The public

THE RETURNS OF THE DAY: “TOURS AND MUSEUM: A COMMON CAUSE? »/ AGCCPF

How is cultural tourism doing?

Didier Arino, General Manager of Protourisme:

Explains that 55% of foreign clients who paid to visit a cultural site, go either to the Louvre museum or the Versailles castle; for the rest of the cultural sites, the international attendance rate is minimal. Many destinations have opened up to tourism, with an essential cultural and heritage site offer: cathedrals, villages with a  character, cities with a staged heritage.

In France, we often present our offer from the perspective of built/architecture heritage - which is not the case in certain cultures. For example, in Asian cultures, specifically for the Chinese audiences, "built" heritage sites will only resonate through stories and legends. We are thus adapting the mediation, using storytelling about those who built the heritage site. It is also an issue of linking a cultural offer with the playful aspect, also let's not forget about Millenials.

There is a hyper-concentration of flows on specific destinations. Moreover, there is growth in the Aquitaine region, but only in particular places. Therefore, the perplexity is that the increase is more than 50% just in the metropolitan areas. As a consequence,  we must realize that while some sites absorb the wealth, on the other hand, others areas in return are much less frequented. Then we question: what about the cultural and tourist offerings balance?

Olivier Allouard, Director of GECE.

Intervention explained that museum audiences consist of three types: inhabitants, excursionists, local (French) and international tourists. The inhabitants can be their city ambassadors. In the last twelve months, 38% of the French population had a cultural activity during their travels. In addition to this information, 75% of French participants have at least done one cultural activity during a touristic trip; denoting that museum's offerings partially fill visitors' expectations, with a digital dimension, immersive; with spaces for relaxation, comfort.

Laurence Chesneau-Dupin & the June 2016 opening of the Cité du Vin

The pillars of their offer are the Belvedere and the temporary exhibitions. They offer mediations for all ages with a total of 2 500 approaches or oeno-cultural workshops, diversified cultural programming, a reading room all year long.

The Cite du Vin has a strong emphasis on accessibility, labeled as a "tourism and disability" site; 100% of the contents are accessible in 8 languages. A little curiosity, many of their international visitors are Portuguese speakers - and especially Brazilian Portuguese.

About pricing: Ticket sales account for 85% of the financial resources of the museum financial stability. The pricing has been fixed as follows: 20 euros entrance fee, which is usually not an issue for visiting tourists - for locals, a series of subscription plans are offered, and lastly Citypass formula accommodates lower income visitors, providing the possibility of one-time limited use pass. This last group only accounts for a total of 6%.

This "formula" allows the museum leadership to develop different flows of tourists, resulting in a financial autonomy, operating without any grants. Revenues come from ticketing, private spaces, products and museum merchandise, and lastly private donations.

Audience Q&A : "Is there too much digital in the museum? "

The decision made was to use digital tools to explain this thematic because "we tell stories," there is no collection to display. This is not an experience that you can "live in your living room"... and as a result, the level of satisfaction is very high within visitors.

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