ABSTRACT
It is generally recognised that arts tourists tend to be the kind of people who regularly visit arts attractions or venues at home (Richards, 1996; Hughes, 2000). The profile of arts tourists tends to be broadly similar to that of more general cultural tourists. They usually have relatively high levels of education, income and cultural competence. However, participation in the arts is a hotly debated issue in arts management literature. For example, it has long been recognised that the contemporary arts scene in Britain tends to be dominated by predominantly white, middle-class, middle-aged audiences. In addition, minority and ethnic arts activities tend to be under-funded and less supported than mainstream arts. There is still arguably a certain snob value attached to the arts which is linked partly to the nature of so-called high art forms, but also to the host institution, its location and its pricing structure. For example, many large arts venues such as Covent Garden Opera House in London have been criticised in the past for not facilitating access to a broader range of potential audiences. Barriers to access clearly need to be overcome before the arts can truly become democratic in their audience development, and funding and support need to be increased for minority activities.
