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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

8.3 Appendix Three: Maps of Study Sites .............................. .ee.e..e......l17

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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Appendix One:

Census Data on Ethnic Origin

Ethnie Origin of Rural Census Tracts Along Evageline Trait (Based Upon Results of the 1991

1Bnt$h

I French

O German

Black OrJgins

I Canadian

Q Dutch

Aboriginal

Rural Communities

Appendix Two:

Questionnaires and Results

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

Appendix Three:

Maps of Study Sites

i c i

Map # 3 - Map of Clare / Argyle Municipal Districts Sbowing locationr of mujor'~lltce-iittl~1~es" idmt$ed .fiom A p d to Auffut 1997

U NORTH