cultural tourism and crafts as part of the development of a region

CULTURAL TOURISM AND CRAFTS AS
PART OF THE DEVELOPMENT OF A
REGION
ABOUT CRAFTS, ECONOMIC DEVELOPMENT AND HERITAGE
Craft production has great importance in the economic development of a
country, being a source of direct and indirect employment. This contributes to
social development, preventing migration to urban areas, as it becomes a
barrier against violence and promotes women's empowerment. For its
characteristics, in recent years, it has become extremely important for the
development of projects that promote this sector in public and private
institutions.
Craft has become valuable as part of the living heritage of a region and
undoubtedly it has a significant connection when we talk about cultural tourism.
Each country has developed policies to improve craft production chains. Special
priority is given to marketing, in order to revitalize the sector, opening up
possibilities for improving the living conditions of the artisans producers. We
should mention, especially, the actions that link the different chains of craft with
tourism.
When we talk about crafts differentiation is the most important factor for
commercialization and it’s measured in function of its limited availability or, the
notion that they are unique items, so-called "Articles hard-to-find”.
Many of the objects from craft market use creativity as a development strategy
and are part of a natural expression, the need and desire of men as individuals.
So craft can show us the character and identity of a nation or an individual
(craftsman).
Craft is created by marketing. It’s part of a process in which the traditional
objects are filled with elements for its transformation and adaptation. At the
same time, the product and the office production chain were transformed to be
adapted to the market. It is a two way street with feedback where folklore is the
protagonist.
It is difficult to establish a clear definition of what a folkloric product is. There are
many items like antiquity, tradition, or the fact of being a reflection or a sign of
identity in a community, among the others. In this way traditional craft products
that preserve ancestral forms and use them to legitimate the new creations of
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craftsman reflect their interaction with the environment, and with different
markets and users.
We can conceive craft from three dimensions:
• Craftsman: as a designer and as a builder of culture.
• Craft activity: As an action that applies traditional and / or contemporary
artisan techniques and practices; and as a production process that provides
livelihood to (the) craftsman.
• Craft products: as an expression of identity in national, regional and local
levels.
Craft concept has been developed in different ways along history and it has
taken different conceptualizations. Today, its definition is still heterogeneous
and can be analyzed from different perspectives.
At the international level, UNESCO defines it as: "Artisanal products are
produced by artisans, predominantly made by hand, or with hand tools, or even
with the help of mechanical tools. The direct manual contribution of the artisan
must be the most important component of the finished product. They are
produced without restriction in terms of quantity and using raw materials from
sustainable resources. The special nature of artisanal products derives from
their distinctive characteristics, in which you can include factors like, being
utilitarian, aesthetic, artistic, creative, connected with culture, decorative,
functional, traditional, or being symbolic and significant in religion or society.
"(UNESCO 1997)
This definition is very extensive. In first place, craft categories are not defined,
The definition emphasizes in the preponderance of handwork and the different
uses that can have a product. Putting in a second place the "traditional"
heritage, perceiving the characteristics of transformation and adaptation that the
traditional product has, but it does not engage any statement. According to this
definition any product made mostly by hand can be considered a craft product. I
do not agree entirely, because we must consider factors like culture, history,
geography and other aspects of the development of a group.
We can say that craft is created from the "traditional" products, taking elements
from outside to its tradition; aspects that make the identity of individuals and
groups, involved in a globalized world.
In conclusion, we can understand craft as the production of local objects that
enter in market dynamics. Marked by manual production and use of natural
materials prevails, characterized by the use of techniques transmitted by
tradition and forms of creation that include artistic, aesthetic, cultural, and
morphological elements, the use and significance, related to the experiences of
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craftsman by tradition or evolution. These products can be considered an
expression of identity and national culture. Their production is influenced by
historical, geographical and cultural contexts where they occur and by foreign
elements derived from outside groups.
Crafts show the process of social construction of heritage, and their production
and technological processes are associated with the practices of the everyday
life.
UNESCO recognizes (the) craft as one of the forms assumed by traditional and
popular culture to represent the creative activity of a community .lt also
recognizes that they are based on tradition, being an expression of cultural and
social identity.
Government policies around the craft have two fundamental sides, being the
first of economic development and the second, where the craft is understood as
the nation's cultural heritage.
The current economic system in which craft production is involved requires
taking into account local society producers and the requirements demanded by
the market. The studies developed in this area should be directed to find a
balance between the tradition of craft and its commercialization in large or small
scales, trying to minimize the negative impacts on social, cultural, physical or
economic aspects.
The only way to understand craft production as a tangible and intangible
heritage of humanity is approaching to the artisan communities to observe its
production as a result of a society in a constant state of change and at the same
time decode the interrelation with other components like changes in
environment, and production methods, marketing, communications, advertising
and commercialization.
It is necessary to interpret the human being in the environment where has been
developed. Only in this way we will be able to plan a series of actions related to
the use of craft heritage, for commercial purposes or for purposes related to
cultural tourism, without affecting to the normal development of the artisan
community.
THE TOURISTIC ATTRACTION OF CRAFT PRODUCTION
Inside the network of relations established between artisans and buyers, it is
necessary to consider the attraction that certain aspects of the culture of the
first group can cause. Essentially tangible elements of craft like color, form,
design, material, type of production, and all those others components that can
seem attractive to tourists whose interests are related to culture. I am referring
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to those signs of identity of craft product, specific from every region, which can
be easily captured by buyers or sellers and are used as a claim to motivate a
purchase. This shows the idea that craft can reinforce the memory of a trip, or
become an economic and ideological support of a community or environment.
In our Western society, only the factors that are advertised properly can arrive
to a wide range of public. In the case of craft, only a few site-specific products,
due to their exoticism or touristic success, can be easily promoted. But we
must consider that a handicraft production contains elements that configure
their distinctive heritage identity and that there are groups and institutions that
are conscious of their value, want their conservation and projection; both the
members of the community and outsiders.
The visitor is looking for a place not only for resting, a good part want to
participate in cultural activities. In this sense, museums, historic monuments
and natural parks stand out in applications for tourists, as places of interest that
cover these needs. Today, crafts as a product and its surroundings; workplace,
artisans, techniques, have become a claim for the visitors of a place.
The fact that a tourist knows the cultural heritage of a region can be highly
positive, if in addition it will offer a series of actions that promote the assimilation
of that heritage. In this way, we get, first, that tourist people understand some
aspects of the identity of their hosts, and on the other hand, that artisans
become interested in preserving and activating elements that in other
circumstances could be relegated.
We should not take an extreme position considering that, only through tourism,
crafts can be recovered as Patrimony (because the responsibility of keeping
alive a craft concerns to the producer community), but it is necessary to affirm
that tourism is useful in the re search for this purpose.
Each community, by itself, needs to work to inventory, catalog, preserve,
transmit and activate its own heritage. This decision should depend exclusively
on the members of each group, and can be implemented with financial support
from private or public institutions and companies.
A place can be known through its heritage elements into which the craft has an
important role, so the tourists will take the image that his hosts offer and this will
provide an economic benefit and serve to reinforce the esteem about the
community identity factors.
POPULAR CULTURE AND HERITAGE
Culture includes the tangible and intangible production, all the creative aspects,
social networks, religion and ideology, that are manifestations of human beings.
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We also have to take into account the continuous processes of change,
characteristic of society.
Cultural heritage is what differentiates individuals belonging to different ethnic
groups, in this definition we can include architecture, legends, historical texts,
music, poetry, clothing, crafts, and the knowledge about ways to produce,
among others.
These manifestations must be recognized as their own by the groups in order to
be considered cultural heritage. So, although the heritage is built continuously, it
is not defined until it has been incorporated into the lifestyles of the group.
Both traditional and new aspects are part of the heritage creation. That is
culture. Considering only the old features as likely to be preserved and
disseminated, is denying the evolutionary processes of individuals and
therefore, the logical creations motivated by cultural changes.
Cultures and their expressions are alive and are being built. Craft is no stranger
to this phenomenon, as it is the product of a culture, so craft is affected by their
interaction (especially for marketing and tourism). This fact made many artisan
groups modify aspects of their cultures.
To understand processes or artisanal products, modified in accordance to
tourism, we need to investigate how its inhabitants have adapted to new social
forms and how that relationship has led individuals to know their own heritage.
Today, many tourist destinations have decided to offer specific cultural aspects.
The benefits obtained through tourism can be managed from different positions:
economic, social, cultural, etc., for tourists and local people.
CULTURAL TOURISM
Tourism always had a cultural aspect. Many of the trips that have been made
throughout history were motivated by the interest of visiting places in which you
could find artistic manifestations or historical interest. As part of the motivations
for tourism, we can find, interest in learning about groups of individuals from the
so-called "other cultures" or "exotic cultures". Travel, see other places and meet
other individuals, helped to disseminate elements pertaining to the lifestyles of
both.
In these early days, the systems transmission of information were slow. In fact
only a few persons were involved in the activity and generally kept the distance
between autochthonous groups and visitors.
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It was in the twentieth century when tourism began to link to heritage as a way
to affirm the own identity. At the same time, states have just begun to
understand their role in the development of cultural tourism. All this will make
possible that patrimony acquires an important economic role and cultural
tourism is beginning to be considered essential in the presentation of tourist
offers for visitors.
Today when we talk about cultural tourism we are referring to something more
specific such concrete interests that some tourists have in visiting certain
places. Included inside the alternative tourism, in which other possibilities are
offered outside the rest in a place more or less beautiful with an attractive
climate.
Cultural tourism is defined by the International Labour Organisation as the
possibility that people have to tap into the natural history, human and cultural
heritage, arts and philosophy, and institutions of other countries or regions.
Those who usually practice cultural tourism consume aspects of the heritage of
a particular location with the intention, presumably, to understand the place and
those who live or lived in it. And this should be done through the use of images
displayed on the site and additional information obtained by writing brochures
and manuals, tourist guides, documentaries, among others, and also through
contact with the hosts.
We can distinguish three types of cultural tourists (Greffe, 1999 pág. 15)
(Hernández Hernández, 1998 pág. 379):
1. The "experts", who are those who travel regularly and systematically.
There is usually a relationship between their work and the touristic
practices they perform. This represents between 10 and 15% of visitors.
2. "highly motivated" tourists. Although there are other causes for their
holiday trip, the main cause is culture. This group constitutes over a 30
or a 40% of the visitors.
3. "Occasional" tourists. That is a group that includes all those tourists that
on vacation develop cultural activities irregularly, scrolling a maximum of
50 Kilometers. They represent between 45 and 60% of visitors.
Obviously, these tourists will have different behavior in the moment of
visiting cultural heritage. Those classified as "experts" and many of the
"highly motivated", previously usually report what they will see, so they will
understand the aesthetic, historic, artistic, etc. of the visited place. Prior
knowledge of heritage, and their sensitivity to it, will encourage an attitude of
respect. However, the feeling to individuals that produce or have produced
these cultural manifestations, is not always appreciated.
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In addition, most of the visitors that are from the third group of the
classification presented: those who come, so "casual", to the places of
cultural interest just as an alternative to a vacation planned for other
purposes; have little or no information about the places or have little interest
in enjoying them. Their visit is another activity to achieve an end: to enjoy a
pleasant holiday, ideally, different. Therefore, if the heritage interest does
not exist, they can not worry about its meaning, value and, of course, they
will not worth their respect.
TOURISM AND CULTURAL CHANGE
In the relations established between the tourist and local resident, there is a
transfer of cultural elements. This exchange may be beneficial or detrimental, it
is a process of acculturation, situation that occurs when two or more groups
with different ethnic identities, coexist in the same physical space; in these
cases certain cultural elements pass, as a loan from one society to another,
either mutually or with the subordination of one of them.
In many places diverse heritage elements are changing in terms of tourism. We
have an example in the restoration of old urban areas, being a clear evidence of
heritage directed activation generally made, to cover tourism offerings, some of
these projects do not produce the expected results.
We also found that the implementation of numerous cultural programs to the
tourism sector do not get the desired effect. But good planning and political will
achieve activation of urban spaces, symbolic monuments, dances, traditional
songs, crafts, etc.
The activation of certain patrimonial elements as crafts, with only touristic
purposes would result in structural changes in the product, modifying the
manufacturing process, transforming crafts to industrial products or in seriate,
which could lead to its rejection.
The object made using traditional methods, fundamentally handmade and
excluded from industrial processes, is loaded with cultural characteristics of
exclusivity. By introducing the craft in the commercial dynamics of the tourism
chain, the object is transformed and consequently in some cases may lose their
traditional role by acquiring new meanings for both producing society and to the
receiver.
For example if we take a ceramic bowl initially developed for everyday use in a
community, this object can be transformed into "a souvenir" for tourists,
changing their use and meaning. The concept of handicraft product, is
transformed. This conclusion is based on the idea that anthropological heritage
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is a living set of identifying features of a society (cultural elements in permanent
transformation) . We're talking about culture and culture is built every day.
By working with tourism societies that, logically, establish ongoing relationships
with outside groups, we notice that cultural change processes are usually rapid.
The approach to tourism in its economic and industrial aspects, brings this
market relationship established between heritage objects and tourists.
In the evolution of crafts we see a clear example of how this contact, but is
necessary for us to distinguish the craft object and the serialized object made
for tourism (a souvenir), although both can be purchased by visitors as a
souvenir of the trip.
Regarding the craft that preserves more functional structures, formal and
traditional production, we can say that there is a kind of consumer looking for
that unique piece, provided with a unique aesthetic and different from the object
produced by the serial work. We must clarify that the traditional craft in relation
to cultural tourism is also produced solely for the visitor, leaving aside real or
social use.
Traditional handicraft production and with meaning must be differentiated from
another addressed to mass tourism (which complies with the requirements of
being small, easily portable and economical). The two types of production
should reflect the culture in which they are produced, also responding to what
the potential buyer, usually ignorant on traditional crafts, think and expect to find
in the area.
ENGAGING THE TOURIST IN THE CONSERVATION AND
DIFFUSION OF THE CRAFT
The best way for tourists to know and respect the heritage of the areas visited is
that, in some way they feel identified. For this they must be active observers,
and thus create a sense through the fact of observation.
If the tourist areas are adapting a number of items to visitors, such as
infrastructure, museums, etc. Why don’t we do the same with the craft?
Now the question is how to do it without misrepresenting its essence, if the true
interest of craft is that it may serve as a communication instrument of heritage
and as a way of economic income to improve living conditions of its producers,
How do craft chains can come to some tourists, apparently uninterested in the
specific culture of the place, but wanting fill their free time of something different
and take a good memory to their homes? And in addition, how can we do it
without falling into a trivialization of the heritage, type serial product? perhaps it
is not so difficult.
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The tourist demand increases, does not accept any orientation, rejecting out of
hand what they do not feel involved. In craft stores heritage can be assimilated
under the guidance of those who work there, whether sellers or artisans, this is
one of the reasons why this type of businesses should not remain static. The
buyer will be the protagonist, it must take into account the tourist at the time of
giving substance to the handmade product. That’s why it is necessary to know
their concerns.
Heritage should be understood as a set of factors, cultural and natural, that
interact with each other and they build identities, so if you want to know and
transmitted the value of the Patrimony of a specific location, we must take into
account all its components.
We find that the demand of recreational spaces is increasing and different
aspects of the heritage are used to make an offer attractive to tourism. The fact
that today, the interest and respect for the environmental ecosystems becoming
more and more recognized in our society, promotes the inclusion of these
factors when designing the knowledge and interpretation of heritage in general.
In this interpretation we have to take into account the relationship between men,
nature and culture understanding it as a communication process in which
through its participation, a first-hand experience is being generated with an
object, artifact, landscape or site. For this reason, in order that the heritage
message of craft will be understood by the visitor, this should be involved at
some point in the chain.
The objectives will pretend with this new interpretation of craft heritage are:
• After the interpretation, visitors can develop a deep awareness,
appreciation and understanding of the areas visited and consequently
the craft product characteristic of the zone.
• We must encourage the visitor to try the resource adequately, by being
made aware that he is in a special place, and therefore that he should
have a special behavior.
• The interpretation may be used to minimize the possible damages from
human impact, such as focusing the visitor on a particular task in the
production chain craft.
• Promote and facilitate public understanding, transmitting a series of
messages that correspond with the desired growth objectives.
• Emphasize the understanding and appreciation of heritage, leading to a
respect and awareness of the need for its conservation.
• Increase visitor enjoyment, understanding that an comprehension of the
place increases the pleasure produced by the visit.
In all this is necessary to emphasize the importance of both tourist guide and
the craftsman. The first as an instrument used by tourists as guidance in the
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moments in which they wish to opt for the cultural tour and the second in the
way of transmitting the message and teaching of their craft.
It is important that both guides and artisans have, previously, a clear
awareness of heritage. They should serve as mediators to the tourist into
folk events that involve culture and lifestyle of a region.
The knowledge and enjoyment of heritage is not only important for the
reaffirmation of artisan community, it can also be a key factor in the
development of a place that bases its economy on tourism. The problem is
in ill-designed policies looking only economic benefits, these actions in the
long-term have a negative impact into the community.
CONSEQUENCES OF TOURISM LINKED TO CRAFTS
PRODUCTION
The ignorance of craft heritage and of their value as an element of identity, is
the biggest problem we face when talking about the respect for culture in the
field of cultural tourism.
Today the culture, in all their manifestations, constitutes one of the most popular
tourism incentives, if we lost cultural characteristics in some populations like the
case of excessive transformation of a handmade product (to the point of losing
their identity values) all, tourists and artisan community would be harmed.
The economic prospects than are being generated around the crafts are quite
promising and local production have become a commodity that can be sold in
the market, jeopardizing even their own survival and identity. Today the
governments of practically all the countries aware of the richness and value of
artisan cultural heritage, at the same time they are conscious of the rapid
deterioration that is suffering: For this reason they are also cognizant of the
many reasons cultural, economic and social justify the continued effort to be
done to protect and preserve the craft chains.
So, what should we do to minimize the effects that the low esteem to the
cultural value of the craft can cause?
As in so many things the contributions of education are fundamental. Training
and awareness of young people must be made between all sectors. But the
value of cultural heritage becomes known not only through formal education, as
is taught in academic institutions and through institutional courses and
conferences. There are other initiatives that can help training the same way and
that target both the regulars of the classroom and those who ignore them.
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Some of these non-formal initiatives include:
• Animation campaigns to involve people in conservation, protection and
enhancement of heritage.
• Using multimedia techniques, audiovisual, advertising campaigns
(postcards and brochures, videos, conferences, etc).
• Dissemination of ethical message through various media.
• Organization of competitions, exhibitions and debates to attract the
interest of political leaders and the general public.
• Dissemination of educational experiences performed for serve as
references for further action.
It is important the change that is occurring in tourism development in certain
places, creating a series of conditions that will make possible that the resources
obtained through tourism be invested in the towns through investments in
diverse projects as cultural , educational, health, etc. In addition, these projects
should promote, in the future, preservation of craft and natural heritage, through
careful planning made of/by the promotion of tourist space.
We must start from the premise that tourism does not exist without culture and
that the cultural effect of visitors and tourists shows reflected in the interior of
the host community. Projects developed around the promotion of crafts as a
key of cultural tourism will be the basis for the feedbacks between the different
actors, having visible impacts in the location and in craft production, in a
positive or negative way.
BIBLIOGRAPHY
− Arévalo, Javier Marcos. 2010 «El patrimonio como representación colectiva.
La intangibilidad de los bienes culturales.» Gaceta de Antropología N.26,
Departamento de Filosofía II - Universidad de Granada.
http://www.ugr.es/~pwlac/G26_19Javier_Marcos_Arevalo.html (último
acceso: julio de 2010).
− Barroso Neto, Eduardo. 1999. «Diseño y artesanía: limites de intervención».
Revista GDM http://www.mexicandesign.com/revista/disyart.htm (último
acceso: 2010).
− Blas García, Manuel. 2005. «Arte-artesanía, interacción histórica». Revista
Bibliográfica de Geografía y Ciencias Sociales, Vol. X, N° 599, Universidad
de Barcelona. http://www.ub.es/geocrit/b3w-599.htm.
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− Bolívar, Edgar. 2004. «la artesanía: patrimonio vivo de nuestras culturas».
Cátedra UNESCO Gestión Integral del Patrimonio en el marco del II Curso
Taller Internacional “Elaboración y gestión de planes de manejo para
paisajes culturales, estudio de caso Paisaje Cultural Cafetero”. Manizales -
Colombia: Universidad Nacional de Colombia.
− Canclini, Néstor García. 1990. «Ni folklórico ni masivo ¿qué es lo popular?»
− Greffe. X. 1999. Anthropos: La gestion du patrimoine culturel [Publicación
periódica]. - Paris : [s.n.]
− Hernández Hernández, Francisca. 1998. El museo como espacio de
comunicación [Libro]. - Gijón : Ediciones Trea.
− Martí, Josep. 1996. «El Folklorismo, Uso y abuso de la tradición». Ronsel
S.L., Barcelona.
− OEI, Organización de Estados Iberoamericanos. 2002. «Declaración de
Santo Domingo, La diversidad cultural iberoamericana y el comercio
internacional de bienes y servicios culturales.» VI Conferencia
Iberoamericana de Cultura. http://www.oei.es/vicic/dec.htm.
− Organización de las Naciones Unidas para la Educación, la Ciencia y la
Cultura. 1989. «Recomendación sobre la salvaguardia de la cultura
tradicional y popular». 25° Conferencia General , Paris
Silvana Navarro Hoyos
MBA for companies and cultural institutions
Master in Latin American Studies
Ph.D. candidate in Society and Culture
University of Barcelona
snavarrohoyos@gmail.com
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