Culture tourism will be one of the significant future development activities of global tourism interest for upcoming years. The significance of this market for the advancement of tourism and cultural attractions has made a requirement for data on the inspirations of culture sightseers. Understanding the habits of this sort of travelers is a beginning stage required for the management, marketing or planning of the tourism sector and the government to enhance the quality experience of the guest. In this sense, the principal reason for this research is to examine the inspiration, socio-demographic profile, consumption examples and picture, held by travelers visiting cultural attractions.

As far as characterizing the idea of cultural tourism, it exists a wide range of activities from conventional to innovative that are currently thought to be a piece of this development phenomenon. This decent variety shows the complexity of cultural tourism product. Indeed, this multidisciplinary subject not only covers the cultural products of the past like archeological sites, yet additionally of contemporary culture like fashion and design museums. In this unique circumstance, culture tourism can be viewed as covering heritage tourism’, arts tourism,’ and ‘creative industries.’

On this point, this research concentrates fundamentally on the examination of visitor’s attributes drawn essentially by contemporary culture. Without a doubt, it appears to be more applicable to analyze modern cultural tourism as the travelers can reflect and connect with the culture’s own time and place.Concerning tourism, Madrid has a very extensive variety of resources: museums, theaters, musicals, expositions, parks, bars, discos, shopping malls, and so on. Existing assets are packaged together to offer the city as a cultural city’, a sports city,’ a ‘fun city,’ and so forth. In this sense, large cities have always attracted guests. Madrid was the fourth more visited city in Europe in 1996. The quantity of travelers to Madrid has consistently expanded from that point forward, and the visitor economy has turned out to be more important.

At that point, it is essential to see how Madrid is changing and how it is reacting to the change that is occurring, keeping in mind the end goal to put tourism on a more sustainable basis, capable of delivering a quality experience for the traveler. The focal challenge for Madrid as a destination is in what manner can the tourism movement and its development expected for the following two decades.Regarding culture tourism, Madrid scored 14 out 19 as the primary culture tourism destinations in Europe. It must be specified that Barcelona caught more attention from the point of culture than Madrid, demonstrating a more fruitful approach to management, interpretation and promoting of cultural assets.  At that point, Madrid, which was Cultural Capital of Europe in 1992, has transformed into one of the most visited areas for aesthetic reasons because of its old city center, its essential cultural legacy, its vivid nightlife and the open, cosmopolitan character of its residents.

Madrid is a metropolis can be identified with its heritage, arts, and creative industries. Madrid sparkles in a social measurement with the “Walking of Art,” where the museums Prado, MNCARS and Thyssen-Bornemisza follow an agenda practically identical to the “Museum District” (London), the “Island of the Museums” (Berlin) or the “Mall’s Museums” (Washington). Exactly, Madrid is where it can be recognized with the three items classes remarked as the applied structure of this exploration, that is legacy, expressions and creative businesses.

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