HND

Heritage and Culture Tourism

Management
Students Id:

Table of Contents
1

Task 1..........................................................................................................................................................3
P 1: UNDERSTAND THE GROWTH AND DEVELOPMENT OF THE HERITAGE AND
CULTURAL INDUSTRY WITHIN TRAVEL AND TOURISM........................................................3
P 1.1: Analyze the Growth and Development of the UK Heritage and Cultural Industries.........3
P 1.2: Discuss Potential Conflicts in the Conservation of Heritage and Cultural Resources
Using the Case Study of Lhasa, Tibet...............................................................................................4
Task 2..........................................................................................................................................................6
P 2: UNDERSTAND THE PURPOSE OF HERITAGE AND CULTURAL ATTRACTIONS
WITHIN THE TRAVEL AND TOURISM SECTOR.........................................................................6
P 2.1: Assess the Purpose of Heritage and Cultural Attractions in Meeting the Needs of
Different Customers..........................................................................................................................6
Task 3........................................................................................................................................................10
P3: UNDERSTAND ROLES, RESPONSIBILITIES, AND OWNERSHIP OF ORGANISATIONS
IN THE HERITAGE AND CULTURAL INDUSTRY......................................................................10
P3.1: Evaluate the Impact of Different Types of Ownership on the Management of Heritage
and Cultural Sites............................................................................................................................10
P3.2: Analyze Roles and Responsibilities of Organisations in the Heritage and Cultural
Industry............................................................................................................................................12
Task 4........................................................................................................................................................14
P4: UNDERSTAND THE ROLE OF METHODS OF INTERPRETATION WITHIN THE
HERITAGE AND CULTURE INDUSTRY...........................................................................................14
P.4.1 Evaluate Methods and Media Used For Interpretation within the Heritage and Cultural
Industries for Tourists.....................................................................................................................14
Bibliography............................................................................................................................................18

Task 1

P 1: UNDERSTAND THE GROWTH AND DEVELOPMENT OF THE HERITAGE AND

CULTURAL INDUSTRY WITHIN TRAVEL AND TOURISM.
P 1.1: Analyze the Growth and Development of the UK Heritage and Cultural Industries
Heritage is an umbrella term that describes the collection of resources that are inherited from the
past that is identifiable, independent of any ownership, and reflect the evolving values, traditions,
and beliefs. Moreover, heritage also encompasses the environment that results from the
interactions between people, places, and objects through time. The UK (England, Wales,
Northern Ireland, and Scotland), has distinctive history and culture that makes her cultural and
heritage industry the most resilient globally (Culturalpolicies.net, 2016). The preservation of the
industry dates back to the 19th and the first few years of the 20th century where the idea of
funding museums and libraries was adopted. The first national body to be formed to manage
culture and heritage industry was the Council for the Encouragement of Music and the Arts
(CEMA) that spent charitable as well as public funds to support arts and cultural events
(Culturalpolicies.net, 2016).
The museums, galleries, and the British Library among others became a responsibility of the
Department of Education and Science in 1965 (Culturalpolicies.net, 2016). In the 1970s most
regional arts associations sprout across the UK (Culturalpolicies.net, 2016). In 1990, the National
Arts and Media Strategy took the stewardship of the industry. However, in the mid 1990s, the
National Lottery was incubated and became the key funding body for the sector
(Culturalpolicies.net, 2016). Notably, since the year 1994, the body has been able to raise over
GBP 20 billion that is used to support culture, conserve heritage, education, health and
community well-being, sports, and arts development (Culturalpolicies.net, 2016).

Today, the UK is renowned for its well developed and fast paced heritage and culture industry
that has economic significance. Across the UK, the industry offers over 800000 job openings to
people contributing to over 26 million gross value added (GVA) per year (Great Britain.
Culture, Media, and Sports Committee, 2013 p.255). Between the year 2004 and 2010, there was
an increase of the GVA by 11%, a clear indication of the growth and development of the cultural
and heritage industry in the UK (Great Britain. Culture, Media, and Sports Committee, 2013
p.255). The industry was affected by the 2009 economic recession but is now back on its feet.
Different events have given the industry the nod (Great Britain. Culture, Media, and Sports
Committee, 2013 p.255). These events include the Olympics and the Paralympics that in the
history of development paved way for the expansion of the industry (Great Britain. Culture,
Media, and Sports Committee, 2013 p.255). During the events, the industry is marketed to
different people across the world who then explore the various sites in the UK.
The development of the cities is also tied to the growth and expansion of the industry more so the
development of transport infrastructure (Great Britain. Culture, Media, and Sports Committee,
2013 p.255). UKs heritage and cultural tourism industry is booming and is worth 26.4 billion,
an estimation that is expected to skew as years progress (Great Britain. Culture, Media, and
Sports Committee, 2013, p.196). Moreover, the number of international visitors to the UK for the
purpose of enjoying and experiencing heritage and culture is steadily increasing by 13% annually
(Great Britain. Culture, Media, and Sports Committee, 2013, p.255).
P 1.2: Discuss Potential Conflicts in the Conservation of Heritage and Cultural Resources
Using the Case Study of Lhasa, Tibet
Lhasa, Tibet is a conflict based area as elaborate from the case study. There are different interest
groups involved in the conflict including the Chinese Government and the Advocacy groups. The

advocacy groups feel that the proposed and ongoing projects are bound to impact on the
conservation of culture and heritage in the area. Two major issues are outstanding from the case
(Vandenbrink, 2013). First, the Chinese government intends and has already renovated the
Barkhor old town of Lhasa located outside the sacred Jokhang Temple and extending into the
Tibetan Theme Park at an estimated cost of US $4.8 billion. The move is projected to have an
adverse impact on the heritage and culture of the Tibetans (Vandenbrink, 2013). Secondly, the
Intercontinental Hotel group otherwise abbreviated as IHG has a strategic plan of building the
largest ever luxury hotel-Resort Lhasa Paradise, with a room capacity of 1100 to cater to the
needs of diverse people (Vandenbrink, 2013). Being that Tibet is considered as the most heritage
and culturally oriented area, London-based Free Tibet advocacy group has been on the move to
boycott the developments with the major argument that doing so has a potential jeopardy on the
heritage and culture of Tibet (Vandenbrink, 2013).
Successful development of the proposed renovations and plans will mean that the historical
injustices on the Tibetans are propagated (Vandenbrink, 2013). Furthermore, the construction of
the hotel is linked to a Tibetan business and real estate magnate who is connected to corruption
allegations (Vandenbrink, 2013). Nonetheless, the building of the hotel risks the marginalization
of the Tibetans who have no knowledge or lack the capacity to speak Chinese (Vandenbrink,
2013). Notwithstanding, the Chinese businesses will reap from the heritage and culture compared
to the Tibetans who are by default liable for the revenues and income from such (Vandenbrink,
2013). Putting up new structures also makes the old architecture that is in itself heritage lost and
completely forgotten making the area new and have little heritage importance. Not even the
Sacred Temple of Jokhang will be spared in the wake of transformation (Vandenbrink, 2013).
Despite the temple being listed by UNESCO as a world heritage, the projects risk diminishing its

importance (Vandenbrink, 2013). There is a need for conflict resolution such that the sentiments
of either side in the conflicts are justified and a confluence reached. Therefore, the bodies
responsible for culture and heritage in Tibet should stand up and fight for what is right
(Vandenbrink, 2013). In this case, where there is a conflict that involves a breach of boundaries
and agreements, It is important for international bodies to join in so that Tibet gets her justice.
Furthermore, where the law is applicable, such should be used to offer either side the go ahead to
propagate their actions. However, weighing from a lay mans point of view it is clear that the
cultural and heritage values once destroyed are constant and cannot, therefore, be restored. Quick
action is therefore in order.
Task 2
P 2: UNDERSTAND THE PURPOSE OF HERITAGE AND CULTURAL ATTRACTIONS
WITHIN THE TRAVEL AND TOURISM SECTOR
P 2.1: Assess the Purpose of Heritage and Cultural Attractions in Meeting the Needs of
Different Customers
Introduction
Cultural and heritage attractions or sites all over the world present a vast and diversified
collection of human creativity that is bequeathed from generation to generation as time elapses in
the entire span of the history of humans (UNWTO, 2016). The advancement in technology and
thus the development of infrastructure has made it possible for such sites to get an edge to
marketing and access (UNWTO, 2016). For that matter, most of these sites have grown to be of
importance to different people who not only visit for the sake but with a valid reason (UNWTO,
2016). Moreover, there has been the growth of knowledge creating an enormous demand for
visiting and having the first-hand experience of the attractions (UNWTO, 2016). Heritage

attractions are categorized into natural, cultural and built. Collectively the heritage includes
landforms, plants, and animals, historical buildings, traditions, arts and crafts, festivals,
industries and monuments among others. Notwithstanding, these sites combine to offer
satisfaction to different human wants and fulfil their purposes.
The Purpose of Heritage and Cultural Attractions within the Travel and Tourism Sector
There are various reasons why there has been a shift in the old sun and sea tourism. Cultural and
heritage tourism has shown a definite escalation in the past years owing to the number of sites all
over the world and the increasing awareness (McKercher and du Cros 2002, p.140). Cultural and
heritage tourists are members of the market segment that have unique characteristics (Poria,
Butler, and Airey, 2004, p. 22). There are five categories of tourists in the travel and tourism
sector in line with the motivation to engage in the cultural and heritage activities (McKercher
and du Cros 2002, p.40). There is the purposeful cultural and heritage tourist who seeks to have a
deeper understanding of culture and learn more. Secondly, there is the sightseeing tourist who
just travels for fun and pure experience (McKercher and du Cros 2002, p.40). The third one is the
serendipitous cultural tourist who goes to enjoy but ends up getting deeper into cultural and
heritage tourism experiences. There is also the casual cultural tourist who identifies the cultural
tourism sites and just visit for fun (McKercher and du Cros 2002, p.40). Lastly there us the
accidental tourist who likes visiting the heritage and cultural destination. The principal purposes
of these sites are to promote education, facilitate research, enable recreation activities and offer
entertainment (McKercher and du Cros 2002, p.140). Some of the customers have the motive of
learning about different cultures while some seek to appreciate the heritage (Poria, Butler, and
Airey, 2004, p. 22). On the same note, some customers have the motive of protecting or having a
hand in the conservation of the heritage (Poria, Butler, and Airey, 2004, p. 22). Furthermore,

some customers travel far and wide only to support the local communities that are linked to the
attraction sites (Poria, Butler, and Airey, 2004, p. 22).
The Natural History Museum opened its doors for operations on 18th April 1881 despite being
established in 1753 as part of The British Museum (Natural History Museum, 2016). Credit for
the establishment of the museum goes to a renowned doctor named Sir. Hans Sloane (Natural
History Museum, 2016). Sloane had a will that gave the government ownership of the museum at
a fee (Natural History Museum, 2016). The museum is one of Londons iconic landmarks that is
built with a unique design. The museum harbors many departments each meant to fulfil the
general objective of the museum (Natural History Museum, 2016). There are over 80 million
specimens and materials that are stored in the museum attracting over 5 million tourists annually
(Natural History Museum, 2016). The museum has a whole education department that caters for
the needs of research and enables students to complete their research projects (Natural History
Museum, 2016). The museum is also open to scientists who work on projects based on natural
history. Most architectures who want novel design visit the place to get inspirations on how to
design the best buildings that borrow from the Natural History Museum (Natural History
Museum, 2016).
The British Museum boasts of being the first public national museum in the history of the whole
world (The British Museum, 2016). The museum was founded in the year 1753 (The British
Museum, 2016). The museum is renowned for its collections from all over the world as well as
art and antiquities of the past and the living ones (The British Museum, 2016). The museum is
housed in a 75000 m2 piece of building that also has architectural significance in the UK (The
British Museum, 2016). The museum fulfils the diverse needs of the customers who are either
frequent or onetime visitors (The British Museum, 2016). The most important purpose of the

museum that it fulfils in partnership with different institutions is to be an epitome of education

and research (The British Museum, 2016). In a typical day, more and more scholars visit the
place to have a learning experience (The British Museum, 2016). The museum has a gallery that
offers those who love art the chance of appreciating art and photography (The British Museum,
2016). The galleries also have exhibitions that allow people and lovers of artwork to have a
shopping experience. Furthermore, the film makers and models also come to the place to have a
unique view in their photographs (The British Museum, 2016). The museum also offers an
opportunity for the whole world to have an experience through its virtual museum application
and the online website (The British Museum, 2016).
Conclusion
Cultural and heritage attraction sites all over the world such as museums, monuments, and
historic buildings have different purposes that are all categorized under entertainment, education,
recreation and research. The different sites fulfil their purposes with what they have, present,
market and the actions they undertake that impact on the society. There is substantial use of the
sites calling for conservation and proper marketing so that customers are aware of the sites. The
maintenance can take the form of policy formulation, funding, education, marketing, lobbying
and involvement of the local communities.

Task 3
P3: UNDERSTAND ROLES, RESPONSIBILITIES, AND OWNERSHIP OF
ORGANISATIONS IN THE HERITAGE AND CULTURAL INDUSTRY
P3.1: Evaluate the Impact of Different Types of Ownership on the Management of Heritage
and Cultural Sites
The management of the behavior, as well as actions of the tourists who visit heritage and cultural
sites, is to prevent the adverse impacts that can befall such important places (Timothy, 2011,
p.295). Therefore, as part of tourism departments and ministries role, the management there is
the definition of different types of ownerships (Timothy, 2011, p.295). However, broadly
speaking, the ownership of the sites can be grouped into public, private and collective ownership
(Timothy, 2011, p.295). Some literature goes as far as quoting or giving an elaboration of nongovernmental ownership. It is within the above mentioned domains that agencies, heritage based
organizations and corporations align (Timothy, 2011, p.296). In the private realm, the sites
include museums, industrial heritage sites, wineries, farmlands, fens, and orphanages as well as
zoos, whose primary aim is to make a profit. Most of these locations are either property of
prominent families or churches (Timothy, 2011, p.296). In the UK, such organizations of private
ownership include Churches Conservation Trust, Civic Voice, Heritage Alliance and Heritage
Houses Association among others (Heritagehelp.org.uk, 2016).
Public ownership of heritage and cultural sites include ancient monuments, archeological sites,
local and state museums, libraries, museums, parks, reserves, fens and rangelands as well as
natural features (Timothy, 2011, p.296). The only distinctive feature of such sites is that most of
them are government or state owned and are mainly concerned with conservation, education,
fundraising, provision of jobs and regional development (Timothy, 2011, p.296). At this capacity,

10

such organizations impact the industry through funding for development and policy formulation
for regulation (Timothy, 2011, p.296). In the UK, the government ownership organizations
include English Heritage, Heritage Lottery Fund (HLF), and Department of Culture, Media and
Sport (DCMS) (Heritagehelp.org.uk, 2016). These bodies market the cultural and heritage sites
and encourage as well as facilitate innovation for the development and sustainability of the
locations (Timothy, 2011, p.296).
The last batch of ownership is non-governmental ownership also referred to as volunteer
ownership and encompasses communal or collective ownership (Timothy, 2011, p.297). Most
agencies and organizations that fall under this type of ownership have administration over
historic buildings, historic villages, cemeteries, archives and museums as well as curious. Their
mandate is to ensure that the sites are conserved and marketed such that their access is controlled
for sustainability (Timothy, 2011, p.297). Nonetheless, these organizations also engage in public
education, research, entertainment and enhance the welfare of the communities through
sponsorships and other corporate social responsibility practices (Timothy, 2011, p.297). These
organizations rely on government grants and revenue from kiosks, shops, and canteens for
funding their initiatives (Timothy, 2011, p.297). The National Trust and the National Trust for
Historic Preservation in the UK and USA respectively are examples of volunteer organizations
operating at the national level (Timothy, 2011, p.297). Such bodies operation in the UK includes
the Architectural Heritage Fund, Campaign to Protect England, Association of Preservation
Trust, ICOMOS-UK, National Historic Ships, Public Monuments and Sculpture Association,
Woodland Trust, Theatres Trust, and War Memorials Trust (Heritagehelp.org.uk, 2016).

11

P3.2: Analyze Roles and Responsibilities of Organisations in the Heritage and Cultural
Industry
There are different roles and responsibilities of the organizations in the heritage and cultural
industry. To completely understand this, the Woodland Trust and English Heritage offer an
excellent starting point. The Woodland Trust is an exampe of a non-profit ownership
organization that operates in England and Wales as well as Scotland (Woodland Trust, 2016). The
organization was founded by Kenneth Watkins OBE, a retired farmer in the year 1972
(Woodland Trust, 2016). The primary objective of the organization is to manage and protect or
rather conserve the native woodland heritage in the UK (Woodland Trust, 2016). Woodland Trust
accepts donations from different bodies and volunteer organizations, governmet tax, lottery
funding, legacies, appeals, corporate dnations, grants and membership fees an uses it for the
management of the woodlands across the UK (Woodland Trust, 2016). The organization is on the
forefront in ensuring that the native woodland heritage is conserved. Therefore, it rallies the
government, land-owners and other interest groups in protecting ancient wodland from the
modern development that has succeeded in destroying much of the native heritage (Woodland
Trust Explained, 2016). The organization runs programs such as the Nature Detectives Youth
Programme and Ancient Tree Hunt Campaigns that emancipate the mases on the heritage and
cultural importance of ancient woods (Woodland Trust Explained, 2016). The organization also
creates new woodland of native trees in areas where there is wildlife (Woodland Trust, 2016).
The group is also involved in the restoration of fields where the ancient trees have been
destroyed through replanting the native trees (Woodland Trust, 2016). The agency specializes in
land use management so that the native woodlands are not affected by anthropogenic activities
(Woodland Trust, 2016).

12

The Englis Heritage began its operations in the year 1882 before being officiated by an the 1913
Act of Parliament that gave it more powers and responsibilities (English Heritage, 2016). The
organizations administrative scope sprurs over 400 sites in the UK including Rievaulx,
Richborough Roman Fort, Stonehenge, and Carisbrooke Castle, which are renowned cultural and
heritage sites in the UK (English Heritage, 2016). The organization cordinates the management,
marketing, and conservation of these locations (English Heritage, 2016). Majorly, the
organization is more concerbed with historical buildings and places, telling their stories in a
different way (English Heritage, 2016). Englis Heritage ensures that all the fundings are
channeled into good use for the sake of promoting and developing the sites. Where possible, the
organization intervenes in conflicts involving sites ownership and private developers.
Furthermore, the organization ensures that the objectives of the sites are met (English Heritage,
2016). Therefore, in their website, the organization coordinates tourism in the UK. The
organization has also gone a mile ahead and produced publications, movies, and pamplets that
have information on the importance of the sites (English Heritage, 2016). Most importanly, the
organization connects with communities as a way of promoting, preserving and appreaciating
cultural heritage (English Heritage, 2016). English Heritage also participates in various
initiatives including donations and sponsorship of different activities in the UK (English
Heritage, 2016).

13

Task 4
P4: UNDERSTAND THE ROLE OF METHODS OF INTERPRETATION WITHIN THE
HERITAGE AND CULTURE INDUSTRY
P.4.1 Evaluate Methods and Media Used For Interpretation within the Heritage and
Cultural Industries for Tourists
Introduction
Interpretation in its broadest form encompasses the provision of in-depth information on tourism
products, stories, history and stories to the tourists so that they are well equipped with their
understanding of the heritage and cultural importance of such. Different cultural and heritage
institutions have different standards and policies that guard the interpretation process. Similarly,
different media and methods are employed by experts in taking visitors through the whole
process. Worth noting is that these people are either learned interpreters who have undertaken
some courses or people who by birth have the knowledge of heritage and cultural collections.
The British Museum and The Natural History Museum have interpretation programs that are
propagated through different techniques and media.
Methods and Media Used For Interpretation within the Heritage and Cultural Industries
for Tourists
Interpretation needs to be targeted to a particular group of people/visitors whose background
information is available. The process is conducted in different techniques including brochures,
maps and booklets, storytelling sessions, narratives, exhibitions, online movies, the social media,
the internet (websites), auditoriums, briefing sessions, guides, interactive displays, labels, media
displays, radio and TV programs, and signage among others. Research through customer surveys
in the industry affirms that the process makes the customers engaged and improves their

14

experiences during the visits. Such interpretation programs also enlighten those that are yet to
visit to have a reason for their visit. Furthermore, when a given community member is given the
role of interpretation, a community feels involved and takes the opportunity to conserve the
heritage and cultural sites. Nonetheless, accountability and efficiency on the part of the
management are also optimized by the whole process. The interpretation process if product
oriented serves as a promotional tool for an organization.
The Natural History Museum, UK employs 1400 people for some roles inclusive of 300
scientists and over 500 volunteers (Nhm.ac.uk, 2015). The team entails guides who are taken
through adequate training to enable them to take their roles as interpreters in the institutions. The
interpreters include the physically challenged who are included and trained for their roles. These
people have an abundant background information on the specimen handled in the laboratories
(Nhm.ac.uk, 2015). Furthermore, the museum organizes seminars, conferences and courses on
interpretation to further optimize the quality and impact of the visitors. The over 350 scientists
have divided their roles in the respective laboratories and take the visitors through earth and life
sciences in the labs and archives. Furthermore, the museum boasts of over 700 publications with
further information about the specimen handled in the institution (Nhm.ac.uk, 2015). The
scientists have also classified the specimen and provided information on each in the form of
labels making it easier for information seekers and visitors to identify the names, classification,
and species of an organism. The museum is in the process of digitizing over 80 million
specimens in the museum so that their identity and important in natural history is protected
(Nhm.ac.uk, 2015). The museum also has a data portal that has open access to the public for any
information (Nhm.ac.uk, 2015). As a matter of fact, visitors have access to the information
department where they can browse freely and ask questions. The portal also enables information

15

interchange between the museum and other institutions that conduct research in the museum. A
whole department has been dedicated to the process of analyzing and presenting materials
through different media such as the website, pamphlets, journals, periodicals, annual magazines
and tablets (Nhm.ac.uk, 2015). The combination of labs and departments use microscopy and
spectrophotometry to reveal further information about the samples. The Natural Museum has
also been able to use the social media such like Twitter, Facebook, and You-tube in disseminating
information to different people who visit and seek for information (Nhm.ac.uk, 2015).
The British Museum employs various techniques in interpretation. It has long been applying
living history form of presentation that involves theatric plays being presented to the target
audience (Blockley, 2006, p.42). This is a very captivating method of analysis that is also
widespread in other museums across the world (Blockley, 2006, p.42). British Museum also has
narrative sessions before the visitors are taken for a guided tour around the museum. In this
narrative, the principal objects or areas in the history of the institution are reviewed, and the
information stressed onsite (Blog.britishmuseum.org, 2011). For the museums to successfuly
conduct the narratives, they have invested enough on inquiring on the background information of
the audience (Blog.britishmuseum.org, 2011). The museum also has a digitized database that
contains uploads of images and new records. The database that is online includes all the museum
collection and is attached to a database of the scientific papers on the objects. The museum uses
social media in educating the visitors on the collections preserved in the museum. Furthermore,
there are interpretation sessions that are unique to children so that they also take part in
understanding the collections. For those who come as corporate or institutions, there are rooms
and auditoriums where they are lectured on the collection and given information
(Blog.britishmuseum.org, 2011).

16

British Museum is among the first museums in the whole world that have embraced interactive
media in the process of interpretation (Mannion, 2016). The Augmented Reality (AR) platform
adopted by the museum enables the users to use their mobile phones, tablets and iPads in
accessing information that is superimposed on the world map (Mannion, 2016). Therefore, as
one goes to the museum, all the information on an object including its origin, use and purpose
are revealed in the device (Mannion, 2016). The AR technology provides an adequate learning
opportunity that is unforgettable (Mannion, 2016). Further, the museum also has interactive
boards and multimedia based technologies that are used by the physically challenged in the
process of seeking information (Blog.britishmuseum.org, 2011).
Conclusion
The world is slowly embracing technology, and there is a dynamic change in every nook of life.
It is the time the museums and other cultural and heritage organization embraced the emerging
technologies in the process of interpretation. The only best form of interpretation however is the
firsthand interpretation given by the guides who are not biased in their presentation. Other
institutions should embrace the pace set by British Museum and the Natural History Museums in
the UK for successful interpretation.

17

Bibliography

Blockley, M. (2006). Heritage interpretation. London: Routledge.

Blog.britishmuseum.org, (2011). Interpretation | British Museum blog. [online] Available at:
http://blog.britishmuseum.org/tag/interpretation/ [Accessed 20 Jan. 2016].
Culturalpolicies.net, (2016). United Kingdom: 1. Historical perspective: cultural policies and
instruments:. [online] Available at: http://www.culturalpolicies.net/web/unitedkingdom.php
[Accessed 19 Jan. 2016].
English Heritage, (2016). A history of the charity, English Heritage | English Heritage. [online]
Available at: http://www.english-heritage.org.uk/about-us/our-history/ [Accessed 20 Jan.
2016].
Great Britain. Culture, Media, and Sport Committee, (2013). Supporting the creative economy:
third report of session 2013-14. Vol. 1, Report, together with formal minutes, oral and
written evidence. London: Stationery Office, 2013.
Heritagehelp.org.uk, (2016). Associated voluntary organisations - Heritage Help. [online]
Available at: http://heritagehelp.org.uk/organisations/category/associated-voluntaryorganisations [Accessed 20 Jan. 2016].
Mannion, S. (2016). Museum Identity Ltd - high-quality conferences, study days, publications,
for professionals. [online] Museum-id.com. Available at: http://www.museum-id.com/ideadetail.asp?id=336 [Accessed 20 Jan. 2016].
McKercher, B. and Du Cros, H. (2002). Cultural tourism. New York: Haworth Hospitality Press.
Natural History Museum, (2016). History and architecture | Natural History Museum. [online]
Available at: http://www.nhm.ac.uk/about-us/history-and-architecture.html [Accessed 20
Jan. 2016].
Nhm.ac.uk, (2015). Our science | Natural History Museum. [online] Available at:
http://www.nhm.ac.uk/our-science.html [Accessed 20 Jan. 2016].

18

Poria, Y., Butler, R. and Airey, D. (2004). Links between Tourists, Heritage, and Reasons for
Visiting Heritage Sites. Journal of Travel Research, 43(1), pp.19-28.
The British Museum, (2016). British Museum - About us. [online] Available at:
https://www.britishmuseum.org/about_us/management/about_us.aspx [Accessed 20 Jan.
2016].
Timothy, D. (2011). Cultural Heritage and Tourism: An Introduction. Bristol: Channel View
Publication, pp.295-298.
Timothy, D. and Nyaupane, G. (2009). Cultural heritage and tourism in the developing world.
London: Routledge.
UNWTO, (2016). Cultural Heritage | Sustainable Development of Tourism. [online] Available at:
http://sdt.unwto.org/content/cultural-heritage-1 [Accessed 20 Jan. 2016].
Vandenbrink, R. (2013). Lhasa Faces Disneyfication Specter with Hotel Plan. [online] Radio
Free Asia. Available at: http://www.rfa.org/english/news/tibet/lhasa-07022013164131.html
[Accessed 19 Jan. 2016].
Woodland Trust Explained, (2016). Woodland Trust Explained. [online] Available at:
http://everything.explained.today/Woodland_Trust/ [Accessed 20 Jan. 2016].
Woodland Trust, (2016). [online] Available at: http://www.woodlandtrust.org.uk/aboutus/ancient-woodland-restoration/ [Accessed 20 Jan. 2016].

19