International Institute of Tourism Studies Executive Director Seleni Matus traveled to Indonesia where she delivered the talk Placemaking, Culture & Tourism: Creating a Sense of Place at the 3rd Forum on International Tourism and the Environment (FITE). A partnership between the Institute Français, the Embassy of France to Indonesia and the Indonesian Ministry of Tourism’s Institute of Tourism in Bali with support from The George Washington University, FITE invites students from Indonesia, France and other countries to participate in international student conferences on tourism and sustainability.
Cultural heritage tourism is a particularly fast-growing segment of the tourism sector and key to the work of the International Institute of Tourism Studies, which focuses on tourism as a means of sustainable development. To better understand the overall concept of placemaking and how it relates to cultural tourism, we sat down with Matus just before she left for her trip.
Could you define placemaking?
First we need to be clear what we mean by place. Places are environments in which people have invested meaning over time. A place has its own cultural and social identity and is defined by the way it’s used and the people who use it.
So, then, what is placemaking?
Either organically or by design, people create places. An example of a place that evolved organically is Fusterlandia, an area on the outskirts of Havana, Cuba where a mosaic tile artist decorated his house. The neighbors, who were so impressed, asked him to decorate their homes. Very soon, the entire area became covered in wonderfully festive tiles and the once-forlorn area suddenly developed a cohesive identify. Tour buses now make Fusterlandia a regular stop. Fusterlandia is not only a good example of organic placemaking but of cultural tourism.
What do you mean by planned placemaking?
Several years ago, UNESCO began a program to conserve cultural heritage in cities around the world and identified places known for particular cultural characteristics—design, folk art, literature, music, etc. There are now more than 180 UNESCO Creative Cities. The intentional conservation of culture has enabled these cities to not only protect but also to promote their unique cultural characteristics. In Indonesia, for example, there are two UNESCO Creative Cities—Bandung, a design hub, and Pekalongan, which is known as the “Batik City.” While families have been making batiks there for thousands of years, the city government created a resurgence around the art form through increased funding, which has drawn the interest of young people as well as tourists and helped to revive the city’s economy.
Do you foresee that the placemaking movement will grow?
Absolutely. We’re seeing it around the world…Cuba, Croatia, Dublin, Durbin, Mexico, Malawi—placemaking is all about identifying, cultivating and conserving culture, which is key to sustainable development and to tourism, especially as an increasing number of travelers want to visit places that feel authentic. And residents in communities with a distinct sense of place are realizing economic benefits as well as enjoying the sense of cohesion that comes from living in a well-defined place. The UN in its 17 Sustainable Development Goals identifies the conservation of culture as key to sustainable development. So I think we’re only beginning to recognize and understand the power of placemaking as a vehicle for healthy development, which economically benefits communities and protects cultural and natural heritage.
