stimulating local cultural and heritage products - … · services that build on the rich culture,...

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In collaboration with:Tourism Business Council of South AfricaThe Department of Trade and IndustryThe Department of Environmental Affairs and TourismFunded by: International Finance Corporation

Written by Caroline Ashley, Clive Poultney, Gareth Haysom, Douglas McNab and Adrienne Harris.

Produced byOverseas Development Institute

Business Linkages in Tourism

How to…?Tips and tools for South African tourismcompanies on local procurement,products and partnerships.

Brief 2: Stimulatinglocal cultural andheritage products

Department:Trade and IndustryREPUBLIC OF SOUTH AFRICA

the dti

Department ofEnvironmental Affairs

and Tourism

Sep

tem

ber

200

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S t i m u l a t i n g l o c a l c u l t u r a l a n d h e r i t a g e p r o d u c t s

PREFACEThe purpose of the ‘How To…?’ series is to assist tourism companies to take advantage of opportunitiesto contribute more to the local economy. The intended audience is tourism businesses of various sizesand operational types. Other guidelines already describe what to do, and why, for more responsible,sustainable or empowered tourism. This How To series focuses on how to do it. It provides practical tipsdrawing from the experiences of successes and failures.

In addition to an executive summary, there are four briefs in the series. These are:1. Boosting procurement from local businesses 2. Stimulating local cultural and heritage products3. Building local partnerships4. Setting corporate priorities and managing internal change.

The first three focus on different types of local linkages and thus may be used by different operationalstaff (chefs, buyers, guest relations officers, lodge managers etc). The fourth brief gives tips on how tomanage corporate change in order for any of the first three to be effective in the long-term.

Tips , Warnings , Examples , Government and Institutional issues , Useful tools , Quotesare marked throughout.

There are several issues that are only touched upon in this brief, but expanded upon in one of the others.

Additional copies can be downloaded from www.odi.org.uk/rpeg/research/pro-poor_tourism/howto.htmlHard copies are available, free of charge, from Business Linkages in Tourism. Contact Adrienne Harris,[email protected].

ACKNOWLEDGEMENTSA great deal of thanks is owed to many individuals and organisations that made the ‘How To…?’ seriespossible.

The project was funded by the International Finance Corporation (IFC), and initiated by WildernessSafaris and Spier in collaboration with the Pro-Poor Tourism Pilots project. It was managed by a SteeringCommittee of Malcolm McCulloch (Wilderness Safaris), Tanner Methvin (Spier), Adrienne Harris(TBCSA), Kate Rivett-Carnac (the dti), Lisa-Ann Hosking and Kele Molopyane (DEAT).

Many tourism operators gave up time to be interviewed and provided information on their experience:

Jaap Kleftenberg (AAA Tours), Grant Ruddiman (Arabella Sheraton Group SA ), Paul Miedema (CalabashTours), Jennifer Seif (Fair Trade in Tourism), Chris Bertie (Halcyon Hotel Group), Graeme Arendse and JoyBennet (Imvubu Nature Reserve), Judi Rebstein (Jan Harmsgat Country House), Craig Doria (Ker andDowney), Bernie Samuels (Klein Begin Laundry), John Rosmarin (Lesheba Wilderness Lodge), GeorgeWardlow (Luwawa Forest Lodge), Eddie Koch (MAFISA), Pete Christodulou (Mbotyi River Lodge), TimFoggin (Advisor to Mbotyi), Noel de Villiers (Open Africa), Robert Davids (RAiNN), SamuelLekgethenyene and Elizabeth Phiri (RECOPRO), Aldrin Ndalani (Ribolla Tourism Association), MichelGirardin (Shiluvari Lakeside Lodge), Adrian Enthoven, Cherie Immelman, Heidi Newton King, TannerMethvin, Lesley Joemat and Lindsay Small (Spier), Ralph Freese (Spier and Sun International), AshleyWentworth (Stormsriver Adventures), Rampofeng Nditsele, Dan Ntsala and Michelle Webber-Steyn (SunCity), Peter Venison (Tsogo Sun), Pat Goss (Umngazi River Bungalows), Patrick Bodham-Whetham andMalcolm McCulloch (Wilderness Safaris). The briefs draw heavily on the experience of the pilot sites ofthe Pro-Poor Tourism Pilots Project (see back page).

The drafts were reviewed by Steering Committee members and a Review Group comprising WolfgangThomas (Centre for Responsible Tourism Research at Cape Peninsula University), Clifford Ross (CityLodges), David Rattray (Fugitives’ Drift Lodge), Justin Pooley and Irene Visser (IFC), Alan Louw (LesediAfrican Lodge / Tourvest), Ted Stilwell (National Accommodation Association South Africa), MichaelWarner (ODI), Harold Goodwin (Responsible Tourism Partnership), Wayne Duvenage (SAVRALA) andMorne Bosch (Spier). Participants at a Pro Poor Tourism (PPT) Pilots workshop also provided commentson summary drafts.

Research, liaison, text revision, and administration was done by Oliver Reichardt and SebastianBrinkmann of ODI. Editing was done by Jennifer Stern. Layout and printing by Global Calendars andPublications.

© Copyright: Overseas Development Institute and Business Linkages in Tourism, 2005.

Photographs courtesy of: Caroline Ashley, Clive Poultney, SA Tourism, Fair Trade in Tourism South Africa, Wilderness Safaris, Calabash Tours, Umngazi River Bungalows, Stormsriver Adventures and George Hallett.

1S t i m u l a t i n g l o c a l c u l t u r a l a n d h e r i t a g e p r o d u c t s

ContentsStimulating Cultural and Heritage Tourism Products 2Benefits 3Constraints 4Different Approaches 5

Getting Going 6TIP 1: BE STRATEGIC IN ASSESSING YOUR NEEDS AND PRODUCT OPTIONS 6

by assessing corporate objectives and the local cultural heritage thinking laterally in exploring cultural product potential

TIP 2: DECIDE WHERE TO COMPETE, AND WHERE TO 7COMPLEMENT LOCAL BUSINESS by developing products with synergy between your skills and

those of community entrepreneurs

Matching Supply and Demand 8TIP 3: ASSESS MARKET DEMAND AND CATER DIFFERENTLY TO 8

MAINSTREAM AND SPECIAL INTEREST MARKETSby providing an accessible general product for the mainstream market

developing complex products for the cultural specialists

TIP 4: DEVELOP THE SUPPLY OF INNOVATIVE, QUALITY, 9AFFORDABLE LOCAL PRODUCTSby helping entrepreneurs with USP and quality

developing new ideas building on established anchor attractions and day to day activities

TIP 5: BALANCE AUTHENTICITY WITH PRACTICALITY 10by ensuring authentic feel by building in chances to talk to local people,

working closely with partnersensuring safety, accessibility and workable scheduling

TIP 6: LINK PRODUCTS TO MARKET CHANNELS AND NETWORKS 11by building in preference for locally produced curios and products

integrating new products into established channels of tour operators, tourists and government

Making it Happen 13TIP 7: BUILD MUTUALLY BENEFICIAL RELATIONSHIPS WITH THE 13

RIGHT PEOPLE IN THE COMMUNITYby understanding who has cultural skills, leadership roles and

entrepreneurial opportunitiesstructuring a partnership that is transparent, fair and delivers local benefits

TIP 8: ASSIST LOCAL SMMEs WITH BUSINESS ADVICE, 14NETWORKS, AND MARKET ACCESSby providing advice on tourist tastes, new business ideas, adding value

using your networks and facilities to help SMMEs market their business

TIP 9: PLAN LOGISTICS CAREFULLY – AND EXPECT SURPRISES 16by planning and budgeting for logistical issues from the start

assisting cultural entrepreneurs with transport

TIP 10: UPGRADE FACILITIES AND INFRASTRUCTURE – TOILETS AND MORE 17by ensuring toilets and facilities are adequate

bringing in local government where possible

TIP 11: WORK ACROSS THE DESTINATION AND INVOLVE 18OTHER TOURISM OPERATORSby using festivals, routes, and local branding to bring competitors together

TIP 12: BALANCE COMPANY PROCEDURES WITH CULTURAL PRODUCT PROVISION 19by assessing whether standards and procedures can be met or adapted

assessing how to integrate new cultural products into day to day operationsSUMMARY, CONCLUSION AND CHECKLIST 20BACKGROUND INFORMATION Inside back cover

Stimulating Cultural andHeritage Tourism ProductsCultural and heritage products make a southern African trip unique and memorablefor tourists. They provide the word-of-mouth stories that bring return guests, andthey can draw an ever-widening range of South Africa’s population into the tourismindustry. They are also a key way for companies to diversify their product andstimulate the local economy.

There is a vast amount that established tourism businesses can do to help localcultural products and businesses thrive, such as developing an archaeologicalexcursion for guests in partnership with local residents, supporting a local dancefestival, providing business and marketing advice to a music business, training localguides as specialists in local history and environment, or integrating local crafts intohotel furnishings.

A tourism destination that thrives on local cultural products will open up manyopportunities for local people and economic growth. Of course disadvantaged SouthAfricans must not be pigeon-holed into one corner of the tourism industry. But if thecultural and heritage products are not developed to full potential, myriadentrepreneurial opportunities will be closed off to those who could most takeadvantage of them.

South African Tourism’s (SAT) data indicate cultural products are highly desired bytourists, but that they are currently under-performing. Interest in South Africancultural products varies between foreign tourists but is generally high, with 85% ofAmerican tourists, 77% of Europeans and 60% of Asians being interested in exploringthe culture of South Africa. Product usage patterns indicate that the cultural product isin high demand, but questions around quality have been raised by the industry.

This brief outlines how established tourism operators can stimulate the local supplyof cultural and heritage products. It provides examples, tips and warnings from the

e x p e r i e n c e s o fthose who havealready invested inthis area.

2 S t i m u l a t i n g l o c a l c u l t u r a l a n d h e r i t a g e p r o d u c t s

Acronyms DefinitionsDMO Destination Marketing OrganisationFTTSA Fair Trade in Tourism South AfricaPPT Pro Poor TourismRTA Ribolla Tourism Association

Acronyms DefinitionsSAT South African TourismSMME Small Medium and Micro Enterprise USP Unique Selling PointZAR South African Rand

ACRONYMS AND KEY TERMS

Face to face withSouth AfricanCulture.


BENEFITS Enhanced products, guest experience and brandingClients will gain from a more diverse range of goodsand services, and the brand itself can become moreoriginal and distinctive if it incorporates elements oflocal culture.

The creation of business opportunities for local communities and emerging entrepreneursSmall entrepreneurs and local enterprises are keen to get established in tourism. Butwith limited access to capital and international networks, large-scale investments inhotels, lodges, car rental or reservations are difficult. However, they face a muchricher seam of opportunity in developing tours, excursions, homestays, curios andservices that build on the rich culture, heritage, politics and history of South Africa.

Exploiting unfulfilled potential in South Africa’s tourism sectorSouth Africa’s cultural product has, according to SAT’sGlobal Competitiveness Study, not been fully exploited.Although the cultural resource is seen as a strongadvantage, the tourism industry believes that it isunderperforming relative to its potential. Museums, SouthAfrican cuisine, African curio shops, and townshipexperiences are all identified as requiring improvement and diversification1.

SAT’s gap analysis showedthat more tourists desiredcultural and histor icalher itage than wi ldl i feviewing, but fewer hadexperienced it while inSouth Africa. SAT concludedthat South Africa’s culturaltourism product is one ofthe country’s key attractionsand needs development.

1 SAT, 2004:166

Interaction with local people and cultures is often thehighlight of a guest’s visit, thus helping to attract abroader clientele and encouraging guests to stay longer.

Supporting local tourism enterprise is a tangible way todemonstrate your support for the local economy, gainlocal licence to operate and improve your performance onthe BEE Scorecard.

At Shiluvari Lakeside Lodge,where guests are encouragedto visit local artists at work,and local culture is profiled,occupancy has increased 25%in the las t three years . Due to their approach andFTTSA certification, Shiluvarimanagement perceives highstaff morale and improvedv i s i t o r e xpe r i ence , p lu sincreased recognition andenhanced reputation fromlocal stakeholders and thewider industry.

Calabash Tours employs four local guides (three of whomhave each bought a 10% share in the company), and takestour groups through Port Elizabeth townships. Guests drink atlocal shebeens, listen to local bands, walk in the informalsettlements, visit schools, and hear about the township’srelation to apartheid city planning and to the politicalstruggle. The tour is up-front in not being just a ‘look-see’ –political history, local conversations, and walking are included.

Calabash tours are being sold to the mainstream market.Thompson’s and Fairfield coaches stop twice a week. Thebusiness also has commendable international recognition,winning the overall classification, as well as ‘Best for PovertyReduction’, at the Responsible Travel Awards at London’sWorld Travel Market (WTM) in 2004. The owner, PaulMiedema has invested heavily in developing links with theshebeens, bands, schools and other cultural entrepreneurs. Heprovides an on-going stream of business advice, helping thecommunity to improve and develop their product, and has setup a charity to channel donations.

The cultural product needs to be“more targeted, more authenticand more sophisticated”. (GlobalCompetitiveness Study)

CONSTRAINTS

Under-development and lack of marketing of cultural productThe tourism market has traditionally been focused on wildlife and wilderness, coastalproduct, or business tourism, so many tourists and operators are not mentally gearedtowards cultural tourism. Cultural product development needs innovation and risktaking, but much tourism development has been based on duplication and imitation.In South Africa there is a narrow view of what constitutes cultural product – townshiptours and beaded necklaces – and a lack of appreciation for the diverse ways in whichculture and heritage can be integrated into sophisticated tourism.

There is a widespread belief that domestic tourists and business tourists are notinterested in cultural products, although SAT data indicate that 64% of domestictourists are interested in exploring the culture of South Africa. This misperceptionmay be related to not effectively marketing what is available in the country todomestic tourists (SAT, 2004)2.

Quality of the cultural tourism productThe risk of a tacky product is high. Some companies decide it is easier and cheaper touse their own staff, for example, to perform cultural shows, and they assume thediminished authenticity from doing it in-house will not be a problem forinternational tourists. Doing it well is a challenge.

Lack of business expertise and experienceThose who have the greatest cultural and historical knowledge are often those withleast business experience, and least opportunity to set up in tourism. In order toproduce a quality cultural experience it is almost obligatory to form some kind ofpartnership with local communities, Brief 3. Although there is a risk of failure,partnerships can be very successful and dynamic.


2 SAT, 2004:171, www.southafrica.net//satourism/getTradeltem.ofm?Tradeltem/D=176

Ndebele woman with traditional gear.


DIFFERENT APPROACHES There are different approaches to including culture and heritage into your product,but the common principles are to develop quality products, ensure they are marketedappropriately, and engage with local communities and entrepreneurs to catalysebusiness development.

Developing new products for guests through direct collaborationNew offerings for guests may include an evening in a shebeen or restaurant, livemusic, crafts to buy, a visit to a heritage site or cultural centre, guided walks to viewlocal flora and fauna, historical and archaeological sites, a home stay or a visit toartists at work.

Usually such products are provided by local SMMEs working in collaboration with anestablished hotel or tour operator. The linkage between them usually combines acommercial relationship (commission or payment for provision of meals/goods/drinks/tours, etc) with an element of technical support. Sometimes it works, sometimes itdoesn’t. Both the successful Calabash product, Tip 5, and the unsuccessful SouthernSun/Alexandra collaboration, Brief 3, Tip 2, utilised this approach.

The link with local cultural product providers may be a critical part of core business,and of the product offering. For example, Mbotyi River Lodge on the Wild Coast onlyprovides accommodation and food to its guests, as all activities are provided by localpeople – river guides, hiking guides etc. The success of the lodge, which facilitates theprocess of guests hiring guides, depends on the success of these SMME services.Alternatively, the new product may be an optional extra – at least at first.

Support for local networks and expansion of cultural and heritage activitiesBeyond different contracts, there are other ways to assist local business developmentaround cultural products. Examples include sponsoring events and festivals,supporting a producers’ association with marketing and materials, providing trainingto businesses, or providing tourists with information that encourages them toengage and spend locally. For example, Jan Harmsgat Country House brings localperformers from rural areas around Swellendam together with national artists incultural events. Spier Leisure, which operates Spier Village Hotel, assisted bed andbreakfast operators in Kayamandi Township to get established, and provided on-sitetraining for them.

Integration of local cultural elements into the business environment. Furnishings, guest amenities, mementos and stationery can all be adapted tointegrate local cultural flavour. In this approach, it is not a specific cultural productor activity that is being offered to the tourists, but an adaptation of what is alreadyon offer. This may be the only way in which cultural and heritage products areutilised, or it may complement cultural products and contributetowards developing cultural branding. The product suppliedmay be small – decorative art, furnishings, greetings cards,mementoes, indigenous vegetables and recipes for the kitchen– but the volumes can be large or the profile significant. Locallymade art and furnishings can add a distinctive touch and localflavour. Their impact is enhanced by providing guests withinformation on the source and meaning of the art, or linkingthe artworks to local exhibitions or museums.

Local African art in Park Hyattand Arabella Sheraton Hotelsgets a high profile.

When Spier Village was built,the restaurant table tops weremade from local mosaics, whichproved a popular and veryattractive talking point.


Getting GoingTIP 1: BE STRATEGIC IN ASSESSING YOUR NEEDS AND

PRODUCT OPTIONS Accurately assess your needsBe sure of your reasons for including culture and heritage in your product, as this willaffect the type of product you choose. Ask your existing clients what would appealto them and, if you are trying to attract a new market, do some research to find outwhat would best suit it.

If your aim is to boost occupancy rates, the new product will be core to the operation,and market analysis and customer satisfaction will take priority. If the intention is todemonstrate social commitment by involving the local community, concentrate onbuilding local partnerships, Brief 3.

If the new product is core to the established business, you will need to devotesignificant resources to it. There are a number of ways to incorporate culturalelements into your product without exposing the company too much in the way of risk. You could offer it as an optional activity at first, or incorporate local artisticand cultural flavour into the operating environment – in the food, furnishings,amenities or uniforms. Understanding your market is an essential part of this process, Tip 3 below.

Think laterally in exploring cultural product potential Successful cultural product development requires innovation. In considering what ispossible, think laterally. How can existing cultural products be upgraded to meetmarket needs? How can existing conventional excursionsinclude a cultural or historical component? What added valuecould be gained by explaining to tourists new facts about theorigins of what they see or do? How can traditional craft beadapted for modern uses? Initial discussions will only scratchthe surface, so continue exploring new ideas.

Understand the areaKnowledge of the local culture is essential for identifying whatproduct development is possible, and for doing so on a basis oftrust and respect. Outsiders’ or newcomers’ understanding of the culture of an area

may be very superficial so a local facilitator, who canalso help you to understand the local power issues andpolitics, can be very useful. Consider making links witha local museum or with artists and writers who mayhave a much richer appreciation of local culture.

An example of adapt ingtraditional culture for modernmarkets comes f rom theGambia, where local womenare making traditional Gambiancostumes for Barbie Dolls. It hasproved a popular purchaseamong tourists.

When Wilderness Safaris got involved inMaputaland; they brought in ClivePoultney, an anthropologist with 27years’ experience of working with arange of community projects in theregion. This helped them to engage moredeeply with local communities and drawon specialist cultural products, whilesticking to their own core business.

“Get advice on township ceremonyand protocol. If you’re an outsideryou need a guide – if you’re awhite guy, outsider, like me.” (PaulMiedema, Calabash Tours)

If you don’t speak the language, get a translator.Spend time talking and researching.


TIP 2: DECIDE WHERE TO COMPETE, AND WHERE TOCOMPLEMENT LOCAL BUSINESS

Look carefully at where you compete with,or can promote, local businesses. Balanceyour own profit against other benefits, suchas product enhancement, local recognition,diversification of the tourism economy or theenrichment of the destination. The aim is tocombine expertise not to compete. Forexample, for an established operatorproviding accommodation, it may be best toset up a local cultural excursion for guests,but not commit to sending guests to B&Bs. Apartnership between a tour operator andhome-owners, on the other hand, couldfocus on bed and breakfast products. Theonly rule is to look for synergy.

But in practice this synergy can be a challenge. If the established operator has a good business idea to suggest to local product producers, it is often likely that he or

she could also make a profit from it in competitionwith local businesses. This requires a judgement call about what is core business, and how to balanceprofit maximisation against other business benefits,benefits in Brief 3.

Spier Village assisted bed and breakfast owners inKayamandi Township to improve their product byhosting them for a day and a night at Spier. Beingtourists themselves enabled the women to see whattourists were used to – the standards of service, thetypical routine – and gave them ideas for their ownproducts. The homestay owners were alsoencouraged to try to identify what their products hadthat was unique and worth building on, so as toestablish a distinctive product. This did notundermine Spier’s own accommodation business, asthe B&Bs are catering to a different market. On theother hand, nor did it become part of the corebusiness in the way that local suppliers have becomepart of the Spier supply chain.

In Limpopo, the marketing director of theRibolla Tourism Association (RTA) reportsthat their business has gone down asmore lodges are guiding tourists aroundthe art centres themselves. Whereas somelodges, like Shiluvari, provide informationto their guests about hiring a guide atRTA, other lodges simply sell the productthemselves. Ironically it is the very successof the product that has increasedcompetition, and thus reduced the marketfor the producers’ association.

Develop products that build on synergy between your skillsand facilities, and those of community entrepreneurs.

Balance your own profit maximisation against otherbenefits, such as product enhancement, local recognition,and diversification of the tourism economy.

PPT facilitator invited to join in Zulu dancing at Mqobela.

Matching Supply and Demand TIP 3: ASSESS MARKET DEMAND AND CATER DIFFERENTLY

TO MAINSTREAM AND SPECIAL INTEREST MARKETS There is an enormous difference between touriststhat choose their destination because of the culturalinteractions on offer, and those that are happy to dosomething different for an afternoon, and need achance to stock up on holiday mementos. In thenineties, Maputaland Tours and Sangoma Safariswere developed around Mboza in Maputaland,offering interaction with local people that provedhighly popular with cultural specialists. But as anoffering to guests at Wilderness Safaris NdumoLodge, they struggled, because guests arrivedexpecting two game drives a day, not culture.

If your guests are primarily interested inwildlife, beaches, business, or golf, it doesnot mean that cultural products won’tinterest them. Products that diversify theirexperience can be very successful, so long ast h e y f i t w i t h t h e i r i t i n e r a r y a n dexpectations. Such products for the massmarket are likely to be fairly standardised.For example, at Rocktai l Bay, thecommunity tour offered to guests routinely

is much less in-depth and rich than the specialist tours previously offered. But it meetsthe needs of the tourists for an afternoon activity, and may stimulate the interest ofsome for a more specialised tour.

If, however, the market you’re aiming for isspecifically interested in exploring cultural issues, youcan incorporate a much more specialised product, asthese people will make trade-offs with cost andconvenience for a truly authentic experience.

If you’re catering to mainstream tourists, you canafford to be very pragmatic about what will bring

them in. If tour groupsreally need a toilet in a small town that can be the hook.On the hook you can hang curios, entertainment,refreshments and other services.


“The Sangoma tours were principally forNdumo Lodge, but the volume was toolow. Ndumo was sold as a place withgame drives twice a day. In contrast, atSerra Kafema, in the Kunene Region ofNW Namibia, we sell the Himba visit aspart of the itinerary, and thus as part ofthe expectations of the guest. It worksfantastically. But at Ndumo, it was difficultto repackage the product.” (MalcolmMcCulloch; CEO Wilderness Safaris)

Be realistic. Balance authenticity with whatyour tourists actually want.

Distinguish between the cultural specialistsand the mildly interested. Provide anaccessible general interest product on aregular basis, and reserve the complexproducts for the specialist minority.

Consider varying cultural products andtarget markets over the year. It may bepossible to increase occupancy in the lowseason by attracting groups with adifferent primary motivation and strongercultural interest.

For the mainstream, culturaltours can be offered as a chancefor something different, or anadditional experience to be hadwhen the game viewing is not atits best in the middle of the day.

Use any hook – it doesn’thave to be related to culture.

Pancakes can be used as an entry point for curio sales. Harrie’s Pancake House is a chain ofrestaurants in many of the more popular tourist destinations including the V&A Waterfront in CapeTown and Graskop in Mpumalanga. They all have an attached retail outlet where curios are sold(although not all of these are sourced from South Africa) and the link between the two is now partof the business model.


TIP 4: DEVELOP THE SUPPLY OF INNOVATIVE, QUALITY,AFFORDABLE LOCAL PRODUCTS

Identify what is – or could be – distinctive,marketable and of high quality in the area.This requires lateral thinking rather than justfollowing blindly what has been done beforeor elsewhere. It can only be achieved throughinnovation, collaboration and dialogue withlocal people.

Develop a range of experiences around an anchorOften one strong cultural product can be used as an anchor around which others

d e v e l o p . A r o u n d t h ebattlefields of Isandlwana andRorke's Drift, there is potentialfor walking tours throughroad le s s w i lde rnes s , andproducts that explore localt r a d i t i o n s , s u c h a s t h esignificance of Nguni cattle.

Turn day to day activities into innovative productIt is important to look wide and deep to find products that go beyond the usual. Thechallenge with such activities is to develop them as products that can be scheduledand meet other tourist requirements, Tip 5.In developing the Port Elizabeth townshiptours, Calabash focused on what isdistinctive about PE – the political issues

around the first city tohave a joint area, atransitional council, anda black mayor. Localtours need to focus onw h a t i s u n i q u e o rspecial about the place.

Cultural products can be sophisticatedEven upmarket hotels such as ArabellaSheraton Grand Hotel and The WesternCape Hotel and Spa display sophisticatedcontemporary African art and traditionalAfrican craft in the public areas and hotelrooms. It’s all about quality.

Craft qualityThere are some very successful craft markets, but there are even more unsuccessful

ones, usually because of poor quality or high prices. Explore avariety of sources of funding and ask local museums if they canassist with product development and marketing.

Mboza’s cultural tours in Maputaland included:

• farm work with a family in the fields – ploughingand joining in communal harvesting

• seasonal activities such as making and enjoyingmarula drinks in February

• line fishing with local fishermen. Touristsparticipated in fonya (thrust basket) fish driveswhere 50-300 people line up across a pan anddrive fish to the shore

• attending services in old Anglican missionchurches, as well as African separatist churches

• running and jogging through settlements and intothe sand forests. A half marathon was organisedwith local families

• horse rides through the settlements, includinghaving tea at one of the homesteads

• Sunday lunch at a local home

If the product is mediocre,get expert input to changethat. Or don’t sell it.

There are several organisations and individuals that can provide expert input on craftdevelopment and help drive up quality.

“If entrepreneurs wish to succeed, they needto know that they must develop a uniqueselling point that sets them aside fromeveryone else. If they settle on the mundane,the rewards will be mundane.” (David Rattray,owner of Fugitives’ Drift Lodge)

Many different products can be built around ananchor, which is a high profile sure winner productthat catches the tourists’ interest and business.

Test the products out yourself and pilot them withtourists, you may need to make several adaptations.

Amidst the plethoraof African product, itis important to bringout what is distinctiveto your area.

TIP 5: BALANCE AUTHENTICITY WITH PRACTICALITY One of the biggest challenges is how to maintain sufficient authenticity in a culturalproduct that is packaged for tourists. Lack of authenticity soon leads to tacky ormundane products, and embarrassed or bored guests. But truly authentic culturalevents are not likely to comply with touristrequirements for assured safety, accessibility, andtight scheduling. The balance depends on whichmarket you are serving – special interest ormainstream, Tip 3. More authentic products are mostfeasible on a small scale, while higher volumesrequire standardisation.

The key is to find the appropriate combination of:

• Authenticity – local people doing what is truly part of their culture in a way thatthey would normally do it themselves

• Spontaneity – tourists able to participate and engage with local people

• Safety – monitoring of health and safety standards, including safety of any foodprovided, cleanliness of toilets and facilities, and any physical risk to guests (e.g.from fire, theft)

• Accessibility – a venue that is not too far for tourists toreach, and has space for a group of tourists to watch orparticipate

• Interpretation – explanation in a tourists’ language of theproduct and its significance

• Scheduling – a product that fits into itineraries, whichoften means just a few hours is available

• Compliance – with legal regulations.

However informal or authentic theproduct appears to tourists, it needs tocomply with industry legislation. Forexample, public liability insurance needsto be in place, whether it is covered by thetour operator’s policy or by the culturalproduct. Such compliance issues may beentirely new to cultural entrepreneurs,and this is an area where input from theprivate partner, local government and theinsurance industry can be a great help.


3 SAT Global Competitiveness Study, 2004:173

Guests on Calabash Tours visit shebeensthat are popular with locals, and the livemusic is for everyone, not just for tourists.They get out of the bus to talk to localpeople but the tour is packaged to ensureguest safety and satisfaction. Touristswalk only in areas where Calabash isconfident they are safe, shebeens are pre-selected, and the menus have beenagreed in advance. In one case, Calabashsupplies the meat rather than risk localsupplies. To Calabash owner, PaulMiedema, what makes it authentic andinteresting for the guests is that they getto talk directly with local people – andthis can never be packaged. The tour isled by guides who grew up in the area.

Ker and Downey takes its hunting and photographicclients to visit a traditional Masai manyatta. The area isvery remote, and not visited by any other companies.The clients can accompany the Masai as they go abouttheir daily activities – such as making jewellery – or jointhem for special events – such as bloodletting. TheMasai do not do anything out of the ordinary for theseoccasional visitors. In contrast, the cultural villages thatare on popular tourist routes tend to be specificallyadapted to providing tourist services and information, inorder to deal with volumes of visitors.

Package a product basedon authentic culture and person-to-personinteraction in a way thatensures safety, efficiency,accessibility and legalcompliance.

Building in opportunities to talk to local peopleincreases the authenticity for guests.

“Whilst the diversity and richnessof South Africa’s culture appearsto be well recognised by manytourists, the key challenge seemsto be showcasing it with dignityand authenticity.” SAT3.


TIP 6: LINK PRODUCTS TO MARKET CHANNELS AND NETWORKSLook at how your existing marketing channels can be utilised and encouraged tointegrate the new products, and assess what new channels might be needed.

Prioritise local products within established marketsTourists want to shop, and they want authentic locally distinctive products. Localproducers want to sell their products. And yet often curios on sale are not from thearea – or even not from South Africa. For example, at the Visitor Centre atIsandlwana and Rorke’s Drift, where the art and craft vending has been privatised,the ‘Zulu’ artefacts on sale are not ‘Zulu’, not made by Zulus and the sales incomedoes not go to Zulus. In instances such as this, a clear policy and managementdecision could catalyse organic growth of local enterprise.

Niche tour operatorsOne way to ensure a steady flow of visitors for acultural product is to sell it to tour operators. Theyprovide low margins, but their business provides

security and volume.

In the nineties, the sangomatour in Maputaland was soldby a specialist operator,Multituli, who brought guests who had a keen interest incultural interaction. However, when Multituli went under,it left the cultural tour struggling.

Mainstream tour operatorsAlthough the margins when selling in bulk tomainstream tour operators are very small, the sheervolume of business makes it worth pursuing. In orderto capture this market, you need to offer operatorssomething that fits in well with their itinerary, or –even better – fills a gap or a dead spot. The CalabashTour in Port Elizabeth does just that – providing anexcursion for guests on a one-day stopover.

In Limpopo, Shiluvari Lodge is used bysome specialist operators such as RainbowTours in the UK, and Tribes Travel. SecuringFTTSA-accreditation assisted in gettingtheir business.

Calabash Tours sel ls to mainstreamoperators, such as Thompson’s and Saga.The Calabash guides join their coach, ratherthan taking a Calabash bus. Forty or moreThompson’s passengers every Friday for thepast 4-5 years has provided the companyand its SMME partners with a reliable baseon which the more profitable elements ofthe business can be built. The downside isthat operators expect heavy discounts fortheir volume, and pay less than half what anormal tourist in a Calabash bus pays.

Niche market companies are risky,and thus an exclusive dependence ona specialist operator is probably not agood idea. Marketing through arange of specialist operators in anumber of markets is much safer.

Attracting a mainstream operator, even if justonce a week, can bring a substantial boost to thebusiness. But additional guests are crucial toprovide the profit margins.

Consider getting new productswritten up in the influential guidebooks, and encourage the DMOsto include them in educationaltrips, which would, in turn,influence tour operator itineraries.

Attracting tour operators to visit new localbusinesses is not always easy. At Sun City Resortand Spier Village, Tourvest automatically takestheir guests to Indaba Curios, which they own,and not to other ones.

Small craft markets and producers are less able topay commissions, which is the most dependableway to ensure guides steer guests their way.

The large tour operators often have a financialincentive to keep their itineraries the same, andto supply the guides, curios and activitiesthemselves. At the same time they have littleincentive to diversify their product anddemonstrate their local contribution to thecommunity, because they are less dependent onone community or area.

Specialist and Independent TouristsIn Limpopo, Lesheba Wilderness Lodge finds the tour operators have minimalinterest in their product. Eighty percent of tourists come via word of mouth, theinternet or Getaway Magazine – reflecting thepersonalised nature of the product and itsappeal to the independent traveller. At ShiluvariLodge, owner Michel Girardin also believes thebackpacker market – a rapidly growing niche –can be of great value to cultural enterprises. Hesuggests it has played a significant role in thegrowth of tourism spend in the Ribolla area.Though some backpackers are on a student

budget, many havehigh disposable incometo spend on activitiesprecisely because theya r e u s i n g c h e a paccommodation Ribollatourism has arranged anumber of guided toursf o r i n d i v i d u a l s o rgroups of backpackersover the past 3 years.

Government marketingGetting local cultural products into government marketing is important, but it’s notalways easy, and many cultural tourism products have experienced frustration.

RTA reports that the official guide to Limpopo Province – Limpopo Tourist Factfiler2003 / 2004, which was produced by the Limpopo Tourism and Parks Board, containedold pictures, numerous factual errors, no black-owned accommodation and very littleinformation on cultural heritage tourism products. A new official provincial guide,Know Limpopo, was not distributed until Indaba of 2005. This latest version is animprovement but still provides no coverage of key cultural heritage products such asthe Ribolla Open Africa route, so marketing depends on the individual budgets ofcompanies involved.

In contrast, many other provinces are increasing their efforts to market culturaltourism products. For example, the Western Cape Government has set up and

sponsored Cape Town Routes Unlimited to marketthe region, and the Cape Winelands DistrictMunicipality has commissioned a scoping study toasses the skill, technical and marketing viability ofcraft in the Cape Winelands region. The latterproject focuses on emerging crafters and how theycan be fast-tracked from the second to the firsteconomies, and aims to inform the planning of anextensive three year programme to develop craftand culture in the region.


The internet, guidebooks andtravel magazines are goodways to attract independenttravellers.

Tour operators and touristswith a special interest incultural interaction are likelyto care about the socialrecord of your business, soprovide information on thelocal benefits of the product,or secure independentaccreditation, e.g. FTTSA.

To attract backpackers,provide transport, and tapinto the i r in format ionexchange networks.

Government marketing is nots e e n a s s u p p o r t i n g a n dp romot ing l o ca l cu l tu r a lproducts by many of the currentrole players. There is enormouspotential for more marketingsupport of local initiatives andregional branding.

The incentives for touroperators to adaptbusiness practices areweaker than for othersin the tourism sector,except where theycome under pressurefrom the internationaltour operators or theircustomers.


Making it HappenTIP 7: BUILD MUTUALLY BENEFICIAL RELATIONSHIPS WITH

THE RIGHT PEOPLE IN THE COMMUNITY

The right partnerAs in any business development, it is essentialto find the right partner but, in the case ofcultural and heritage products, there areadditional considerations.

• the entrepreneurs with cultural talent mayhave little business or tourist experience

• the product may depend on the assets of awide community, such as traditional culture,archaeological heritage, political historyand the natural environment. If these areused for a tourism business, the communitywill expect to benefit

• the product might be run by a communitygroup, e.g. choir, dance troupe, localproject, or by a charitable trust rather thana single entrepreneur

• the product is likely to be developed inrural or township areas where socialleadership is very important and sets thecontext in which business relationsdevelop. So relations with leaders are key,even if they are not product producersthemselves.

A fair and beneficial partnership

Choosing a local partner necessitates a lot of pre-planning, Brief 3, Tips 1-3. Havingchosen your partner, take time to ensure you have an equitable and transparent

relationship in which all partiesfeel they have a good deal, andrisks are shared, Brief 3, Tips 4-6.You need to understand how localpeople expect to benefit, and theyneed to know from the start whatis commercially feasible.

In the Western Cape, CoMart, a communityorganisation, has assisted a number of communitycultural groups, such as choirs, to develop festivalsand events. CoMart’s experience with bothsuccessful and stalled cultural enterpriseshighlights some lessons for others:

• the community needs to feel they own theinitiative, so that they take responsibility formoving forward. The local audience isimportant too

• building trust is critical but this comes onlyfrom delivery. Action is a motivator

• strategically, heritage is a good figurehead towork from. It is multi-denominational and canunite a community

• senior women in the community can be thedriving force to get things done.

Don’t just talk to the men. Oftenit is the older women who getcultural products going.

Before choosing local partners,get a good understanding of thelocal stakeholders and dynamics.

Make sure you understand what benefit thepotential partner wants, and what support theyneed in order to deliver their part. Ensureexpectations are realistic.

The partnership is just the start. Maintain, adaptand expand it, as the business evolves, Brief 4.

“Success and money create their own problems,particularly where communities, rather than individuals,are involved. These problems should be dealt with inadvance. The distribution of money will always createdifficulties.” (David Rattray, owner, Fugitives’ Drift Lodge)

New initiatives invariably raiseexpectations. The owner ofLesheba Wilderness Lodgerecognises that his work withthe community on indigenousart ‘unintentionally raisedexpectations’. But to date he‘hasn’t increased the incomessignificantly but significantlyopened new opportunities’.He has been a catalyst, butprogress so far is just a drop inthe ocean

TIP 8: ASSIST LOCAL SMMEs, WITH BUSINESS ADVICE,NETWORKS, AND MARKET ACCESS

Cultural and heritage products can be developed in ways that maximise chances forthriving local businesses and a range of spin-offs. Established businesses have muchto contribute if they appraise potential and make input with this approach in mind.

Provide advice to cultural tourism partnersIt is easy to underestimate the enormous value of the expertise that establishedbusinesses possess. What is obvious to you may be invaluable advice to others. Whendeveloping a cultural tourism product in partnership with local people it may benecessary to explain what tourists get elsewhere, are likely to spend, can physicallycarry, or like to drink. You may alsoneed to give advice on productdevelopment, operations, marketing,and business and financial planning andmanagement.

Stimulating local enterprise by giving adviceAdvice given by Calabash owner, Paul Miedema, to shebeen owners, jazz musicians,students and a women’s group has helped them develop their businesses.

• he encourages shebeen owners not to do dual pricing for locals and tourists, butto stock drinks that tourists buy and locals don’t, and put a bigger mark up onthose ones. He advises fixed prices, advertised on the wall

• Calabash constantly identifies new business ideas for tourists to spend money andfor local people to turn skills into value added. For example, the Marimba bandthat plays in shebeens has now cut CDs, which are sold to tourists. Calabash tooka dozen local photos and gave them to a 17 year old schoolboy poet. The poetwrote a poem for each photo. They have now been printed on 12 square sheets ina clear box, the size of a CD. They cost ZAR20 to produce, sell at ZAR80-100, andall profits go to the trust

• women volunteers running the feeding centre needincome-generating options that fit around their work.The proposal being developed is for them to producebeaded South African flags. If these can be sold to alltour groups at a price of ZAR15-20, they couldcollectively earn up to ZAR60,000 per year given thesize of the market that Calabash can bring.

Access to finance can be a binding constraint on new enterprises. Help entrepreneursidentify sources of assistance, and make sound financing proposals. See Brief 3, Tip 3on financing partnerships.


In KwaZulu-Natal, Fugitives’ DriftLodge, which focuses on the battlesand history of Zululand, is mentoringa learnership programme to equipyoung Zulu people with the skillsnecessary for the tourism industry,and to identify options for developingbusinesses attached to tourism.

“The bottom line is that theexperience on offer must add valueto their trip, and the economic spin-off will then come naturally.” (DavidRattray, owner, Fugitives’ Drift Lodge)

Advising a potential competitor couldcause problems for your business. See Tip 2for advice on competing with local SMMEs.

Let community entrepreneurs come andexperience being tourists at your business.

Invest time in training or discussions withcommunity entrepreneurs about touristexpectations, habits and needs. Keep updiscussion about new business ideas andnew ways to capture tourism spend.

Help set up feedback mechanisms so thatlocal businesses can improve in responseto tourists’ comments.

The new Tourism Scorecard awardspoints for supporting enterprisedevelopment – not just in terms ofcash support, but also time spentby staff.


Use your networks to help small businessmake new linkagesYour network of contacts is just as important asyour business advice. Growing a small businessis all about reaching into new networks, andan established operator can provide invaluablecontacts.

Boost market access and inform touristsThe many ways in which an establishedoperation can market a local business canmake the difference between being a marginalenterprise, always scraping along, and havingenough guests to be viable and expand.

Wilderness Safaris puts the community tour on the day’s activity list, which is writtenup on a blackboard and explained to guests every morning. Spierchanged its concierge desk to a local BEE company, ConciergeConnections, which prides itself on using a range of emerginglocal businesses. Shiluvari Lodge directs guests to local artists’production centres, or takes them there on organised outings,and puts information about RTA and local artists in the guests’rooms. Shiluvari also insists that tour groups that already have aguide with them use a local guide as well.

A different type of market boost comeswhen an upmarket hotel profiles local art.For example, the ParkHyatt bought piecesfrom barely-heard-ofartists when building in Rosebank. The show-casing of the art at thehotel helped changepatrons’ perceptions oflocal art and craft forthe better.

Training and language skillsFor well understood historical and infrastructural reasons, language is a major barrierfor many of those talented in culture and heritage. Articulating information, andcommunicating with guests is essential to any tourismbusiness. Thus helping to source or provide language

ski l l s for tour i sm can be animportant contribution to culturalproduct development. Identifyingo t h e r s o u r c e s o f t r a i n i n g ,particularly in hospitality skills orbusiness management can also beinvaluable to cultural entrepreneurs.

At Shiluvari Lodge and RTA a majorobjective is to help local artists makelinkages with external buyers. There isnow an agreement for some localpotters to supply 2,000 pots per monthto Woolworths in Johannesburg forsale as plant pots. The women arebeing assisted by RTA because they lackskills to process orders and use theinternet, and they do not have themeans to transport their wares. Otherbuyers of local art have includedAmerican art museums, the WorldSummit on Sustainable Developmentand other exhibitions in Johannesburg

Provide cultural entrepreneurs with namesand introductions to other clients orsources of assistance.

Showcase local art in restaurants, lobbiesand lounges – and let clients know what itis they are admiring.

Find ways to encourage your guests to visitlocal businesses and utilise their services.

Remember tour operators,concierges, tour guides anddrivers have their ownincentive systems and rules.Shifting guest itinerariesmay be a challenge andrequire adaptat ion ofincentives.

Help source or developw e l l - s t r u c t u r e dlanguage modulesf o c u s e d a r o u n dtourism and othernecessary skills.

Business support services,adult basic education,and rural schooling needto take into account theneed for language skills,particularly in tourismareas.

Once a small business hasone recognised client, theycan use it to get more clients.The marimba band that playsfor Calabash clients has, dueto their growing recognition,succeeded in getting gigs inother venues.


TIP 9: PLAN LOGISTICS CAREFULLY – AND EXPECT SURPRISESGetting izangoma (pl. of sangoma) to a lodge, or tourists to a sangoma; taking tourgroups to local schools and shebeens with poor facilities; getting a choir to a venueon time; clearing a space for tourists to park at an artist’s house. Whatever theproduct, logistics will need to be sorted out.

Logistics were a major challenge for the Sangoma Safari inMaputaland. Getting the izangoma to Ndumo or Rocktail Bay putpressure on the lodge vehicle pool, which made life hard for thelodge manager and guides. When the izangoma visited, they had tosleep out, but sleeping in the dunes provoked problems with theParks Board. With no ‘dressing room’ the izangoma donned theirregalia in the bush before a performance. But one night four whiterhino appeared, and the izangoma disappeared after the rhino, keenfor a closer look. This left the guides doing some swiftanthropological footwork explaining totems and artefacts to guestsuntil the izangoma returned!

Another part of the original Maputaland product was dance at Mboza. The dancegroups came not from theimmediate area, but from thechief’s area – partly becausethey were spectacular, andpartly because the chiefwanted his dance groupinvolved. But this imposedhigh transport costs, meaningthe activity ran at a loss.

The nature of thecultural product, ofteninvolving rural people,rural locations, andi r r e g u l a r e v e n t s ,means that transportand logistics may bemore of a challengethan usual.

Plan, and budget for, the logistical issues at thestart when assessing whether the product isviable.

Assist local cultural groups and entrepreneurswith transport – perhaps in the form of a travelfund or a loan for the purchase of a vehicle.

Izangoma participating in the Sangoma Safari in Maputaland.


TIP 10: UPGRADE FACILITIES AND INFRASTRUCTURE -TOILETS AND MORE

Inadequate facilities for tourists are often a major constraint on the development ofcultural products, particularly in rural areas. Lack of toilets is the most obvious, butlack of other facilities, like safe parking, restaurants and access to information, arealso important. The absence of services to host conventional tourists who wantcomfort restricts the marketability of the product.

One international tour operator pulled out of the Mboza Maputaland cultural toursin the nineties, mainly because of the lack of water-borne sewage at one camp. Givenhealth and safety regulations today, requirements are higher. But local artisans maywell not know about requirements, such as the Health and Critical Control Point(HACCP) regulations, or have the ability to doanything about them. Consider how you canprovide assistance.

In Limpopo, lack of infrastructure for tourists is amajor frustration for those involved in the RTAand Open Africa Route. The RTA managerreports that there is a need for road repairs,fresh water, electricity and sanitation at tourist sites, all of which should be provided

by government. But the delays are interminable.Yet, as a route entity, the community is in a farstronger position than more isolated enterprisesin the representations it makes to government,and therefore should be more likely to attract thesupport it needs.

“You have to fight. It takes time…people don’t follow up on what ishappening on the ground.” (AldrinNdalani, RTA)

Local government has a key role to play in providing basic tourist facilities in areas with culturaltourism potential. Lack of facilities is constraining SMME growth.

In some areas, park authorities could play a facilitating role in developing tourism services wherethey can support SMME clusters.

Authenticity sti l l needs basicfacilities – bring in local governmentif you can. They often have expertiseand sometimes resources.

Visiting Mqobela school near Rocktail Bay lodge.


Provincial, municipal and other localtourism authorities and associations havea key role to play in bringing businessestogether and creating a critical mass forcultural products to take off.

TIP 11: WORK ACROSS THE DESTINATION AND INVOLVEOTHER TOURISM OPERATORS

One tourism company can achieve a limited amount on its own in supporting localcultural products. Much more can be done if stakeholders in a destination cometogether to tackle local problems, enrich the destination and generate economies ofscale – and everyone can benefit. Although collaboration may be fraught withdifficulties, given the competitive nature ofthe industry, there are many ways to bringstakeholders together:

• tourism routes, such as Open AfricaRoutes, are being used as one way to bringproducts and people together

• the owner of Lesheba Wilderness Lodge isworking not only at the local level with theartists’ centre, but also to establishUNESCO Biosphere status for theSoutspanberg Mountains, and to get buy-in from all stakeholders. This wouldprovide a boost for all the tourismproviders

• Ribolla Tourism Association is planning anannual event to bring together the artsand crafts community into one localexhibition

At Jan Harmsgat Country House, owner andformer artistic producer, Judi Rebstein helpsorganise various cultural events which bringtogether local art i s t s , entrepreneurs ,established tourism businesses, and differentaudiences. A fundraising concert in February2005 featured local and visiting artists together,and raised funds for a new crèche in a townshipand a women’s embroidery business. ‘Dance forAll’ concerts are held every year. Theperformance combines classical ballet, modernand African dance and is performed by blackchildren, who have been trained by PhyllisSpira, South Africa’s prima ballerina. The thirdDance for All, in 2005, attracted a full housewith a 70% black audience, which is unusuallyhighly integrated for Swellendam shows, or forclassical dance.

“The neighbours see your successand they all start doing the samething, and co-operat ive ly i tbecomes necessary to make thecake bigger rather than try to get abigger slice of the same cake. I havewatched my ‘competition’ here overthese years make this error – tryingto grow their businesses by tryingto get a bigger slice of the cakerather than co-operating to makethe cake bigger. Pretty fundamentalstuff at all levels, but it is amazinghow often a whole industry can becrippled by this principle not beingapplied” (David Rattray, Owner ofFugitives' Drift Lodge)

Festivals and other local events are a greatcatalyst for bringing out cultural talent, bringingstakeholders together and capturing mediaattention.

Tourism Routes can bring stakeholders together ina more permanent and structured way.

Securing a marketing boost for the wholedestination – such as designation as a heritagesite – gives an incentive for everyone to engage.

Working with your competitors won’t necessarily be easy.Identify clearly where you are going to co-operate, andwhere you are going to compete.

'Dance for All' students with BishopDesmond Tutu, their patron.


TIP 12: BALANCE COMPANY PROCEDURES WITH CULTURALPRODUCT PROVISION

Address conflicts between procedures and cultural productsThere may be conflicts between the organic way that local culture is produced fortourists, and the procedures your company is used to. Health and safety is the mostobvious issue, and measures are needed to ensure standards are met, Tip 10, butthere are other issues.

Use of local guides vs. national guidesLocal guides can be incredibly important for providing tourists with local expertiseand interpretation of culture. In many instances, it would be much less satisfactory –if not totally inappropriate – for an outsider to lead tourists on a cultural excursion.However, it is difficult for local guides to get accreditation. So a company that onlyuses accredited guides will insist on a national guide accompanying a local guide onthe tour. Many local guides report that the old-fashioned attitudes of the nationalguides are a big problem for them. In particular, they complain that the nationalguides ‘scaremonger’ guests about localsafety, and that they treat local guideswith disdain.

Alcohol use Guests generally like their hosts to jointhem in a drink, particularly if theactivity is a social celebration or shebeenvisit. Most tourism companies have welldefined policies on guides and staffdrinking with guests. It is essential towork out norms regarding alcohol usewhen partnerships are established withlocal providers of cultural product.

Operating practicesneed to be adaptedand jointly agreed byboth parties.

Child labour Established tourism operators would not use childlabour, but community cultural performances,particularly dance troupes and choirs, often includechildren. Local schools can be part of a cultural

itinerary. Guests will want toknow that children are notb e i n g e x p l o i t e d o rdiscouraged from attendingschool.

Adapt day to day operations to integrate new culturalproducts Cultural products and partnerships may initially be developedas an ‘add-on’, perhaps by one manager. But if they are tothrive, they need to be integrated into day to day operations.

This involves a process of managing corporate change, so that managers buy in to theapproach and employees are capable of implementing their new roles. For moredetails, see brief 4.

A suite of problems arose at Kosi Bay in the early 1990s,when local guides started to take advantage of theirguests’ invitations to join them in a drink. Some guidesgot drunk, messed up the vehicle and boat, rode the seaturtles, generally forgot about their duties, and one wasaccused of sexually harassing a guest. This led to anotherset of problems. Firstly with the Parks Board – who wasunderstandably protective of the sea turtles. And,secondly, with the community because the accused localguide refused to accept the discipline meted out bymanagement, and called in the community to defendhim. This led to the untenable situation of communitymembers trying to be involved in the operationalfunctions of the business, and everything came up fornegotiation. The problems were finally resolved by callingin facilitators, complemented by a change in lodgemanagement.

When disputes run deep,bring in facilitators.

The legislation in South Africagoverning the use of children incultural activities is SectoralDetermination 10: Children inT h e P e r f o r m a n c e o fAdver t i s ing, Ar t i s t i c andCultural Activities, South AfricaThe act can be downloadedfrom www.labour.gov.za

Where cultural products donot conform to companyoperational procedures, thismay create internal blockages.

Ways to deviate from normalprocedure, or adapt corporateprocedure, will need clearanceat the top.


SUMMARY, CONCLUSION AND CHECKLIST Support to local cultural and heritage tourism enterprises can simultaneously boostlocal entrepreneurs and provide valuable product diversification for guests.

Principles• look beyond what is currently provided to tourists, delve deeper into local culture

• develop very different products for cultural specialists and for the mainstream withan afternoon’s interest

• tackle both supply and demand. Help local products to reach quality standardsand, at the same time, address how they are marketed and reached by guests

• establish new partnerships with local experts. Combine their cultural expertisewith your business skills in ways that benefit both sides

• pay particular attention to logistics and standards. While these are needed for anyproduct, the informal, often rural, nature of many cultural and heritage productproviders may pose extra challenges

• assess options in terms of how they can support thriving local enterprise byencouraging spin-offs and linkages.

How Government can make a differenceThis brief focuses on what companies can do, but supportive actions by governmentinclude:

• providing toilets, water, road access, parking, information, and otherinfrastructure in key locations with cultural product potential

• giving cultural products a high profile in destination marketing

• ensuring cultural SMMEs have access to finance and business support

• supporting destination-wide initiatives that bring together museums and otherproviders of cultural products, with tourists and operators

• addressing the relative paucity of incentives and requirements for ground handlersand tour operators to encourage or respond to local linkages within a destination.

ChecklistBefore committing your company to stimulating local cultural and heritage products, ask:

✓ Do we have sufficient knowledge of the richness of local culture – or do we knowsomeone who can help provide that?

✓ What types of cultural and heritage products suit our guests – whether specialistsor mainstream tourists?

✓ What new products could be developed that integrate and build on local cultureand history?

✓ How can sufficient authenticity of the product be combined with the practicalitiesand logistics required by tourists?

✓ Is the company open to local partnerships with local product providers, based onshared expectations and mutual benefits? Do we have Brief 3 to assist onpartnerships?

✓ Do we have capacity to support local cultural product providers with technicaladvice on products, markets and networks?

✓ What support can be gained from local government for providing facilities ormarketing?

✓ How can we link with other operators in the destination in ways that will supportthe cultural products without undermining our own competitive position?

S t i m u l a t i n g l o c a l c u l t u r a l a n d h e r i t a g e p r o d u c t s

BACKGROUND INFORMATIONThe material in the ‘How to…?’ series draws heavily on the experience of 5 companies that were ‘pilotpartners’ in the Pro Poor Tourism Pilots project (2002-2005). The 5 pilot sites are described below.Further information on the project can be found on www.pptpilot.org.za.

Wilderness Safaris’ Rocktail Bay Lodge• an upmarket coastal destination within the

Coastal Forest Reserve of Maputaland• accommodation is 5 star and consists of 10 tree

lodges and a family unit (but is expanding)• Wilderness Safaris is a large safari/ lodge

operator that currently operates 45 camps/lodges in 7 countries

• PPT focus was on strengthening the existingpartnership with Mqobela community anddeveloping a new partnership with the Mpukanecommunity.

Sun City• Sun City is the largest resort in Southern Africa,

renowned for its casino and entertainment, butexpanding its appeal to families, business andsporting enthusiasts

• the resort has over 1,500 rooms in four 3 to 5star hotels plus a time-share complex

• approximately 600,000 guests stay annually.• Sun City is owned by Sun International, a large

southern African hospitality company• PPT focus was in small enterprise development

for local suppliers.

Southern Sun• Southern Sun Sandton Precinct consists of six

hotels and the Sandton Convention Centrelocated in Gauteng province

• PPT partners, the 4 and 5 star InterContinental,Crown Plaza and Holiday Inn hotels have a totalroom capacity of approximately 1,700

• PPT focus was on strengthening links with itsneighbour, Alexandra Township, mainly viatownship tours

Spier Leisure• Spier Village Hotel is outside Stellenbosch in the

winelands of the Western Cape• accommodation consists of 155 rooms, targeted

at the four star market• Spier is owned by Spier Holdings, a large, family

owned operation that also includes a wineryand other leisure products

• it currently receives approximately 500 000 dayvisitors per annum

• PPT focus was on assisting Spier with therevision of its procurement policy and practice.

Ker & Downey, Tanzania• Ker & Downey operates exclusive photographic

and trophy hunting safaris in Tanzania’s nationalparks

• it has 14 private concessions with a total area ofover 32,000sq kilometres

• the business case to enhance PPT linkages restson the need to secure the future of the huntingindustry

• PPT focus was on how to restructure its rangeof community donations and interventions formore strategic input.

Fair Trade in Tourism accredited sitesTo produce the ‘How To…?’ Series, interviewswere held with operators at many other sites,many of which are accredited by Fair Trade inTourism South Africa, (Calabash Tours, JanHarmsgat Country House, Stormsriver Adventures,Shiluvari Lakeside Lodge, Lesheba Wilderness,Imvubu Nature Tours). More information on each of these is available at:http://www.fairtourismsa.org.za

Business Linkages in Tourism is a new business set up to continue PPT facilitation services on a self-financingbasis, beyond the PPT Pilots project. It is initially housed in TBCSA. It provides services in the strategic planningand facilitated delivery of: product development based on local business linkages; procurement of goods andservices locally; cultural and heritage product development; sustainable local partnerships for tourismdevelopment; development of clusters and networks for tourism-led development.

Contact Adrienne Harris ([email protected]) www.tbcsa.org.za/blt

Further sources of information

General resources on SMME development and responsible tourism are listed in other “How to...” briefs.Resources specific to cultural tourism include:

Business Linkages in Tourism: www.tbcsa.org.za/blt

Open Africa: (021) 683 9639 [email protected] www.openafrica.org

Responsible Travel: www.responsibletravel.com

Backpacker Association: www.btsa.co.za

Global Competitiveness project:www.southafrica.net/satourism/research/viewResearchDetail.cfm?ReportTypeCategoryID=35

Briefing Paper 5: Developing local excursions for tourists: www.pptpilot.org.za/Briefing%20papers/paper5.pdf

Author details:

Caroline Ashley, Research Fellow, Overseas Development Institute, [email protected]

Clive Poultney, PPT facilitator and Senior Consultant, Business Linkages in Tourism: [email protected]

Gareth Haysom, PPT facilitator and Consultant, Business Linkages in Tourism, [email protected]

Douglas McNab, Research Officer, Overseas Development Institute, [email protected]

Adrienne Harris, Project Manager, TBCSA, [email protected]

“The ordinary citizen can expectto make a living from tourismthrough employment or someperipheral activity, but he/shecannot expect to become amillionaire. A few highlymotivated, possibly highlyskilled individuals will becomewealthy from tourism, as in anyother sector of the economy.”

“Whilst the diversity andrichness of South Africa’sculture appears to be wellrecognised by many tourists,the key challenge seems tobe showcasing it with dignityand authenticity.”

“Don’t assume people know things. Covereverything in the training.”

“When you have seen the bigfive, been to Cape Town…areyou now going to go toanother country and look forsomething else?”

“Cultural expositions can easilybe attached to other activities.”“The cultural product

needs to be “moretargeted, more authenticand more sophisticated.”

“Can South Africa openits rich tradition of cultureand heritage through itsindigenous peoples?”

“In this industry the riskof “tacky product” is veryhigh. Discipline at thefront line is essential.Visitors must never feelpressurised to makedonations. No begging.”

“Get advice on townshipceremony and protocol. Ifyou’re an outsider you needa guide – if you’re a whiteguy, outsider like me.”

“MARKETING,MARKETING,MARKETING” Thisfollows hard on the oldwar cry “LOCATION,LOCATION, LOCATION.”

“When working withcommunities,business must beentirely transparentand often explainedto communities.”

“Within communities,there are vast receptaclesof knowledge that cannotbe accessed due toindustry relatedexclusionary rulings.”

“We have our own “big five” – five of the oldest andbest local artists.”

“The way to do it is towork with inbounds.”

“You’ve got to bein it for the longrun, not for short-term return.”

“Deliver then promise.”

“Make sure it is sustainable,with ongoing support. Ifyou’re going to startsomething, understand thatyou’re going to hand-hold forquite a while. And make sureyou can assist with the marketfor some time to come.”

“What we do is make it part of our brand value andexpect all of our people to deliver on it.”

“The neighbours see your success and they all startdoing the same thing, and co-operatively it becomesnecessary to make the cake bigger rather than try toget a bigger slice of the cake.”

“The bottom line isthat the experienceon offer must addvalue to their trip,and the economicspin-off will thencome naturally.”

“Avoid raising expectations,because if you fall short, you’llbe a liar. The guys have beenlied to too often.”

“It was difficult to repackagethe product. We would havehad to re-educate the agentnetworks.”

Diversifying thetourism product

Exploringheritage andculture

Authenticity andmarketability

stimulating local cultural and heritage products - … · services that build on the rich culture,...

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