanned or poorly
planned tourism developments on both local residents (Milman and Pizarn 1988;
Jordanl980; de Kadt 1 W6), and the environment (Ryan 1991, Romeril 1989). And in
conducting such research, planners have provided some usefbl input into the impact that
tourism has had on host communities. As a part of this research, authors such as Murphy
(1985) have argued that two components of cultural tourism development require
planning consideration; they are: "the authenticity of a cultural experience on the part of
the visitor and the long-term cultural viability of a destination area in the face of mass
tourism." Both components are considered key to sustaining a cultural tourkm industry
since both involve the presentation and preservation of a destination's cultural heritage,
with "tourism dependent on a community's sensitivity and attitude regarding the value of
its local culture" (Murphy, 1985).
Murphy (1 985) stressed the importance for planners to balance the needs of both the tounst
and host community. While there has been a tendency to set aside local concerns in favor
of the perceived greater good of commercial tourism development, Murphy (1 985) argues
that a strong voice from the local residents should be included in any tourist plan since the
residents are the ones asked to "put up with tourist traffic, put on the smiles, and live with
the physicai development." In fact, the residents can prove to be a powerful promotional
tool just by having their concerns satisfied. For example, partnering up with heritage and
preservationist groups can be advantageous for both the tourism operator and local people
interested in maintaining the built heritage of a community :
"By focusing on a destination community's heritage and culture in the development of its tourism product, the (tourism) industry will not only present a truer picture of a destination, it will become an ally of many public interest groups. Furthermore, by emphasizing the individual character of a destination, tourism can become a vital force
against the worldwide homogenization of culture."(Murphy, 1985)
The issues covered in this chapter have raised points on the potential benefits of cultural
tourism. They include the potential for enhanced community development, enhanced
business opportunity, and cultural revitalization. This chapter has also raised potential
drawbacks to cultural tourism. These drawbacks include possible cultural degradation
tairough acculturation and loss of community control in how local culture and heritage is
used in the tourism industry. Ultimately tourism remains an econornic venture; so any
accommodation made for heritage preservation must reflect this. For example, Boniface
recognized that with appropriate standards and preparation given to tourists - tourkm
developments constructed especially to serve tourists could still be designed to reflect
local culture and heritage (Boniface, 1995).
Specific actions can also be taken by host communities to ensure that an appropriate level
of authenticity is maintained in any new cultural tourism development. One action
involves developing a strategy based on establishing a social-carrying capacity for each
destination. This approach can be useful in establishing limits to the level of tourism
development that should occur. D'Amore (1 983) defines social-carrying capacity to mean
"the point in the growth of tourism where local residents perceive on balance an
unacceptable level of social disbenefits fiom tourism development." Establishing such a
strategy is usefil because it creates the assurnption from the begiming that cultural
tourism development is lirnited in any community (D'Arnore, 1983). In determining social
carrying-capacity, because of the complexity of conditions that exist in each host
community, it is not possible to work from a standard method. Instead, perception and
attitude surveys need to be used to provide specific data to each host community in order
to assess the social carrying capacity by measuring host community opinion on cultural
tourism development and gauging the tolerance level fiom there.
39
According to D'Amore's (1983) study of srnail B.C. communities, there are specific
actions the planner can take to help determine and limit the negative impacts of tourism
that may affect social carrying-capacity. For example, one action can be in establishing a
dialogue with the host community to make them aware of the economic benefit of
supporting cultural tourism. Planners may also provide some influence by requiring the use
of local materials, skills, and knowledge before approving a cultural tourism design andior
development. M e r the initial development of the site or project, some form of monitoring
mechanism should also be established to test the integrity and quaiity of local cultural sites
with the help of local business and the public. In addition, programs could be developed to
encourage a community outreach with tourists (for example, a community hostel service).
This would help the tourist better appreciate the culture and heritage of the community
and allow members of the comrnunity to learn fiom the tourists in a more friendly, low-
key, manner
There is considerable evidence to show that because of increased communications and the
globalization of travel, a growing threat of acculturation is occumng. The role that
tourism plays towards this threat very much depends on the planning and marketing
strategies pursued by the host community. It has been suggested that self-imposed policing
is a method that can succeed, since their would appear to be no one better to police the
industry then the tourkm operators themselves. This is a reasonable step, however, it may
prove difficult to maintain a standardized approach. It may also be difficult to correct
blatant offender in any significant way other then by suggesting a more authentic product,
material, or presentation. In the end, a gradua1 drifting is IikeIy to occur and what becornes
authentic will simpty be whatever sells.
The next chapter will explore an initiative taken by community groups, local business, and
plamers to incorporate a level of cultural authenticity into local tourkm developments.
This initiative takes place in the county of Lancaster, Pennsylvania, where an effort to
40
create a level of protection from tourist incursions for the local Amish cornmunity has led
to the creation of a cultural quality assurance protocol for tourisrn developments. Within
this protocol, the role of planners in preserving the community's heritage demonstrates
their skills in orchestrating the public involvement process, identifjmg key issues to be
reviewed, visioning, goal and objective development, and utilizing traditional planning
tools (such as zoning) to ensure some level of success.
4.0 A Case Study in Developing a Cultural Tourism Authenticity Guideline: Lancaster County, Pennsylvania
4.1 Introduction
The application of a cultural authenticity guideline is something that offers some level of
credibility t o the host cornmunity and the tourist. By developing such a guideline, travelers
can become aware of what local culture is accessible while being assured of some level of
quality in what is presented. For the community, a guideline can help provide a level of
protection to unique aspects of local culture and allow some access for travelers to view
and consume local products. But what forrn should the specifics of a guideline take? How
could such a system work in Nova Scotia? This chapter will explore these questions
through a review of a heritage tourism protocol created in partnership with the Lancaster
County Planning Commission. This cornmunity has had a long history with cultural
tourism, through the continuing interest in the county's Amish community.
4.2 Background on Lancaster Countv. Pemsvlvania
Lancaster County has primarily an agricultural landscape and is located in southern
Pennsylvania, between the cities of Philadelphia and Pittsburgh. Because of its pleasant
landscape, and close proximity to several major U.S. cities Ma U.S. route 30, it has become
a popular place to visit for city dwellers. Historkally, the county was primarily settled by
German immigrants in the 1700's. Many of their descendants still live in the county in the
Amish communities. Because of the strict adherence to traditional values and methods, the
Amish have become something of a tourist attraction to themselves. As a result, Lancaster
County has become one of the largest tourisrn centres in the U.S., with a peak of over 5
million visitors traveling through the county annually by the late 1970s (Hovinen. 1982).
42
4.3 The Lancaster County Heritage Tourism Initiative (LCHTI)
Lancaster County offers an interesting example of a response to growing concerns over
the quality and accuracy of cultural tourism. Over the last twenty years, the intensity of
tourism development along Route 30 had heightened the level of intrusion by tounsts into
the Amish cornmunity. Examples of Amish theme villages exist in Lancaster County that
incorporate items and activities that have nothing to do with Arnish Iifestyle. This has
raised cornplaints even from the normally stoic Amish (Honvinen, 1982). The lack of local
knowledge incorporated into such venues has caused some incidents to occur between
tourists and Amish - many of who have been challenged over their manners and dress
because they did not fit into the stereotypical view of how the Amish should be (Rutter,
March 1996). The image of country life in Lancaster County has also corne under strain
with the increase in commercial sprawl and congestion along Route 30. Researchers, such
as Hovinen, have remarked that the county is becoming another example of "Anywhere,
USA" with many of the sarne stores and shopping strips appearing here as in other tourist
destinations, such as Williamsburg, Virginia (Rutter, May 1996).
In response to these conflicts and concems, the Lancaster county heritage tourism initiative
was created in June 1994, as part of a three year state-sponsored "Heritage Tourism
Initiative". The program is a co-operative effort between the Lancaster county planning
commission (under the direction of the Chief Long Range Planner, Mr. Scott Standish), the
Pennsylvania Dutch Convention & Visitors Bureau and other state agencies that are trying
to "enhance cornmunity pride while improving economic opportunities and providing
authentic heritage experiences for visitors." (Laricaster New Era, June 26, 1996). These
goals, it was felt, could be accomplished through the encouragement of a stronger co-
operative effort arnong planners, preservationists, business advocates, and other interested
parties.
43
The new associations between business, govement , and interest groups were seen as
necessary because of the reality of downsizing in govemment support for heritage
preservation groups and the need for business to develop new markets for tourist
development in order to ensure future growth (Standish, 1997). Creating new markets and
opportunities in heritage tourism was also felt to be a good approach in helping to relieve
tourist pressure that was focusing on the large Amish community in the county. In this
case, market-incentive planning techniques have created some new options that were not
realized before.
To date, the initiative has its seMces paid for through its three principal partners, the
Lancaster county planning commission, the tourism promotion association, and the
Lancaster County historic preservation society. Future fûnding is being sought in product
development and in creating business / bank CO-sponsorships of events, site preservation,
and other related activities (Standish, 1997).
4.3 The Make-up of LCHTI
The focus of the initiative is on reaching a consensus among local residents, visitors, and
the 'location' on how best to adhere to a standard to develop a forrn of heritage tounsm
that balanced 'preservation and protection with marketing promotion.'"
The county initiative coordinators felt that in order for heritage tourism to be successfùl,
authenticity and quality had to be held in higher regard then what was the case within the
local tourism market. In addition, the preservation and protection of local culturai
resources had to have a high priority arnong al1 community members (business and interest
groups) for the initiative to work. In order to accomplish these goals, a consensus or
"balance of visions" had to be found between the community and tourism industry
interests fiom the cornrnunity (Standish, 1996). The initiative coordinators also recognized
44
that heritage sites had to "come alive" in order to serve the tounst. This involved
providing supporting services to address tourist needs and provide quality products for
their consurnption. Many of these same characteristics of demand were outlined in the
ARAILORD survey in Nova Scotia.
Aside from creating an authenticity guideline, the LCHTl included a planning process that
resulted in: a heritage resource inventory and assessment; three (possibly four) mode1
heritage tours and itineraries; a Heritage Tourism Issues und Opportt~nities report; a set of
"sustainabie tourisrn" principles; and an action plan for the prograrns implementation. In
addition, changes to local zoning was done to help compliment the direction of the
initiative.
In the end, the LCHTI created a set of authenticity standards for cultural events,
attractions, and products in the county. In addition a heritage inventory was produced that
set the basis for the design of four thematic tours that combined both well known and
lesser known aspects of Lancaster County's history. For example, results from a series of
public questionnaires sent out as part of the survey phase of the program confirmed that
farming and farming architecture was vital to sustainhg the "uniqueness" of the region. As
a result the planning commission began purchasing development rights on thousands of
acres of f m l a n d in order to preserve both the agricultural use and the secondary benefits
such land provided tourism (Standish, 1997).
In order to "discourage homogenous cookie-cutter types of tourism," restrictions were
created to limit developrnents that limited view plains on land considered integral to the
county 's heritage. (for example, the creation of landscape buffers around commercial
centres were used to lirnit 'tounsm sprawl' dong the Route 30 comdor) (Rutter, 1996).
Duc to the conccms o f inappropriate tourism dcvclopmcnt d o n g thc mrin intcrstitc tbit foliowed the conicmporq "strip-mdl" motif, thcir v i s i concem thnt the hcrit.gr uid culturc o f the county would bc iltercd to tbc point whcrc i t could not bc able to rrcovcr
4.5 The Role of the 'Zocal Resident". the "Visitor". and the "Visitor Domain" within the LCHTI During the course of the initiative, one goal that was seen as necessary for any kind of
cultural tourism program to succeed, was for local residents to recognize the value and
variety of local historie, cultural, and naturaf resources of the area. There was some
concem that some traditions were being allowed to die out, partly because of a lack of
interest by younger members of the community. By trying to convey a tourism value t o
such traditions, it was thought that a renewed interest and desire to preserve local heritage
buildings, community events, and attractions would occur.
Comrnunity partnerships between community interest groups and tourism developers d s o
developed to help compile a heritage inventory which was used to identify fbture heritage
tourism sites. Developing such partnerships enhanced comrnunity awareness of the role of
tourism and instilled local pnde in the 'rediscovery' of lesser known facets of community
culture that came out over the course of the inventory. An added benefit to such
partnerships was in developing a sense of local ownership and inclusion in the
community 's tourism development .
The organizing comrnittee of the LCHTI saw the visitor to be rnost satisfied when tourkm
"quality was more important than quantity." The LCHTI cornmittee felt the number of
tourists arriving to visit did not need to be high to reflect success. It was accepted that if
fewer tourists visited the cornmunity over a given year and given better service; then their
would be a much higher chance they would become repeat visitors (Standish, 1996). In
addition, by providing high quality service to a specialty tounst market, any repeat visitors
would also more Likely respect the visiting environment since they would become familiar
enough with the people and locai atmosphere over time to develop a personal bond with
the community.
46
The LCHTI comrnittee also recognized the importance of the place (or "Visitor Domain")
for the tourist traveling to the region. Therefore, steps were being taken to avoid
developments that created an "ANYPLACE USA" atmosphere. To accomplish this, the
cornmittee recognized that any community could fa11 into the sarne repetitive development
patterns as other comrnunities without carefùl planning and management to ensure the
preservation and authenticity of local resources (Standish, 1996). The scale of planning
had to also include the management of local events, attractions, and products, in addition
to physical structures and landscape. In addition, any heritage tourkm planning and
management had to recognized that attractions and visitor facilities had to be accessible
and meet the needs of both the visitor and local community (Standish, 1996).
4.6 The Heritage Authenticitv Guidelines
The "authenticity guidelines" were subsequently designed to complement the land use
planning regulations for heritage preservation in the county. The guidelines are voluntary
regulations that local business and tourism operators oblige to adhere to and that
encompass cultural events, attractions, and products available in the county. The
following is the terminology and the guidelines that were created through a multi-
stakeholder process involving business, .preservationist groups, and the county planning
office:
Herita~e: Something passed down from preceding generations
Authenticitv Resource: An Atrthentic Resotrrce is a site, service, or event
which reflects a community's heritage. A resource shows evidence of authenticity
through the suMval of features which exist dunng its period of significance, and
through its association with histone events, persons, architectural or engineering
design, or technology. It is not necessary for a resource to retain al1 of the
features which it had during its period of significance, but it must retain the
47
features which enable it to convey its historic identity or its relationship t o
cultural tradition.'
Authentic Interpretation: conveys information about a comrnunity's heritage
through an accurate, objective portrayal of people, sites, places, or events. This
information must be made available t o visitors through signage, printed materials
or other media, exhibits, or tours.
Herita~e Site: A heritage site is a landscape, street-scape, building, structure,
object, or collection of objects which meets the Authenticity Guidelines
established by the Lancaster County Heritage Tourism Initiative. In order to be
eligible for heritage sile designation, a resource must also be open to the general
public with regular established hours, and must directly interpret some aspect of
Lancaster County 's heritage.
Exceptions to Heritage Site Criteria
A building which does not meet Authenticity Guidelines for an Authentic
~e sou rce may be eligible for Heritage Site designation if it contains an object or
collection of object s, documents, or other materials which meet(s) Authenticit y
Guidelines for an Authentic Resource and for Authentic Interpretation.
A reconstnicted building, structure or object, or a building, structure, or object
which has been moved fiom its original location, may be eligible for Heritage Site
designation if such changes are clearly interpreted, and if the resources meets
Authenticity Interpretation.
7 For a landscape, streetscape, building, structure, or object, evidence of authenticity is streagthened by listing on, or eligibiiity for listing on, the National Register of Historical Places or the Lancaster County Histonc Sites Register. For an object or collection of objects, evidence of authenticity is strengthened by interpretation a-hich meets professional curatorial standards
Heritaee Service: A Heritage Service Site is a lodging, dining, retail, or
interpretative facilityloperation which meets the Authenticity Guidelines
established by the Lancaster County Heritage Tourism Initiative. In order to be
eligible for Heritage Service Site designation, a resource must also be open to the
general public with regular established hours, and must directly interpret some
aspect of Lancaster County 's heritage.
Exceptions to Heritage Criteria
A retail facility in a building which does not meet the Authenticity Guidelines for
an Authentic Resource may be eligible for Heritage Service designation if it
offers for sale primarily local products that have been produced in a mariner
which authentically reflects traditionai materials, design, and craftsmanship..
An interpretative facilityloperation in a building which does not meet the
Authentic Guideiines for Authentic Resource may be eligible for Hentage Service
designation if it contains a display area or exhibit which meets Authenticity
Guidelines for Authentic Interpretation.
Heritaee Event: A Heritage Event is an activity which meets the Authenticity
Guideiines established by the Lancaster County Heritage Tourism Initiative. In
order to be eligible for Heritage Event designation, an activity must also be open
to the general public, must be scheduled on a regular basis at least once annually,
and must directly interpret some aspect of Lancaster County's Heritage.
A Heritage Event cm be classified in one of two ways:
Traditional Heritage Event: A Traditional Heritage Event is a comrnonplace
activity which is rooted in local culture. This activity must demonstrate a clear
relationship to the cultural tradition which is being expressed, and must be
promoted accordingly.
Interpretative Heritage Event: An Interpretative Heritage Event is a staged
activity which reflects cultural tradition and which is designed to be educational.
This activity must clearly indicate the historic time period, season of the year, and
location which are being interpreted, and must be promoted accordingly.
4.7 An Assessrnent of the LCHTI
When reflecting on the benefits of the LCHTI, a nurnber of points can be raised. The
initiative's primary success was in collecting a great deal of information on the county's
heritage for tourism development. Pnor to the initiative, travel promotion centred only on
the Amish cornmunity. But the initiative helped raise local awareness to the variety of
heritage sites that could be utilized by tourism operators. It also helped the members of the
community recognize the importance of local culture - as both a potential tourism
attraction and as a quality that heips al1 communities distinguishes themselves as unique.
There is also a realization that public participation in such initiatives is valuable in getting
public support for community tourism.
Initially, the heritage inventories were to form the basis for a theme tour through the
county. However, this was changed when the comunity inventories came up with a far
wider variety of sites representing different heritage perspectives. So instead, the LCHTI
committee designed more regionally-based tour routes to both offer cultural tourists an
opportunity to learn about these lesser known aspects of the county; and to help disperse
any high concentrations of tourists at the more heavily used Amish heritage sites. The
proposed regional themes included the following: The Northwestern Region - focusing on
the 'river towns' and the Scotch-Irish settlements; The Central Region, focusing on the
Germanic agricultural influences and religious fieedom issues the original settles went
through; and The Eastern Tour Region, which focused was on '%om farm to market"
themes centering on the Lancaster Central Market in downtown Lancaster City.
50
Dunng negotiations for the guidelines, group meetings between planners, tourism
operators, and community interest groups were able to reach a level of consensus on the
wording of the authenticity guidelines. However, extremists both for and against a strict
interpretation of authenticity made the process long and dficult. Dunng the negotiations,
members representing the historical preservationists felt that a strict interpretations had to
be taken on material use, methods of construction, and uses of occupation regarding
tourism use and developrnent. The tourism business representatives took a much looser
interpretation of authenticity and felt many of the suggestions the preservationists were
proposing were far too restrictive, In the end, planners such as Mr. Standish were able to
work with both parties and establish a 'middle of the road' solution by adding that that
events, resources, and buildings could still be given county heritage designation if they
included a component that could be called a bona fide heritage site, service, or event.
Therefore buildings that failed the authenticity test could still obtain status on the grounds
of what it sold, portrayed, or provided the public. The end result was reasonable enough
to allow the process to proceed (Standish, 1997).
Subsequent implementation and cornpliance appears to be inconsistent for the authenticity
guidelines. One possible solution to the problem that has been suggested by the taskforce
members is to incorporate a system of review to ensure a site, service, or event is
consistent with the authenticity guidelines. At present, businesses who are mernbers of the
initiative are asked to voluntarily adhere to the guidelines and are allowed to display a
county heritage syrnbol (See Figure 4.1) which indicates to travelers that the site, event, or
service is authentic and approved by the community. Some have argued that any voiuntary
measures wouId remain inconsistent and only by ensuring fidl compliance would the
prograrn really work. One alternative proposed is ro have each business under the LCHTI
(41 at present) to undergo inspections every two years to be re-accredited. Members of
the task-force would elect or hire an inspector who would be accepted by dl members.
Figure 4.1 : The LCHTI svmbol: Used to indicate an authentic site. event. or service
So while the LCHTI has produced a set of authenticity guidelines and altered the land use
by-laws to better protect the county's heritage, the county still is 'hot quite their yet"
(Standish, 1997). To date, problems in coming up with an effective enforcernent
mechanism other than voluntary adherence is creating some doubt about the future success
of the guidelines to ensure a consistent level of quality and authenticity in local sites, events,
and services, Time is needed to see if voluntary compliance will work. So for the time
being, the cornmittee will view compliance as needing to be "evolutionary rather than
revolutionary" (Standish, 1997).
5.0 Defining and Assessing Cornmunity Culture and Heritage in Nova Scotia
S. 1 Introduction
So far, this study has tried to build a case for a comrnunity-based cultural authenticity
standard for tourism developrnents. The argument has presented that with increased
reliance on tourism by communities throughout North America, the need to distinguish
unique market niches is more important then ever. Because of inconsistencies in heritage
interpretation, a need exists for a forma1 guideline to set as a standard. This chapter
reviews the results of a questionnaire that was mailed out to Lunenburg county and the
Ciare/Argyle region of south-west Nova Scotia fiom April 15 to May 10 1997. The
interviews were conducted with representatives fiom local government, the tourkm
industry, and community cultural groups also between April and May of 1997. The goal
of this data collection was to gain some insight into what were important heritage features
in Nova Scotia. 1 felt this was important in order to determine what measures already
existed to protect these features and to determine if changes or additions to the province's
planning legislation was necessary. ln addition, 1 wanted to identify any overall lessons and
conclusions that can be drawn fi-om information gathered fiom the study-sites to help
determine if developing an authenticity guideline would help or hinder tourism in Nova
Scotia.
The study-sites chosen represent culturally unique communities in Nova Scotia. These
sites help represent the unique cultural make-up of the province. The sites were chosen
using the results fiom the 1992 Canadian Census (see appendix 1 for a table of these
figures). The census districts with the highest concentrations of non-anglo and non-native
rninority groups were used in the study. This was done in order to gain a better sense of
the unique qualities of sample communities within the province that could benefit from
some form of cultural authenticit y protection. Three study sites were ultimat ely selected . They included: Lunenburg county and the Clare / Argyle region. because of some
logistical problems in identifj4ng and contacting significant numbers of cornrnunity groups
53
and tourism operators in the Preston area. a survey was found not to be practical at the
time. Instead, the information that was collected was obtained through i n t e ~ e w s with
members of the Black Cultural Centre and with one tourism operator working out of the
Preston area (see Appendix 3 - Map #l for study site locations).
5.2 The Acadien French S t u d ~ Site 5.2.1 The Municipal District of Aravle Argyle is the name of a municipality in Yarmouth county and is generally used to refer to
al1 Acadien communities in the southwestern tip of Nova Scotia. Most Acadiens who live
here still speak French. The principle communities in Argyle include: West Pubnico,
Surette's Island, Sluice Point, Amirault Hill, Sainte-Anne-du-Ruisseau, Belleville, Quinan,
Wedgeport, and Pinkney Point. These cornmunities are nestled dong a jagged coastline
where the sea was the primary mode of travel between communities (Ross and Deveau,
1992). The first permanent settlement in this region was Pubnico in 1653. Most residents
in Pubnico today are descendants of nine families who settled in the area after returning
fiom exile in 1755. By 1800, 400 Acadiens had returned to this region and had established
a number of other communities in the area (Ross and Deveau, 1992). Family connections
appear to be strong among the Acadiens who eventually settled in this region. Many of
these people provided for most of their needs fiom either the sea or , to a lesser extent,
fiom the small f m s they tended. The Municipal District has a Planning Strategy.
5.2.2 The Munici~d District of Clare
Clare is a municipality in Digby County and is the largest Acadien region in Nova Scotia in
both geographical size and population (Ross and Deveau, 1992). Unlike Argyle, Clare was
not settled by Acadiens before the deportation. According to genealogical records, most
Acadiens who were granted land in Clare had lived in Annapolis Royal before the 1755
deportation (Ross and Deveau, 1992). With the eventual return of the Acadiens,
principally fi-om places like Massachusetts, Clare began to grow and prosper. Over time,
close connections began to form between the founding farnilies which helped form the
54
tight community of today. With the then Colonial government allowing more land to be
settled by Acadiens in Clare, more families were able to establish themselves there than in
Argyle. Due to the better soi1 and access to local resources, Clare also developed a more
diverse economy then Argyle. Presently, the Municipal District has no Municipal Planning
Strategy or Land-Use By-laws.
5.2.3 A Review of the Clare / Arwle Region Ouestionnaire
The questionnaire was designed to identify the place-images and products that cornrnunity
members in Clare and Argyle felt best defined their cornrnunities. A number scale was used
to allow respondents to rate the level of conviction they had for their responses (See
Appendix 2 to review a copy of the questionnaires and corresponding results).
The questionnaire began by asking respondents to list places and products they felt best
represented the local culture of there comrnunities. In order to determine if their were
places that the cornmunity wanted set aside fiom tourist development; question two asked
if any locations in the comrnunity were inappropriate places to market as tourism sights.
The third question asked respondents to rate the unique features of their communities in
relation to other communities, both locally and provinciaiiy. The intention of this question
was to see if there was a discemible difference in how the community defined itself among
ethnically and culturally similar communities (as opposed to comrnunities throughout the
province). The founh question asked respondents to list products and "place-images', that
they felt best represented the culture and heritage of the comrnunity they resided (See
Appendix 3-Map #3 for their locations in the Clare-Argyle Municipal Districts). This
question was meant to try and identie specific materials, images and symbols of the local
cornmunity and culture that best represented the host community. The fifth question tried
to identifi any sight or special places that were best left for the local population to enjoy.
The question provides an indication of the limits that a local population may have for
tourisni by demonstrating a need for places that allow locals to escape the tourists. The
5 -5
sixth question asks respondents to list what makes their community different fiom others
in the province. The seventh question asks what makes their community different locally,
when comparing comrnunities with similar ethnic and historical ties. These questions are
asked to help identiQ what local see as the elements of a community that project the
unique culture and character to others.
The eighth, Nnth and tenth questions asked the respondent to rate the level of
'authenticity', 'quality', and local business support separately for the tourism products and
services in the community.
5.2.4 Responses to the Questionnaire: Defining Communitv Cultural Features
Out of a total of 39 community groups and business that were sent questionnaires 19
responded for a 49% response rate. The majority of responses to question one and two
(for both Clare / Argyle and Lunenburg county) indicated support for the importance of
heritage and culture to the tourism industry. Question three indicated that most
respondents felt the local churches and historical sites best represented the local culture
for tourists. The Spatial features of the region tended to be more cornmonly suggested as
a second choice.
The founh question confirmed a high level of identification with local art and culture
products. Anthropological features (clothing, dress, language) were suggested as a close
second choice. When asked the fifth question, al1 the respondents failed to list any special
sights or places that should not be given access to tounsts.
The response to question six showed that the vast majority (37%) respondents saw their
Acadien heritage as being the primary source of distinctiveness fiom the rest of the
province. The friendly nature of the locals and the unique language dialects were also
identified as unique to these communities (See Figure 5.1). Question seven asked what
50
was unique about Clare and Argyle in relation to each other, the respondents felt Argyle
benefited most fiom its unique mix of English and French communities, its coastal
features, and its longer established history as an Acadien community. For Clare, the
location of the Universite Sainte Anne, the geographical size of the Acadien community
and the unique Acadien dialect found there were identified as evidence of unique
attribut es.
In question eight, nine and ten of the survey, the respondents rated the level of quality,
authenticity, and local business support respectively for cultural tourisrn products sold
locally. The answers were set on a numbered scale fiorn 1 to 7 - with 1 representing 'very
poor' to 7 representing 'excellent' (See Table 5.1 and Figure 5.2). For question eight, the
response appeared to show sorne level of disagreement among respondents with the
appearance of some "spiking" on the fiequency curve represented on the graph (See
Figure 5.2 ). The highest ratings appeared at '4' and '6' with 29% of respondents choosing
one or the other rating. The rating for Authenticity was pegged at a moderately positive
level of '5' with 35% of respondents selecting this rating. The assessrnent of business
support seemed to show a slightly lower rating with 29% of respondents choosing the
neutral rating of '3' (See Table 5.1 and Figure 5.2).
TABLE 5.1 : Freauencv for Oualitv / Authenticitv / 'Business h e i ~ ' in Tourism Products in the Clare / A m l e Reeion Raîing Scafe Quality Authenticity Business Help
7 5% 0% 0% 6 32% 26% 5% 5 16% 26% 21 % 4 32% 26% 26% 3 5% 16% 16% 2 11% 0% 21 % 1 0% 0% 5%
5.2.5 Interviews and Ouestionnaire Comments on Authenticitv and Cultural Tourism in the Ctare / Atmle Reaion A number of cornments were made during the survey by the respondents. Their comments
covered a number of topics relating to the differences between Clare and Argyle municipal
districts and the positive and negative effects of tourkm promotion in the area.
To begin with, 1 was reminded that my questionnaire labeling of "Clare / Argyle" gave the
impression that 1 was referring to one cornmunity, when in fact, 1 was surveying a number
of distinct communities in the region. One respondent commented that this reflected a
c o m o n niisconception by people fiom outside the Acadien comrnunity. Ln fact, due to
both history, geography and English settlement patterns, both Clai-e and Argyle were quite
distinct communities something that has allowed each community to develop its own
unique linguistic and cultural traits.
There seems to be a concern of a "loss of control" over the comrnunity if tourism grows in
the region. For example, one concern centred on whether local identity and culture could
sustain itself into the future as the tourkm industry gains a greater say in cultural
development. Another respondent expressed concern over the impact that people fiom
other French-speaking communities, such as Quebec, would have on the unique local
dialects over tirne. Many of the respondents expressed some pride in being different fiom
the Quebec French and wanted to maintain that uniqueness as long as possible.
There was also a concem by respondents that any plan to develop local tourism should
worry less about "restncting tourist access to certain places in the region and more about
tourist industry growth that tries to influence the way the cornrnunity conducts its business
or events" (Surette, 1997). The implication is that more of a local say is needed in how
local culture is used and marketed in the cultural tourism industry.
58
To elaborate on this point, a respondent told me that a number of people in both Argyle
and Clare are accomplished craftspeople. However, many do not have formal shops or
workspaces and prefer to produce relatively small numbers of products while working out
of their home. Any selling that is done is usually done fiom the home or during crafl sales
that the communities organize arnong themselves. As a result, few products are seen in
local shops or stores. Members of the Acadien Federation of Nova Scotia observed that
cultural divisions between Acadien craftspeople in Clare and Argyle and English store
owners in Yarmouth have made efforts to CO-ordinate tourism promotion difficult and
frustrating. This is not to Say efforts have not been made. For example, the chamber of
commerce and the provincial government have both tried to organize marketing
information sessions in the past (the last being in the spring of 1997) to offer advice to
local craft producers on increasing their production and quota levels. In the end, these
ideas have not been as successfitl as hoped.
Another example of this concern for control over local cultural presentation is found in the
choice of language for local signage. One respondent cornrnented on the discrepancy
between what locals have called local roads and what the Department of Highways has
officially named them. In many cases, the local French names have been Anglicized much
to the dislike of local people (Le. "Le Chemin a Bornant" versus "Bonnie Road"). These
experiences have helped reinforce a distrust of government and raised suspicion in the
local community. These suspicions have historical reasons and are tied to local concerns
over who defines the community's culture and how it should be promoted. Other
respondents concurred with this issue by arguing that the Acadien cornmunities have been
used "as a tool to attract tourists into the province, without reaping any of the benefits"
fiom community reinvestment (d'Entremont-Mooney, 1 997). This concem over cultural
control has split the respondents over how to deal with the problem. Some argue that
tourism will detract from what makes the community unique, while others argue that it
could heip the community, if only more of a direct benefit could be felt.
59
While few specific solutions were offered by respondents to the questionnaire, one
respondent did suggest that the possibility of local people supporting a community tourist-
billet program could have some support. Such a program would offer the visitor the
opportunity to spend time with community members and gain a more personal perspective
of contemporary Acadien culture and life. Whiie the idea may not please al1 tourists, the
idea has merit and dernonstrates a potential interest in the community to find a solution
more to its liking over how tourism develops in the community.
Figure 5.1 - Response to "What Makes Your Comrnunity Unique Frome ûthws in the
First Response Second Response Thlrd flesponse
Figure 5.2 - Rated Responses to the Level of Quality / Authenticity 1 and Business Support for Cultural Pioducts in Clare 1 Argyk
V
Questionnaire Response RaHng 7 T
5 3 The Lunenburg Germans 5.3.1 Lunenburg Countv The Gerrnan cornmwnity of Lunenburg county has played a strong role in the development
of Nova Scotia. Many of the original settlers to the county came in 1753. The town was
initidy settled by "Foreign Protestants" fiom various parts of Germany, Switzerland, and
the Montbeliard region of France. These people were brought to this region to act as a
counter-balance to Catholic French influence in other parts of Nova Scotia. The settlers
proved to be a great benefit to the colony and became known as a hard working people.
As a result, a vibrant and stable economy developed around farming, fishing, ship building,
and sea-based commerce.
5.3 .2 The Lunenbura Countv Ouestionnaire Results
As mentioned previously, the questionnaire was designed as a way of identiQing key
features, or "Place-images" that best defined the local culture and heritage of the county
(See Appendix 2 for a copy of the questionnaire). Out of a total of 50 questionnaires sent
to the county, 28 were returned for a response rate of 56Y0.
The questionnaire began by asking respondents to list places and products they felt best
represented the local culture of there communities. In order to determine if their were
places that the community wanted set aside fiom tourist development; question two asked
if any locations in the community were inappropriate places to market as tounsm sights.
The third question asked respondents to rate the unique features of their communities in
relation to other comrnunities, both locally and provincially. The intention of this question
was to see if t here was a discernible direrence in how the community defined itself arnong
ethnically and culturally similar cornmunities (as opposed to comrnunities throughout the
province). The fourth question asked respondents to list products that they felt best
represented the culture and heritage of the community they resided. This question was
meant to try and identify specific materials, images and syrnbols of the local community
and culture that best represented the host community. The fiAh question tried to identify
63
any sight or special places that were best lefi for the local population to enjoy. The
question provides an indication of the limits that a local population may have for tourism
by demonstrating a need for places that allow locals to escape the tourists. The sixth
question asks respondents to list what makes their community different fiom others in the
province. The seventh question asks what makes their community different locally, when
comparing cornrnunities Mth sirnilar ethnic and historical ties. These questions are asked
to help identify what local see as the elements or "place-images" of a community that
project the unique culture and character to others (See Appendix 3-Map #2 for locations
of t hese "place-images" wit hin the Municipal District of Lunenburg).
The eighth, ninth and tenth questions asked the respondent to rate the level of
'authenticity', 'quality', and local business support separately for the tourkm products and
services in the community.
5.3.3A Review of the Res~onses to the Ouestionnaire
The response to question three ("five places you would recommend to a visitor fiom away
to truly appreciate the culture and heritage of Lunenburg county") was to see the built
environment of Lunenburg and Mahone Bay and the coastal landscape of the county.
Various historic references were provided by the respondents as a third choice.
When responding to question four ("what five products or events would you recomrnend
to a visitor fiom away to tmly appreciate the culture and hentage of Lunenburg county?")
the most common example given was attending the local music and craft festivals held
over the sumrner. Specific items were listed next (such things as Quilts, Mats, etc.). The
most common second choice was attending the county exhibitions and enjoying local food
items such as sauerkraut and lobsters.
64
For question five, when asked if there were any places or areas that should not be
marketed to tourists, 71% of respondents said there were no such places. The remaining
29% listed Oak Island, Hirtles Beach, LaHave River salmon fishing, and "our heritage" as
not appropriate to be marketed to outside visitors.
Question six and seven tned to identifL features that distinguished Lunenburg and Mahone
Bay from other cornmunities in the province. In question six, when asked "What do you
think makes Lunenburg different from other areas in the province?", the most common
first responses was "the culture", the UNESCO World Heritage Designation, and the
Architecture in Lunenburg. Considering that the UNESCO designation was based on the
community's preservation of the colonial town plan layout it seems that a great deal of
pride is placed on the physical layout and architectural style of Lunenburg. For question
seven (which asked "What do you think rnakes Mahone Bay different from other
cornrnunities in the province?") the responses included: the German heritage, the physical
beauty of the location; the image of the '3 Churches' dong the waterfront in Mahone Bay;
and the variety of artisans found in that t o m (See Figure 5.3).
Questions eight, nine and ten asked the respondents to rate the level of quality,
authenticity, and business community support of cultural products in the community. A
one to seven scale was provided, one being 'Very Poor' and seven being 'Excellent'.
Table 5.2 gives a breakdown of the responses (See Figure 5.4). The results indicate a
fairly strong rating for local quality. The authentic rating seerns to indicate a level of
uncertainty given the ratings spread expressed. The assessrnent of comrnunity business
support of local culture was rated higher than in the Argyle / Clare region.
TABLE 5.2 : Freauencv for Oualitv / Authenticitv / 'Business h e i ~ ' in Tounsm Products in Lunenbur~ Countv Rating Scale QUALITY AUTHENTICITY BUSINESS HELP
7 7% 7% 25% 6 39% 32% 18% 5 18% 21 % 29% 4 1 4% 21 % 21% 3 14% 11% 11% 2 4% 4% 4% 1 0% 0% 4%
5.3.4 Interview and Questionnaire Cornments on Authenticity and Cultural T O U ~ S ~ in Lunenburg Countv As with the results for Clare and Argyle, a number of comments were included with the
questionnaire responses. The majority of the respondents wanted t o elaborate on the
question of authenticity and cultural tourism within the comrnunity.
Some respondents commented on the expense of some higher quality products which were
imported. Often they were too expensive to seH t o the average consumer and this caused
problems for the business selling them. A respondent comrnented on the lack of
comprehensive development in the community, tourism being the "One basket holding al1
the eggs". The respondent added that many local people were going into similar businesses
and competing heavily against each other for a tourist market that didn't seem very big to
begin with. This was felt to take away fiom promoting activities in the community that
helped keep people active in things that made the town different (such as marine-related
industries).
There was a sense in some responses that the idea of cultural tourism needed to be
explained more effectively to the local public in order for the comrnunity t o better
appreciate their culture and uniqueness. Some respondents felt there really was nothing
special about the community; in fact, the local culture was holding back the community
fiom developing tùrther. Such c o m e n t s gave the impression that some people in
Lunenburg don't necessarily view the comrnunity's heritage as an asset.
The efforts to establish the UNESCO designation and associate the t o m with the
"Bluenose" done by the local town council in order to bring about a greater realization of
the value of locd culture to the community itself. So being recognized by outsiders as
special, made it easier to convince the coinmunity that it was true.
During an interview with Mr. Peter Haughn, the deputy Town ManagerKlerk for the
town of Lunenburg, a number of topics were touched on regarding tourism in Lunenburg
and how delicate the balance is between the need to enhance tourism and the need to
maintain a sense of communal 'self for the Town. Mr. Haughn began cornmented that
the town does not see the enhancement of tourism as a replacement for the economic
benefit that the fishing industry has provided Lunenburg in the past. However, it is clear
that the efforts to encourage tourism are seen as a way to diversi@ the local economy. In
many cases, it is the wives, daughters and sons of the fishermen who most directly benefit
fiom the tourism industry (Haughn, Pers. Comm., 1997). However, the industry does not
provide the answer in itself, it is only part of a larger effort to encourage new business.
The best approach to the changing times in Lunenburg appears to be in supporting what
business or industry already exists as best as possible and then try and diversi@ the local
economy on top of that. This was part of the strategy behind the drive to try and gain
UNESCO world heritage status for Lunenburg in 1995. At the tirne, the town council
realized it could not "legislate a return to the fish" but it could help create an opportunity
to help propel a new direction in tourism by focusing on getting Lunenburg on the World
Heritage list. In the end the effort paid off (Haughn, Pers. Comm., 1997).
According to Mr. Haughn, the reason behind the inclusion of Lunenburg on the World
Heritage list was the town's ability to continue to 'live' with its past. This meant that
people in the town, out of a sense of pride, continued to upkeep their homes, to use some
traditional methods of construction and to continue to keep alive local traditions as a way
of their everyday life.
Bill Plaskett a private consuItant and former Planning technician, has spent a nurnber of
years in the South Shore region working on consulting projects for the town of
Lunenburg, including the Heritage Conservation District Plan and Bylaw design
guidelines. Mr. Plaskett makes special note of Lunenburg's Gennan colonial heritage and
sees the culture as still influencing the actions of many of the locals today. According to
Mr. Plaskett, many of the townspeople are proud of their past in which traditional f m e r s
'tumed to the sea' in order to survive. The attitude and view on life for Lunenburgers is
slightly out of step with others in the province because of a strong tie to their religious
past and the relative historical isolation of the community. For exarnple, they are
generally more individudistic and not very prone to working with others outside the
community. This is partially expressed by the failure of some unions to successfully
recruit people from Lunenburg county, while other areas (such as Cape Breton) tend to
value union activity more (Plaskett, Pers. Comm., 1997).
Mr. Plaskett, expressed concem over the possibility of a shallow view of authenticity
being drawn up for the Town. This is because the impression being expressed by many
people in the town is that their is no clear idea of how to define the county's culture.
There certainly are some sites that are labeied as defining the community, but they can
only provide a lirnited sense of what the community represents. Therefore asking what is
authentic and what is not becomes a difficult question. Mr. Plaskett added that tourism is
not so much about authenticity as it is about staying profitable and this has caused some
rnistakes in cultural representation "such as was seen in Upper Clement's Park" (Plaskett,
1997). There is local knowledge on history and culture, but their simply are no
publications or adequate research done to bnng out the more subtle (and perhaps more
68
unique) aspects of the community. Actions need to be taken to ensure more research is
done and that fùnding is available for this.
Figure 5.3 - Response to "What Makes Your Community Unique Frorn Others In the Province"? (Lunenburg County)
Figure 5.4 - Rated Responses to the Level of Quality 1 Authenticity 1 and Business Support for Cultural Products in Lunenburg County
Questionnaire Response Rating
5.4 The Black Cornmunities of North / East Preston and Chembrook: Observations and Interviews The province has had a long history involving blacks fiom Afiica, the Caribbean, and the
United States. Much of the early history of the province is associated with slavery but,
starting in the nineteenth century, the arriva1 of fieed slaves from the United States who
settled and built communities in Nova Scotia helped contribute a new element to the
cultural heritage of the province (Abucar, 1988).
In an interview with Mr. Robert French, the program coordinator of the Black Cultural
Centre, commented that the tourkm industry was still "untapped for the province's Black
community" (French, 1997). With a sizable population of Black Arnericans located in the
North-East United States, the potential to capitalize on the historical and cultural
connections seem apparent. Mr. French added that the low level of marketing of Black
Nova Scotian culture appeared to be the result of a general low level of awareness and
understanding of Black comrnunities and their impact on the province's heritage (French,
1997). EflForts within the Black community have been limited in raising the tourist
potential of Black Nova Scotian communities but sorne interesting efforts have begun.
One example is a touring company fiom the Preston community that is taking a grassroots
approach toward enhancing the profile of Black communities in Nova Scotia. The
company, "Black Heritage Tours" of Preston offers a series of packaged tours that
specialize in local Black communities. The tours try to give visitors a sense of Nova Scotia
history and culture through visiting the Black Cultural Centre where local historians
provide a lecture on Black history in Nova Scotia. This historical background is then
complemented with more contemporary contact with the community's culture through
visits to a number of Black communities in the province. The scale of the business
appears to be quite srnall (tour sizes range around seven at a time) which seems
appropriate to enhance the flexibility and spontaneity on the part of the hosts. This has led
to some intimate contact with community mernbers during tours.
The owners of the Company, Carolyn and Matthew Thomas, oflen travel into the United
States to try and raise interest in travel to Nova Scotia. In her travels, Mrs. Thomas has
found rnany people to be surprised that there is a Black community and culture in Nova
Scotia. There is also some surprise that there are separate Black communities that have
some degree of independence in their own &airs. Both of these elements, in addition to
the historical ties linked through the "Underground Railway" appear to raise some interest
in many Black communities in the U. S. The interest of U. S. Blacks is not surprising, given
the results of some tourism studies done in the past. During a study of Black Amencan
travel patterns, Goodrich noted that most Black Americans would travel to Europe (rated
at 78%) and Afnca (rated at 71%) over any other location. The reasons given were to
pursue "an interest in learning more about the people and the country - in particular their
culture and lifestyle"(Goodrich, 1985). While the locations chosen are not encouraging for
Canadians, the reasons for traveling potentially are. The impression seems to be that their
is nothing new to learn about Canada. Recognizing and marketing the connections
between Black cornmunities in the United States and Canada may raise awareness and
interest in traveling to places like Nova Scotia.
5.5 Concludina Remarks and Observations
The results of the survey and the interviews appear to indicate that their is a desire for
local communities to have more of a say in the presentation of local culture in the tourism
industry. The review of the study-sites demonstrate that most communities go through
the levels of tourism development and cultural self-awareness at their own pace.
In regards to cultural awareness and authenticity, the questionnaire listed a number of
cultural products and places that were similar to al1 study sites (i.e. "lobsters", "coastal
scenery") which indicate more of a c o m o n image for Nova Scotia than for any specific
community. Some unique aspects arose in how local communities learned to adapt and
live within the environment around them. These adaptations helped establish some unique
73
aspects (i.e. Lunenburg's shifi fiom farming to fishing and the social and cultural changes
arising from this) that provide the basis for unique aspects in such tlings as the local
dialect and architecture.
In some of the cornrnents concern was expressed over how the tourism industry could
influence the community through the marketing of its culture. It may be recailed that the
Acadien communities proved to be especially sensitive t o this topic. There was also some
concem that governrnent and tourism marketers don't recognize the value of some aspects
of the comrnunity that may not appear as comrnercially appealing. For example, the role
of the church as both a political and social force within the Black cornmunity may not
"mesh" with many marketing strategies which focus on visual symbolism of the province
as an "ocean playground". There rnay dso be a reluctance by the province and tounng
companies to invest time and money into marketing a venture that remains untested.
Some effort is now being put into working toward a more comprehensive level of
community tourkm development. Both the town of Lunenburg and the Acadien
communities in the province are drawing up community-based cultural tourism plans. Yet
despite the efforts, a major problem still exists in integrating use for culturally significant
landscapes or structures, with contemporary needs to remain competit ive in the tourism
industry. While this study cannot fully answer this problem, it can offer some suggestion
on how alterations to provincial planning legislation could help ensure cultural authenticity
and integnty for the growing cultural tourkm trade by developing partnerships between
tourism developers and plamers.
6.0 Conclusions And Recommendations on Defining a Planning and Designing a
Heritage Authenticity Guideline for Nova Scotia
6.1 Introduction
This study has provided a glimpse into the complexity of developing cultural and heritage
tourism sites and attractions. The issues of defining community identity and authenticity
became complicated when asked who ultimately defines what culture and authenticity is:
the cornmunity or the tourist?
According to research done for Economic Development and ~ourism, the growing
interest in heritage and cultural attractions fiom tourists could be of great benefit for
Nova Scotia. But this potential benefit is tempered by uncertainty over the sustainability
of our heritage and cultural assets. Because of the international nature of tourism, it has
become easier for people fiom many parts of the World to visit Nova Scotia. In turn, it is
easier for potential visitors to the Maritimes to visit elsewhere if they are not made filly
aware of what Nova Scotia has to offer. The Strategy for Tourism, which was developed
by Economic Renewal and Tourism, made it clear that because of changing expectations
and increasing competition, the province is going to "have to work harder to make sure
we have the right products for the modem consumer, and that we market those products
effectively to those markets having real potentialW(Nova Scotia Tourism Strategy Steering
Cornmittee, 1996).
While sorne would argue that there are adequate measures aiready available, both in
provinciaI legislation (through the Heritage Conservation Act) and in industry
commitments and promises to adhere to a self regulated "code of ethics" for preserving
the province's culture Othe; measures could be taken. There remains a great deal of
arnbiguity over what is authentic culture and heritage and who needs to be included in
75
deciding. As regulations stand now, preserving authentic heritage is comprehensively
covered. There remains a fair bit of latitude when looking at businesses working out of
non heritage designated structures. Ultimately cultural preservation remains tied to
physical structures and landscape - even though culture conveyed through other means has
as much power to project the values of Nova Scotia abroad.
It is important to consider some measure of protection for cultural elements that go into
products and services used in tourism. This is because of the important symbolic
significance such products play in telling others what Nova Scotian culture and heritage is
about. While landscapes and built structures once were enough to project an image of a
nation's culture for the tourist (i.e. the Eiffel Tower), it is now becoming increasingly
common for individual products to accomplish the same thing as they are distributed
around the Globe. This shift has forced a need for communities to become more aware of
how their culture can be translated into a product; and how that product can be used to
represent them around the world. It is therefore important the cornrnunity has some say in
how its culture is made and portrayed as a product.
There is no surprise in knowing that most products that are marketed are done so
primarily for profit, not necessarily for cultural authenticity. So an appropriate action by
planners, when considering measures to preserve and protect cornrnunity culture and
heritage, should include protection of not just the built environment but any "place-
images", products and senices that help make up that comrnunity. In partnership with
members of the community, tourism operators, and visitor planners can help establish a
standard that assures visitors that cultural tourism sites are protected and approved by the
host communities for their authenticity. In order to do this, changes are needed to both the
Planning Act and the Heritage Conservation Act.
76
6.2 Puttina the Provosals within Context of the Provincial Tourkm Stratenv
Tourism Nova Scotia has proposed, through its Strategy for Tozïrism, to begin exploring
how to "nurture and protect Our tourkm assets" in order to help establish a more
sustainable industry. It rernains unclear exactly how this is to be accomplished. However,
the goals and actions that the strategy proposes offer some sense of the direction being
considered:
Goal #1 - Develop guiding principles relating to cultural tourism development, and
promote their adoption within the tourism industry.
Action #1 - Establish a "Code of Ethics" to ensure that when assisting Our (Nova
Scotia's) unique cultures in tourism development, it is done according to guiding
principles derived fiom that culture to ensure treatment with the utmost respect and
dignity ;
Action #2 - Assist cultural groups with tourism product development and management
of quality products by strengthening and protecting the integrity of their cultural
products through carefùl planning, management and promotion. There is a need to
encompass al1 cultural groups in these efforts;
Action #3 - Develop standards of integrity and respect as to how we market our
cultural tourism products. We want to take care not to "fishbowl" our culture;
Goal #2 - Develop and implement an effective communications plan to build
awareness both within the tourism industry and the community at large, with
respect to the importance of the preservation, protection and promotion of Our
cultures, heritage, lifestyles and natural environment.
Action # I - Develop a Totrrism Industry Associatiori of Nova Scotia (TIANS)
newsletter articles on successfùl initiatives in these topic areas within Nova Scotia and
at other destinations.
Action #2 - Encourage guest speakers at industry meetings to address these topics,
present case studies, etc. ;
77
Action #3 - Establish excellence awards for individual Nova Scotians and organizations
achieving progress on these issues.
(Nova Scotia Tourism Strategy Steering Committee, 1996)
These actions outiine an effort to encourage tourism operators to beîter appreciate the
value of preserving local culture and heritage. It tries to convey the economic benefit of
preserving something unique and special t o the province, which can be used as a
cornpetitive advantage in tourism marketing.
However, many of these actions do not go far enough in laying out what makes a
communities culture unique. Part of the answer lies in encouraging communities to have a
Say in identieing what makes each cornmunity unique and providing a mechanism for each
community to participate in how the 'supply-side' is presented to consumers. Another part
of the answer lies in developing a secure method of preserving the 'ingredients' of
authentic culture that may be used in creating tourism developments that respond to
tourist demands.
One alternative vision is for provincial plamers to complement the role Econornic
Renewal and Tourism takes in providing services to develop commercially viable tourism
products. Some leadership is necessary in integrating business and comrnunity interests
over how to present and preserve culture and heritage in the tourism industry while
maintaining cultural integrity. Specific actions should include a plan to create special
environments where an interface of products, services and facilities could be monitored by
host communities in order to establish a level of consistency in how tourism operators
implement any conservation and preservation measures. Some specific actions that c m be
taken include:
78
In communities where this has not been done to date, begin a provincial cultural
resource inventory and work with community councils to give workshops on how
cultural tourkm should be developed.
Recognize a need for heritage and cultural resource inventories to be conducted in
partnership with destination communities as part of the public input into what cultural
assets represent the comrnunity and therefore need protection within a guideline.
Establish provincial regdations that allow planners to designate special sites as
"Designated Cultural Tourkm Development Zones" for the purposes of monitoring.
These designations would be for new cultural tourism developments. The sites would
be adrninistered by a community heritage cornmittee made up of planners, tourism
operators, and community interest groups.
Establish cornmunity by-laws that identiQ Designated Cultural Tourism Development
Zones as requiring the use of local materials, skills, and knowledge in the design,
construction, and operation of any development within it;
Establish an incentive program to make such designations attractive to tourism
operators and developers. Such actions as allowing certain business tax exemptions,
reduced utility fees, or governrnent marketing support could help create a more
conducive environment for tourism operators to operate and focus on meeting the
needs of tourist S.
These actions can help provide an option and an opportunity for cultural tounsts who
would want some assurance that what they are visiting and buying is authentic to the
province's hentage and from the community. For tourism operators, these designations
could provide some relief for their overhead expenses and offer an enhanced status as an
"approved" authentic development. For the community, it can provide a strong and
ongoing Say in how the cultural tourism industry portrays local culture and heritage for the
community.
79
6.3 The Provincial Pro~osals for a Cultural T O U ~ S ~ Authenticitv Guideline
In addition to supporting the creation of a cultural tourism zoning system, planners can
offer some level of protection, through legislation. Through amendments to the Platmit~g
Act and the Heritage Conservation District Regulations, legislation cm be expanded to
offer some protection to cultural tourkm developments including the products and
services they offer. The foliowing changes could be made to the Nova Scolia Planning Ac!
to help establish a foundation for these actions on the community level:
1. Within Section 7 of the PZami»g Act, establish a specific commitment to preserving the
cultural and heritage authenticity of communities in Nova Scotia as pan of protecting
the interests of provincial land-use policies.
2. Under Section 53(3) , include as part of what a land-use by-law may include to be
regulating the products, services, and facilities of designated cultural tourkm
development zones.
3. As part of the definition of what a Municipal Planning Strategy may include (Under
Section 38, subsection 2, clause p) under "policies goveniing" include " the
establishment of "designated cultural tourism development zones".
Any changes to the Plartr~it~g Act should not undermine the intent of the Heritagci
Property Act, or the Heritage Conservation District regulations. The proposed Designated
Cultural Tourism Development Zones (DCTDZs) should complement the heritage
property act, by extending conservation protection of culture to tourism sites that may not
othenuise be considered under the Heritage Property Act . Examples of these kinds of
developments could include "Theme Villages", newer stores, shops, art studios, etc. that
provide a cultural heritage product to the touring public.
Under the Heritage Conservation District Regulations, requirements have been created to
allow municipalities to establish heritage conservation districts. These districts are created
for significant heritage buildings and designed t o ensure that the integrity of these built
80
environments is not altered in a significant way. As a result, municipalities can control
alterations to existing structures, control dernolition and the design of new structures
within the district (Nova Scotia Housing and Municipal Mairs, 1998).
Whiie the underlying purpose of the conservation district regulations are to preserve
existing heritage buildings and their surrounding environments the protection of other
forms of provincial heritage are not necessarily covered. In addition the regulations do not
cover new heritage theme developments that may exist outside of existing built heritage
sites. Allowing for a Cultural Tourism Development Zone couid allow for a closer
"meshing" of public and private concems in developing cultural tourkm that can be
sustainable and competitive.
6.4 Municipal Level Proposals
At the municipal level, a number of specific actions should be taken with appropriate
support from both Tourism Nova Scotia and the department of Municipal AflFairs and
Housing.
Some of the actions that could be taken to help establish a community heritage guideline
with Cultural Tourism Development Zones include the following:
2 . Municipalities should establish Heritage Cornmittees who would oversee cultural
tounsm development within each cornmunity's jurisdiction. The cornmittee should be
made up of local tourism operators, cultural groups, and planning staff
2. The duties of these cornmittees should be to orchestrate a heritage resource inventory
and assessment. They should aiso oversee the designation of local businesses and
development sites as "Cultural Tourism Development Zones".
3. Through consultation with local t ouhm operators, sites should be chosen for fbture
cultural tourkm development. These sites should then be incorporated into local land
use plans, where possible.
81
4. Developers wishing to build within a Cultural Tourisrn Development Zone should
adhere to regulations established for business operators within a Cultural Tourism
Development Zone. These regulations should include a requirement for submission of a
business plan that outlines how the developer will incorporate local traditional materials
and skills to reflect the theme or time period being represented by the development.
Once approved, the development will receive a designation and ailowed to display
signage that indicates the development as approved by the community as a site that best
reflects the local culture.
5 . Cultural Tourisrn Zones could be created for preexisting businesses that are open to the
general public and that interpret some aspect of the cornmunity's heritage and culture.
Facilities that are not authentic, but which still offer an authentic service could still be
considered by the comrnittee.
6.5 Concluding Remarks
The efforts to re-position Nova Scotia as a cultural tourism destination is something that
offers many Nova Scotian cornmunities such an opportunity to diversi@. While cultural
tourism appears to have great potential in Nova Scotia, it remains far from a sure thing.
Because of the high level of competition between destination sites, finding the most
appropriate 'niche' for the industry seems imperative. Coupled with tourist demands for
quality, service and uniqueness; one can appreciate the need to establish a method of
protecting what cultural diversity we have.
Planners have an opportunity to provide a leadership role in creating a process that
ensures community input into what cultural ingredients are included in the process to
create a competitive advantage for nova Scotia's cultural tourism industry. In the end, it
will be up to planners to help decide whether they want to take this role or fd further into
obscurity as others take on what traditionally has been the planner's role in the
community.
82
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1Bnt$h
I French
O German
Black OrJgins
I Canadian
Q Dutch
Aboriginal
Rural Communities
Cultural Tourism Questionnaire for the Arp le / Clare Region
Plcase cake the tirne to fili this out and return i t to:
Robert Lawrance 15 Kirk Road Halifax, Nova Scotia B3P 1 AS
Community Group 1 Business:
1) Do you see culture as an important component of tourism? Y es No .
2) How highly would you rate it in comparison to other components (Le. The environment and leisure) that make up tourisrn?
Very Weakiy 1 2 3 4 5 6 7 Very Strongly
3) What five places would you recommend to a visitor from away to truly appreciate the culture and heritage of the Argyle 1 Clare region?
4) What five products o r events would you recommend to a visitor from away to truly appreciate the culture and heritage of the ArgyIe / Clare region?
4) Are there any special places or areas that should not be marketed to outside visitors?
No - 1 am not aware of any places which should not be marketed or shared with outside visitors? Yes - There are places which should not be marketed. These include:
5) What do you think makes this community different from other communities in the province ? -
- 6) What do you think makezh is community different from other Acadien
communities in the province? -
7) How would you rate the auality of cultural and heritage material ! products in local shops and businesses?
Very Poor 1 2 3 4 5 6 7 Excellent
8) How would you rate the authenticitv of cultural and heritage material / products in local shops and businesses?
Very Poor 1 2 3 4 5 6 7 Excellent
9) What level would you rate local businesses in helping to preserve and protect cultural and heritage resources of the Argyle / Clare region?
Very Poor 1 2 3 4 5 6 7 Excellent
10) Do you have any comments o r points you would like to add?
CuHural Tourism for the Clare 1 AraMe Redon
R e w b from questionnaire conductsd baiwon April15 to M a y 10.1997
Community Group Club Acadien Social Club
' Question
ONE YES
TWO
THREE
FOUR
SEVEN
EIGHT
NlNE
TEN
Les Dames de Sb. Anne
YES
West Pubnico Ropl Canadian
îegion
YES
STE. ANNE'S CHURCH MUSEE ACADIEN WEDGEPOW
WEDGEPORT - TUNA FISHERMENS MUSEUM OLMST COURTHOUSE/TUSK€T TUSKET
ROCCET POlNR - FlRST SETTERS ARRIVAL MUSEE DU THOWEDGEPORT f HE PUBNICO'S
MORRIS ISLAND EGUSE SAINTE MARIE STE. ANNE DU RUISSEAU
WEST WBNICO - ACADIEN VILLAGE LA VIELLE MAISON ARGYLE
FESTNAL ACAûlENS
ISLAND TOURS
BOAT BUILMRS
FISH PROCESSING
STE. AGNES PlCNlC
ACADIEN FEST ACADIEN FESTNALS
'EVANGELINE' PLAY LOôSTER
LOBsTER(IN SEASON) BOAT BUILDING
RAPPIE PIE
ACADIEN VILLAGE(N0T COMPLETE)
HISTORK; SifES
WEST WBNKX) MUSEUM
WHARVES
ACADIEN CUISINE
LOCAL FESTNALS
MUSIC:
FOOD
NO NO NO NO*
ACADIEN CULTURE AND MEMALITY HARMONY BETWEEN ANGLOPHONES ACCOMMODATING 1 EASY GOlNG ACADlEN HERITAGE
AND FRANCOPHONES PEOPLE THE LANGUAGE
NIL
PUBNICO(0LDEST ACADIEN VILLAGE) LONGCST COMINUAL SElTLEMENT INFRASTRUCTURE IS IN PLACE
CLARE HAS LONGEST ST RETCH COMMUNITY IS PROORESSM
OF ACADIEN VILLAGES(COMIGU0US)
5 2 5
Cultural Tourisrn for the Clare 1 Made Rtalon
RsrulEs from questionnaire conductsd botmm April15 to M a y 10.1997
Community Group Pubnico Area Lions Club
Question
ONE YES
THREE WEST PUBNICO ACAûIEN MUSEUM
YARMOUTH flREMEN'S MUSEüM
ST. BERNARD STONE CHURCH
SMITH'S MUSEWU
WEST PUBNlCO GOLF AND COUNTRY CLUB
FOUR
F M
SIX
SEVEN
ElGHT
NlNE
TEN
ACADIEN RAPPlE PIE
ACADIEN WEEK FESTNMS
WEARINû ACADIEN COSTUMES
Club Social der lles Femmes Acadiennes de Ckre
BAiE STE. MARIE
PUBNICO
WEWEPORT
T USKET lSUNDS
LOWER SURETTE'S ISLAND
FESTIVAL ACADIEN DE CURE
FESTIVAL ACADIEN DE STE. ANNE
DU REISSEAU
YES
UNMRSKE SAINTE ANNE (MUSEE) 1 MUSEE SAINTE MARIE - CHURCH PT.
MUSEE ACADIEN WEST WBNICO 1 CENTRE ûC PoMBCoUP -P.O.
LA VIEILLE MALSON METEGHAN
MUSCE DES PECHEURS - LOWER WEDOEPORT
THE OLD COURTHOUSE - TUSKET
THE ACADIEN FESTRIAES IN BOTH AREAS
ARTS AND CRAFTS
LA RAPINE ACADIENNE
SUGGEST VISKING CULTURE MUSEUM OF P.O. FESTIVAL ACADIEN DE WEDGEPORT DRY FlSH
RNEILLE DE POUMCOUP LOCAL TALENT SHOWS
EVANGELINE
NO NO
VERY ACTIVE ACADIEN CULTURE
ACAûlEN M U G E BElNG WlLT
ACADIEN CULTURE (LANGUAGUFOODS) BILINGUAL PEOPLE
MOSY FAMIUES MAKE LMNG FRûM ASHERY
(DIRECTLY OR INDIRECTLY)
CLARE IS THE LARGEST ACADIEN COhMüNITY IN n.s.
ACADIENS TRY TO RELIVE ALL ACTWKIES PRûSPERiTY OF FlSHlNG COMMUNITIES A L ACADIEN COWNKIES HAVE SûWTHlNG IN COlllMON
DURING SUMER MOMHS FRIENDLINESS OF THE PEOPLE (LANGUAGE CUSTOM AND RELIGION)
6 5 7
Cultural Tourism for the Clare 1 Aravie Rcalon
Resub from quesiionnaire axiducted b h w n April15 to May 10,1997
Community Group Cornits regional de Ctare - FederPtion acadienne de la Nouvelle-Ecosse Esprit de Wedgeport
Question
ONE
Wu0
THREE
FOUR
YES YES
Sb. Anne-du-Ruisseau Sinim
YES
UNNERSKE SAINTE-ANNE WEDGPORT TUNA SPORT FlSHlNG MUSEUM WEDGEPORT SPORT TUNA FISHING MUSEUM
ST. MARYS CHURCH TUSKR ISiAND CRUISES OFF WEDGEPOKT TUSKET COURT HOUSE OLD HOUSE MUSEUM - METEGHAN TUSKET GAOL AND COURTHWSE WEST PUBNICO MUSEUM
POINTE-AWR. FIRST ACADIEN CEMETER\ MUSER ACADIEN DE PUBNICO-OUEST STE. ANNE'S C A T ~ CHURCH
CLARE GOLF AND CdClNTRY CLUB LA VIEILLE WSON - METEGHAN WHARVES OF AM V l W E
CENTRE ACADIEN - UNMRSITE SAINTE ANNE
NANGEUNE LES FESTIVALS ACADIENS ACADIEN FEST IN STE. ANNE,
CAFE CHU CHRISTOPHE (WEDGEPORT I SAR 1 PUBNICO-OUEST WEDGEPORT, PUBNICO
ACADIEN CRAFTS 1 CLARE) ARGYLE ABUPTIC FESTNAL
LA BAIE EN JOIE STRAWBERRY FEST 1 QUlLT FEST MLaWRNE
FESTIVALÇ
LANGUAGE AND CULTURE
LOCAL DlALECT
CLARE HOME TO UNNERSKE SAlNTE ANNE
MUNICIPALITY CONDUCTS BUSINESS
IN BOTH OFFlCW LANGUAGES
6
FRIENDLY PEOPLE
FOOD (RAPPIE PIE)
FRICAT MUSIC
LANGUAGE
NO
STE. ANNE-DU-RUISSEAU CARPEMERS
ARGYLE FRENCH COMMUNFTIES SEPARAT ED BY
ENGLISH COWUNITES.
CLARE HAS A CONTGUWS COMMUNITY
TEN
Cuitural Tourisrn for the Clare I Aravie Redon
Rerulbc from quahnnaire conducted bshhisen April15 tn M a y 10,1997
Community Group Fosüval Acadien a Sb. Anne du Ruisseau
ûuestlon
ONE
TWO
THREE
FOUR
Fm
SIX
SEVEN
Fertiml Acadien de Clare byrhore Bed and Breakfast
YES YES YES
CHURCH IN SE. ANNE DU RUISSEAU UNIVERSITE SAINTE ANNE ST. WRrs CHURCH - CHURCH PT.
ROCCO POINT - ACADIEN LANDING LA VEILLE MAlSON ST. BERNARD CHURCH -S. BERNARD
PUBNICO MUSEUM CHEZ CHRISTOPHE ST. ANNE'S UNIVERSITY
WEDGEPOnT MUSEUM ANY CHURCH
VlLLAGE OF SAR MAVlLETTE BEACH
HOMEMADE RAPPIE PIE
FRENCH SPOKEN BY ACADIENS
FESTIVALS
FRENCH ACADIEN MUSC
ORlGlNM ACADIEN MESS
FESTIVAL ACAûlEN
RAPPlE PIE
FRWT MUSIC
BISTRO
DRY FISH
STE. ANNE UNIMRSKY
ACADIEN FESTIVAL IN CLARE
RAPURE ACADIENNE (RAPPIE PIE)
ACADIENS CULTURE AND HERlTAGE KEPT W E GENEROUS AND WARM PEOPLE M X OF ACADIEN AND ENGUSH CULTURE (CLARE)
YET ACCEPT CHANGE - M A B L E
LOCAL DlALECTS
CLOSE KNlT COMHUNiTIES
PEOPLE IN CLARE LESS CONNECTED WllW QUEBEC
CULTURE AND LANGUAGE
EIGHT
NINE
TEN
Cultural Tourism for the Clare 1 Aravie Realo~
Resuh from questionnaire conducteci belwon April15 to M a y 10.1997
Community Group Lennie Romain - CmRs and Woodwrking
Question
ONE
THREE
F W R
FNE
SIX
SEVEN
ElGHT
NlNE
TEN
BANGOR MlLL
SMUGGLER'S COVE
NATURE W U IN B ë U M A U COVE
DEEP SEA FlSHlNG
BEACH AT MARTLETTE
QUILTS
WOODWORK
MUSIC
ACADIEN FLAG
ACADIEN E S T OF CLARE
YES
Association der Femmes A#dienner
YCS
CHURCHES - CHURCH PT
METEGHAN WHARF
LUMBER MlLL - BANGOR
ACADIEN FESTS
EVANGELINE
NANGELINE
(RAPPIE PIE)
DRY FiSH
ACADIEN FESTS
DEEP SEA FISHING
MUSEE ACADlEN
TUNA MUSEUM
EGLISE (S. MRNARD)
DENNIS POlM WHARF
UNNERSITE STE. ANNE - CHURCH PT.
'CHU-FKHIS' A POMBCOUP A M E N FEST
LOBÇTER
ACAWEN FEST CLARE
RAPPIE PIE
MlDNIGM W S C E R M Y - S. PETER'S CHURCH
LARGEST ACADIEN COMHUNKY IN N.S. UNIQUE ACADIEN HERïïAGE
(CLARE) CULTURAL CELEBRATIONS (MICARERRE)
LOCAL FOOD
SENSE OF COMMUNITY
CLARE IS THE LARGEST ACADIEN COMMUNITY IN N.S. DlVERSlFlCATlON -FISHING 1 FORESTRY UNIQUE DMLECTSIACCCNTS
PHYSlCM f MnRONMENT
GREAT SENSE OF COMPEWIVENESS AND PRIDE
6 6 4
Cultural Tourlsm for the Clare I Amvk Realor(
Rsrultr f m questionnaire conducted bstwben April 15 to M a y 10,1997
Communlty Group Ds ia Tour Coop Society Ud.
Question
ONE YES
lwo
THREE
FOUR
F M
SIX
EIGHt
NlNE
TEN
Les Nouveaux Horizons da la Baronnie
YES
LE MUSEE ACADIEN WEST PUBNICO (OLDEST VILLAGE)
TUNA FlSH MUSEUM TUSKET COURTHOUSE
EGUSE ST. ANNE W RUISSEAU TUNA MUSEUM WEûGEPORT
UNIVERSITE SE.-ANNE - CHURCH PT. SE. w r s CHURCH - CHURCH PT.
ST. WRITOPHE - METEGHAN UNMRSITE S E . ANNE - CTNR, ACADIEN
RAPPIE PIE FESTIVALS
ACADIEN CRAFTS FûûûS (RAPPIE PIE, FlSH DISHES)
FESTIVAL CHEZ-NOUS A POMBCOUP PURh ACADIEN DAYS IN GRAND PRE
E S T ACAûiEN STE. ANNESU-RUISSEAU MUSEUMÇ IN WEST PUBNICO, WEûûEPORT
FEST ACADlCN CLARE REGION METEGHAN
THE PUBNWS ARE OLDEST REGION STILL FEEL DIFFEREM FROM ANGLOPHONES
LE VILLAGE ACADIEN W U BE FINISHED
WBNICO IS A FRIENDLY COllllMUNKY
EXCELLENT ACADIEN FESTS
IN MUNlClPALFTY OFTEN FEEL DOMINATED
BY MAIORiTY.
LANGUAGE IS KEEPS US DISTINCT
EACH COIiIMUNITY tlAS 17s OWN ACCENTS
SOME COMHUNKES ACT MORE AGGRESSWE
Rccgion Aadknne des G u i h
Y ES
EGLISC STE. ANNE I SAINTC-ANNE DU RUISSEAU
TUSIET COURT WUSE
UNIVERSITE SAME ANNE
LE MUSEE ACAUEN
SPORT TUNA FISHINO MUSEUM
FESTIVAL ACADIEN DE SAINTE ANNE MI RUISSEAU
FESTIVAL ACADIEN DE CLARE
FESTNAL ACAûiEN DE PUBNlCû
FESTNAL ACADIEN DE WEDGEPORT
NANGELINE MUSICAL DRAMA
M G E S T ACADIEN AREA IN THE PROVINCE
Cultural Tourlsm for the Clare i Aravie Realon
Resub from quesîjonmire conducW beiwwn Apnl 15 b May 10.1997
Community Group Le Couier de la M i e €corse
Question
ONE
fwo
THREE TUSKET ISLANDS E l MUSEE AU TIION
ANSE DES BELLIVEAU (TO MEET THE C U M DIGGERS)
ALL THE CHURCHES
MUSEE A M E N DE POMBCOUP
FOUR
FIVE
SIX
E lGM
NlNE
TEN
FESTIVALS ACADIENS
LA RAPURE
LES COOUES A LA VAPEUR SUR UNE PLAGE
UNE JOURNN AU FONDS DES 801s A E C DES MUSICIANS
UNE PRûMENADE EN MER AVEC DES PECHEURS
THE UNIQUE DMLECTS
CûhWUNITIES BUlLT ON ROCKY SEASHORES
THElR BASIC FOODS ARE =ILL CONNECTED TO f HE SEA AND THE FOREST
OLD METHODS OF PRESERVING FOODS ARE STILL IN USE
ARE sny AND WIU NOT SPEAK IF A TOURIST DOES NOT ASK QUESTIONS.
MûST MUSIClANS OF SOME KlND
CLARE AND ARGYLE NO1 INVOLVCD IN CMPERATIVES LlKE IN CHCTICAMP
WE =ILL BUILD B O N S AND HAVE A FlSHlNG INDUSTRY THAT IS LUCRATIVE COMPARED T O CHETlCAMP I R I C W N D
CLAAE 1 ARGYLE MVE NOT FULLY MVELOPED THElR TOURISM INDUSTRY - MOÇT DO NOT MlND THE OCCASIONAL VlSITOR - BUT NOT AN INVAÇION
5
Cultural Tourism for the Clare 1 &avle Rcalon
Resultr fiom questionnaire conducteci b & w n @I l5 to May 10,1997
Coinmuni Region Acadienne des Guidas
Question
ONE
TWO
THREE
F M
SIX
YES
Le Courier de ia Nouvelle-Ecosse
YES
EGUSE STE. ANNE. SAINTE ANNE W RUISSEAU TUSKET ISLANDS ET MUSEE AU THON
TUSKET COURT HOUSE ANSGDES-BELLWEAU (AND MEET CLAM ûlGGERS)
UNMRSiïE SAINT ANNE MOUUN DE BAMGOR (TO LEARN ABOUT THE HISTORY OF LOGGING)
LE MUSEC ACADIEN, PUBNICO ALL THE CHURCHES
SPORT TUNA FISHING MUSEUM. WEDGEPORT MUSEE ACADIEN DE POMECOU?
FESTNM ACADiEN DE SAINTE ANNE DU RUISSEAU FESTIVALS ACADIENS
FESTNAL ACAûîEN DE CURE LA RAPURE (PRODUCT)
FESTîVM ACADIEN DE PUBNlCû LES COQUES A LA VAPEUR SUR UNE PLAGE (SO(LKTH1NG TO DIG FOR)
FESTNAL ACAMEN DE WEûGEPûKï UNE JOURNEE AU FONDS DES BOIS (IN A SMALL CABIN) AVEC MUSlClENS (WU HAVE TO BE INülTED)
EVANGELINE MUSICAL DRAME - UNMRSlTE SANT ANNE UNE PROMENADE EN MER AVEC DES PECHEURS (INVlTATIûN M O )
SNEN LARGEST ACADIEN REGION IN THE PROüiNCE
ElGHT
NlNE
TEN
Cultural .Tourism Questionnaire for Luaeoburg County
Plcase takt the timt to fil1 cbis out rad mtum it to:
Roben ï a w i r n c c 15 Kidi Rord Halifax. Novi Scotia B3P 1 x 3
Community Group / Business:
Do you sec culture as an important component of tourism? Yes xo
Row stroogly do you feel about this
Wbat five places would you recommend to a visitor from away to truly appreciate the culture and heritage o f Lunenburg county?
4) What five products or events would you recommend to a visitor from away to truly appreciate the culture and heritage of Lunenburg county?
4) Are there any specid places or areas tbat should not be marketed to outside visiton?
No - 1 am not aware of any places which should not be marketcd o r shartd with outside visitors? Yes - Tbere are places whicb should not be marketed. These includc:
5) What do you think makes L u n e n b u g diffèrent from other communities in '06 the province?
6) What do you think mak& ~ . b i n e Bay different from other communities in the province? -
Eow would you rate the clualitv of cultural and heritage matcria1 / products in local sbops and businesses?
Very Poor 1 2 3 4 5 6 7 Excellent
How would you rate the authenticitv of cultural and heritage materiai / products in local shops and businesses?
Very Poor 1 2 3 4 5 6 7 Exceilent
What level would you rate local businesses in helping to preserve and protect cultural and heritage resources in Lunenburg county?
Very Poor I 2 3 4 5 6 7 Excellent
10) Do you have any comments or points you would like to add?
Cuitural Toutim for Lunenbura Counîy
Resuh frorn questionnaire conducted botmen April15 b M a y 10,1997
CommunHy Grwp Lunenburg Academy Foundaîion
Question
Bluenose Senior Citizen's Club
1 Lunenburg
Lunenburg HMe and Schod E*ooU;ioOn
ONE
TWO
THREE
YES YES
LUNENBURG ACADEMY
FiSHERlES MUSEUM
ROSS PARM
DES BRISAY wsew BUCKSMITH SHWILUN.
F ISHERIES MUSEUM
BLOCKHOUSE TOURIST BUREAU
LUNENBURG ACADEMY
THE OVENS
CHURCHES IN LUNENBURG
FISHERIES w s e w OLû TOWN LUNENBURG
BLUE ROCKS
ROSS FARM
OVENS
FWR FOLK HARBOR FESTIVAL
FISHERIES EXHIBITION
CALEû0NI.A DAYS
SAUERKRM
SEALBOYS SOLûMANGUNDY
flSHERlES EXHIBITION
BRIDGEWATER B G 'X
YACHT RACINO
FOLK HARBOR FESTIVAL
MEALS OF CODFISHPOTATOES
LUNENBURG FOLK HARBOR ESTRIAL
MAHONE BAY WOOEN BOAT FESTRIAL
LUNENBURG OCTOBER E S T
LUNENBURG FlSHERlES MUSEUM
LUNENBURG 'OLD FASHDNEW CHRETMAS
BEAVTY ARCHITECTURE
PRESERVATION OF HlSTORlC BUILDINGS LUNUNBURG 'BUMP'
STRONG CULTURAL T lES
LUNENBURG UNESCO DESiGNATM
THE CHURCHES
MARINE INDUSTRIES
LOCAL 'COLûR'
SNEN
EGHT
NINE
TEN
TOURlSM
WOODEN BOAT FESTIVAL
6
WOODEN BOAT F ESTIVAL
THE THREE CHURCHES
7
f lDY AND PICTURESQUE
M B O R AND 'NEW-AOC' BUSINESS
4
Cuitural fouriun for Lunenbum Cwnty
R e w L from quesiionnaire condwbd betwaen April 15 to May 10.1997
Community Grwp Lunenburg and Disiriet
SHiirnming Pool
Question
Lunenburg Rod and
Gun Club
Lunsnburg Fire D e p M .
ONE YES
THREE BLUE ROCKS
THE OMNS
MAHONE BAY
LUNENWRG
CHESTER
OLD TOWN LUNENWRG FlSHERlES MUSEUM
FlSHERlES MUSElJM LUNENBURG ACADEMY
MAHONE BAY FISHERIES EXHIBITION
BLUE ROCKS MAIN ST. 1 LOWER !ST.
RIVERPORT ST. JOHN CHURCH
FiSHERlES MUSEUM
LUNENBURG WATERFRONT
TOWN ûF MAHONC BAY
COASTUNE
GRCENMY SHORE
FOUR OX PULL COMPETKION
TRADITIONAL MEAL
CRAFT SHOPS
WOOMN BOAT FESTIVAL
CRAFï FESTNAL
LUNENBURG COUNTV EX.
FOLK HARBOR E S T
NOVA SCOTLA FlSHERlES EX.
OCTOBERFEST 1 LUNENBURG
WOODEN BOAT FESTIVAL
LUNENBURG CRAFT FEST
FOU( MBOR F m
WOODEN BOAT FEST
SOUTH SHORE W ~ D N
CHESTER RACE WCEK
YES
OUR 'HERTTAGE'
ITS PEOPLE
UNCERTAIN
SCENERY
HISTORY
ARCHiïECTURE
ARCHITECTURE
MUSEUM AND HARBOR
HERITAGE AND CULTURE
THREE CHURCHES
UNIQUE W N STREET
SCENERY
CHURCHES
SHOPS
6
THRCC CHURCHES
UNIQUE LAYOUT OF TOWN
ElGHT
NlNE
TEN
Cuiturat Tourism for Lunenbura County
Rosultr h m questionnaire conduttad bainrsen April15 io May 10,1997
Community Group Lunenburg ûay Care Centre
Question
ONE YES
THREE
FOUR
ElGHT
NlNE
TEN
FISHERIES MUSEUM
THE 'SAIL LOFT'
THE 'DORY SHOP'
THE TOWN CHURCHES
THE BUCKSMTH SHOP
FOLK HARBOR FESTIVAL
THE FISHERIES EXnlBiTiON
LOCM LKERATURE
SAUERKRAVT
LUNE NBURG WDMW
UNCERTAIN
Independent Order of Lunenburg Curling Club VP Lunenburg Academy
Odd Fallwvs
YES YES YES
5 6 5
FISHERIES MUSEUM FlSHERlES MUSEUM FEHERIES MUSEUMIACMEMY
LUNENBURG AC- BLUE ROCKS THE THREE CHURCHES 1 W O N E BAY
THE 'BLUENOSE' SAGANEY MAPLEWûûû I PARKDALE MUSEUM
THE OVENS THE OVENS FORT POlM MUSEUM 1 iAHAi/€
DES BRISAY MUSEUM LUNENBURG COUMY WINERY NEW ROSS MUSEUM
WOObEN ûûAT FESTNAL LOBSTER C M PEST
BRIûûEWATER EXHlBKlON SCALLOPS FOLK HARBOR FEÇT
FISH WOODEN BOAT RSl
CRAFT FEST CHESTER PLAYHOUSE
FOLK HARBOR FEST SOUrHSHORE EST
UNESCO DESIGNATION CLOSE KNK COMMUNITY I UNESCO DESIONATION
FAMILY OWNED BUStNESS
SCENIC
PROGRESSIVE CLOSE SMALL CRAFT-RELATED BUSINESS THE ARTISANS
KNlT COMMUNiTY NO1 HIGHLY COhrrmERClALlZEO WOODEN BOAT FESTWAL
Cuîtural Tourlsm for Lunenhra County
Reuib from questionnaire d u c t e d belween Apfil15 to M a y IO, 1897
Community G r w p Aiexander RebecCa Lodge
No22
Quesiion
ONE E S
THREE TOWN OP LUNENBURG
FOUR
ElGM
NlNE
TEN
LOBSTERS
THE 'BLUENOSF
THE WOOMN BOAT FEST
Lunenburg Tennis Club I
Lunenburg Folk Fololldcrt
THE LUNENBURG ACADEMY
THE FISHERIES MUSEUM
WlLL CARDlNG MiLL
DES BRISAY MUSEUM
PARKDALE MAPtEWOûD MUSEUM
FOLK HARBOR FEST
ASHERIES EX.
BIG 'X'
LUNENBURG COUNTY FIDDLERS
NO YES
HIRTLES 1 KINGSBURG I CRESENT BEACH
THE TOWN 'HERITAGF WELL PRESERVED ARCHITECTURE
FISHERIES EXHIBITION AND REUNION
SCENERY
THE THREE CHURCHES
Lunenburg and Dirtrict
MuUc Fsrtiv;il
YES
LUNENBURG FlSHCRlES MUSEUM
BLOCKHOUSE HILL
THE 'OVENS'
THOMAS WALTER'S BLACKÇMITH S W
BLUEWE ti (WHEN IN PORT)
WALKING TOURS OF LUNENWRG
FOLK HARBOR E S T
OCTOBERFEST
LUNENBURG CRAFF FEST
NS FIÇHERIES FEÇT
BANDSTAND EMERTAiNMEM
VARIETY OP SOMEWHAT- TRADITIONAL ARTISANS WM-ABLE TOWN wrrn -QUANT- SHOPS
THREE CHURCHES
Cukural Tourlm for Lunenbura Counry
R w L hom questionnaire mductai baimm April15 tu May 10.1997
Community Group Lunanburg Heribge Socieîy
ONE
TWO
THREE
FOUR
F M
SIX
EIGHT
NlNE
TEN
YES
MEW FRûM GOLF COURSE
MON FROM BLOCKHOUSE HILL
FlSHERlES MUSEUM
FISHERMEN'S MEMûRlAL
LUNENBURG ACAûEMY
CRAFr E S T
HOUSE TOUR
FOLK HARBOR FEST
NEWFIE DAYS
LUNENBURGSAUERKRAUT
PUûûiNGlSAUSAGE
NO
FlSHERlES
VIEWS
ACCENTS
SERENlTY
BOUTIQUES
VISTAS
3
The Moorings Gallery and Çhop
YES
OVENS PARK
FlSHERlES MUSEUM
FORT POINT MUSEUM
PARKDALE - WLEWOOD
ROSS FARM OR CHURCHES
CûWUNlTY SUPERS
COMMUNffY VARIETY SHOWS
GALLERIES
SOUTH SHORE PEST OF ARTS
CHRISTMAS TREES
MARKETING SHOULD BE CAUTIOUS
BUT NO ONE SHOULD BE EXCLUDED, JUST
AWARE AND SENSlTNE
GERMAN HERîïAGE \/lSIBLE IN ARCHITECTURE
CONNECTION TO FlSHlNG AND PROCESSING
HARBOR ACTNELY USED
SOMONHAT EASY COMBItjATION OF "COME FROM AWAY FOU( WTTH LOCMS
HERFTAGE (GERMAN) STlLL STRONG AND RESPECTED
CRAFT SHOP WrïH ONSITE CRAFT PEOPLE IN LARGE NUMBERS
4
Cuîtural Tourlsm for Lunenbum County
Rasub from quesiionnaire conduded i x h m n April15 to M a y 10,1997
Community Grwp K.R. Thornpn - Potbsr
Question
ONE YES
1 HREE
FOUR
SEVEN
ElOHT
NINE
TEN
TOWN OF W O N E BAY
TOWN OF LUNENBURG
ROSS FARM
LUNVICK OT HEISLER BOAT YARD
RISSLER'S BEACH 6 KINGSBURG BEACH
W60DEN BOAT FEST
FOLK HARBOR FEST
STUûiO FEST
WHITE UGHT NlGM - M O N E BAY
FlSHERlES U(HIBKIûN
YES
'KEDJI' ADJUNCT 1 BLUE ROCKS 1 HIRTLES BEACH
ARCHITECTURE
WORKlNG HARBOR
LOCATION
CWPERATNE SPIRIT AMONG BUSINESS COWMUNITY
WALK-ABIUTY OF TOWN
ARCHITECTURE IN RELATION f O THE HARBOR
6
Out of Hand
YES
BLUEROCKSISTONEHURST
DORY SHOP 1 SAlL LOFï
WATERFROM OVERALL
HIRTLES =CH
OLD TOWN
FlSHERlES EXHIBITION
FOLK HARBOR FEST
A CHURCH SUPPER
LUNENBURG CRAFT EST
LUNENBURG FOLK ART FEST
YES
ENVlRONMENTALLY DEUCATE ARUS
LACK OF CHANGE IN ARCHITECTURE
FUNCTlONlNG NATURE OF TOWN
(STILL 'LIVING')
FOLK TOWN?
(UNDERSTANDING TO ~ r r ~ ~ c r ATOURIST wrrn MORE
MONEY - QUALKY OVER QUAMITY)
2
%IN LUN AND M.B.
Cuitural twrlsm for Lunenbura County
Rsuiits from quwtionnaire conductsd betvwn Aprill5 to M a y 10,1997
Community Group Fiid Lunenburg Boy Scouts
ONE YES
THREE
FOUR
SEVCN
EIGM
NlNE
TEN
flSHERIES MUSEUM
BLUENOSE Il
ROSS FARM
WATERFROM
OVENS PARK
LUNENBURG C M FEST
WOODEN BOAr FEST
LUNENBURG FOLK HARBOR FEST
PARKDALE MUSEUAII SUPPERS
LOCAL CHURCH SUPPERS
HERITAGE
HELPFUL LOCAL PEOPLE
OUT GONG GROUP OF PEOPLE
HCLPFUL
C L W
6
Morash Gallery and Gifts
FISHERIES MUSEUM
ART GALLERIES
THE OVENS
BLUEROCKS
M S BRISAY MUSEUM
FOLK HARBOR PEST
FISHERIES EXHIBITION
VISITING BLUNOSE II
SCALLOPS AND LOBSTER
C W FEST
The Bosc;iwn Inn
YES
LUNENBURG TOWN
-NE BAY
CHESTER
ROSS FARM
FISHERIES MUSELM
FOLK HARBOR FEST
AGRICULTURAL EXnlBKlON
FISHERIES EMlBîTlON
CRMT FEST
HlSTORlC HERITAGE BUliDlNGS GERMAN ANCESTRY
THE BLUENOSE UNESCO DESIGNATON
WORKING WATERFRONT
BEAUTIFUL BAY
THREE CHURCHES
Cultural Tourkm for Lunenbum County
Resuits h m questionnaire cunducbsd bahnisen Apfil15 io May 10,1997
Community Grwp Lincoin Red Gifb
Qucsîion
ONE E S
TWO
THREE
ElGM
NlNE
TEN
HOUSES 1 WSEUMS 1 SCHOOL
DORY SHOP 1 NAT SEA PROWCTS
BLUEROCKS 1 HERITAGE FiSH SHACK
STONEHURST
MAHONE HARBOR
LOBSTER I SCALLOPS 1 LUNENBURG SAUSAGE
FOLK ART 1 MARINE ART
IlANDHûûKED RUGS 1 QUlLTS
CRAFT FEST
flSHERlES EXHIBITION
FOLKART E S T 1 WOOMN BOAT FEST
YES
OAK ISLAND
GERMANIHUGUENOTHERITAGE
ISOLATION 1 THE SEA
M D WORKlNû PEOPLE
PROTECTM OF CULTURE
ECLECTK:
SMALL TOWN SURROUNDED BY GREAT BEAUTY
Alexandra Rebec# W g e No.22 South Shore Regional Libmry
YES YES
TOWN OF LUNENBURG
EVANGEtlNE
LOUISBOURG
ANNAPOUS ROYAL
SHERBROOK VlLLAGE
RRA MCNEIL
LOBSTER
BLUENOSE
WOODEN BOAT FEST
APPLE BLOSSOM FEST
HERITAGE
HOME OF THE BLUENOSE
FISHERIES EXHIBITION
PICTURESQUE 1 SCENlC
THREE CHURCHES
ARCHITECTURE OF THE TOWN
6
flSHERlES MUSEUM
ROSS FARM
TANCOOK ISLAND
LAHAVE FERRY
QUlLTS AND MATS
OX PULLS AT LOCAL m N i ï Y HWS
SOUTH SHûRE EXiilBITKHJ
COIMIIUNllY SUPPERS
OCTOBERFESI
YES
OAK ISLAND
G E W HERITAGE
ARCHITECTURE
VARIETY OF €XCELLEM RESTAURANTS
THE S E l l I f f i
THREE CHURCHES AND HARBOR
Cultural Tourism for Lunenburn County
R w L hom quesiionnaire conductud bsbnaen April15 to May 10.1997
Communtty Group E. WhynacM
ONE YES
THREE
FOUR
ElGHT
NlNE
TEN
FISHERIES MUSEUM
ST. JOHN'S CHURCH
LUNENBURG ACADEMY
FORT POINT - LMAM
WSBRISAY MUSEUM
WOODEN 0OAT E S T
LUNENBURG FOLK ART FEST
LUNENBURG FOU( HARBOR FEST
SOUTH SHORE EXHIBKION
OCTOBERFEST
YES
OSPREY RIDGE GOLF COURSE 1
MULTI-CULTURAL HISTORY
UNIQUE ARCHlïECTlJRE
DEVELOPMENT ûF DEEP SEA FISHERY
LAHAM RiVER SALMON FISHERY
HISTORY AND LOCATION
Royal Canadian Legion - Bnnch 23
YES
OLD TOWN
FISHERICS MUSEUM
ROSS FARM
OVENS NATURAL PARK
BLUEROCKS 1 STONEHURST
POLKHARBOUR FEST
CRAFT FEST
WOODEN BOAT FEST
HERRING CHOKERS PlCNlC
SOLOMON GUNDY SUPPER
UNESCO DESIGNATION
THE ARCHKECTURE
HOME PORT OF BLUENOSE
UNIQUE SCENERY
THREE CHURCHES
WOODEN BOAT FEST
7
YES
FlSHERlES MUSEUM
ACADEMY
OLD TOWN LUNENBURG
FOLK ART PEST
CRAW FEST
OCTOBERFEST
FISHERIES EXHIWION
FOLK MUSE Est
YES
DORY SHOP - APPALLING!!
ARCHiTECTURE
FOLK ART I MUSIC
BEAUTY OT LOCATION
WOODEN BOAT FEU
Culîural Tourisrn for Lunenbura County
R ~ l b from quasiionnaire conducted bawwn Aprill5 to k y 10,1997
Community Group Mahone Bay Saüiers Mumum and Culhire Cnîr.
Question
ONE
TWO
THREE
FOUR
EIGHT
NINE
TEN
FORT POINT MUSEUM
FlSHERlES MUSEUM
DESBRISAY MUSEUM
MAHONE BAY SETTERS MUSEUM
ROSS FARM
SOUTH SHORE EXHIBITION
FlSHERlES U(HlBltlON
WOODEN BOAT FESTIVAL
FOLK ART FESfNAL
YES
KINGSBURG BEACH I BLUE ROCKS
PHYSlCAi HERlTAGE (ARCHiTECTURE)
W N K Y PRIDE
'LAID BACK CASUAL ATMOSPHERE
ECONOMJCALLY D R M N BY S W BUSINESS
COlVMUNriY ORIEMED PEOPLE (A LOT OF VOLUNTEERING)
6