The Committee for Culture, Arts and Leisure is a Statutory Departmental Committee established in accordance with paragraphs 8 and 9 of Strand One of the Belfast Agreement and under Standing Order No 46 of the Northern Ireland Assembly. The Committee has a scrutiny, policy development and consultation role with respect to the Department of Culture, Arts and Leisure, and has a role in the initiation of legislation.

The Committee has power to:

• consider and advise on Departmental budgets and Annual Plans in the context of the overall budget allocation;
• approve relevant secondary legislation and take the Committee Stage of relevant primary legislation;
• call for persons and papers;
• initiate inquiries and make reports;
• consider and advise on matters brought to the Committee by the Minister of Culture, Arts and Leisure.

The Committee was established on 29 November 1999 with 11 members, including a Chairperson and Deputy Chairperson, and a quorum of five.

The membership of the Committee is as follows:

• Mr Eamonn ONeill (Chairperson)
• Mrs Mary Nelis (Deputy Chairperson)
• Dr Ian Adamson
• Mr Fraser Agnew
• Mr Ivan Davis
• Mr David Hilditch
• Mr John Kelly (replaced Mr Barry McElduff with effect from 4 February 2002)
• Mr Kieran McCarthy
• Mr Eugene McMenamin
• Mr Jim Shannon
• Mr Jim Wilson

The Report and Proceedings of the Committee have been published by the Stationery Office by order of the Committee. All publications of the Committee have been posted on the Northern Ireland Assembly website: www.ni-assembly.gov.uk

All correspondence should be addressed to the Clerk to the Committee for Culture, Arts and Leisure, Northern Ireland Assembly, Room 424, Parliament Buildings, Stormont, Belfast BT4 3XX. Tel: (028) 9052 1574; Fax (028) 9052 1063; e-mail: committee.culture@niassembly.gov.uk

1.In pursuit of this inquiry, the Committee read and assessed written submissions and took oral evidence from a variety of organisations. The Committee also undertook study visits to Boston, Paris and Barcelona.

2.The main issue identified during the inquiry was the diversity and unique nature of the cultural tourism product we have to offer the visitor to Northern Ireland. However, the Committee considers that there is a need for recognition at government level of the potential economic impact it offers. A concerted and strategic approach must be taken to its development and marketing.

3.The themes identified in the body of the Report include - products, attractions and infrastructure; focal agencies; community involvement, relationships and partnerships; strategic planning and development; communication and IT; learning; and funding.

4.The Committee took great encouragement from the level of interest shown in the inquiry and believes that the recommendations contained in the Report will do much to improve the quality, cohesiveness and competitiveness of our cultural tourism product.

5.The Committee has made 56 recommendations, which are collated at section 11 of the Report.

1.1.1.The terms of reference for the inquiry were as follows:

• To determine the status of the existing relationship between the cultural and tourist sectors in Northern Ireland.
• To identify areas within aspects of the arts which have the potential to be incorporated into a cultural tourist product and which can be actively promoted by the tourist industry.
• To identify the support required by cultural activities, including languages, to enable that heritage to be maintained and enhanced.
• To report to the Assembly making recommendations to the Department and/or others on actions that would strengthen the link between culture and tourism.

1.2.1.The inquiry into cultural tourism and the arts in Northern Ireland was launched on 25 January 2001, and written submissions were invited from those organisations, groups and individuals with an interest in these areas.

1.2.2.The Committee also drew on the experience gained during fact-finding visits to Boston, Paris and Barcelona, which were undertaken in association with the inquiry. Itineraries for the visits are included in Appendix 2.

1.2.3.Finally, a number of documents and other publications were of assistance in the preparation of the Report. A list of all sources is included in section 12.

1.3.1.The Committee received 82 written submissions from a wide variety of groups and individuals. These are detailed at Appendix 1, either as printed or unprinted memoranda. Copies of those memoranda which have been printed are included in Volume 2 of the Report. Copies of those memoranda which have not been printed are available in the Northern Ireland Assembly Library.

1.3.2.At the Committee's meeting on 26 April 2001, it agreed to hear evidence from a representative selection of key witnesses from among those organisations which had provided written submissions. These are listed at Appendix 1. The Committee heard this oral evidence between 10 May and 25 October 2001. The transcripts of these evidence sessions are included in Volume 2.

1.4.1.The Committee would like to express its thanks to all those who provided either written and/or oral evidence.

1.4.2.It would also wish to record its deep appreciation of the knowledge and expertise shared with it by the many public and private sector organisations with which the Committee engaged during its study visits to Boston, Paris and Barcelona.

1.4.3.The Committee also acknowledges the contribution made to this Report by its specialist adviser, Dr Stephen Boyd.

2.1.1.The common definition of tourist is someone who travels for purposes of pleasure, business and to visit friends and relatives and who stays away from their place of residence for more than 24 hours. He or she becomes an international tourist if they cross an international boundary in order to engage in such activities.

2.1.2.Culture is a more obscure concept. It can be defined from two perspectives, either as a process or as a product (Richards, 1996). The former requires that any cultural experience be authentic and meaningful. The latter is linked to actual cultural facilities and their related services or products. The Committee has taken the view that, for the purposes of this Report, both meanings are appropriate.

2.1.3.The Committee feels that the definition of cultural tourism contained in the Lord Cultural Resources Planning & Management Inc Strategic Directions for Ontario's cultural tourism product (1993) is a useful one. This referred to 'visits by persons from outside the host community, motivated wholly or in part by interest in the historical, artistic, scientific or lifestyle/heritage offerings of a community, region, group or institution'.

2.1.4.The arts have been defined as comprising the performing arts, visual arts, literary arts, traditional arts, community arts, rural arts, and festivals.

2.1.5.Heritage has been considered to include language, genealogy, archaeological/Christian heritage, industrial heritage, museums, visitor centres and other cultural resources.

3.1.1.Image is important for any tourism destination. It is often the image an area conveys which either attracts visitors or causes them to select another destination. In positioning itself as a holiday destination, Northern Ireland has not only had to address its negative image, but it has also had to accept its position on the periphery of Europe. These factors, combined with our unreliable climate, do not set Northern Ireland out as an obvious first choice.

3.1.2.International research in relation to other destinations has demonstrated that violence, terrorist attacks and civil unrest have a dramatic and immediate effect on tourism within destinations, regardless of whether the threat is targeted at the tourists or at the infrastructure (Sonmez & Graefe 1998; Aziz 1995). It is not surprising then that images of violence and the devastation inflicted on Northern Ireland's infrastructure, masked the wealth and diversity of tourism attractions the region could offer (NITB 1993; Browne 1994).

3.1.3.In Northern Ireland's case, a number of commentators have concluded that the period of violence, terrorism and civil unrest between 1969 and 1994 was a key factor in the region failing to develop its full tourism potential (Boyd 2000; Wall 1996; Buckley & Klemm 1993). Others have argued that the Northern Ireland Tourist Board (NITB) failed to promote and market the region and encourage tourist development (Leslie 1999).

3.1.4.The evidence presented to the Committee supports the view that the combination of both factors resulted in 'lost years' in terms of tourism growth and development, when compared to the growth that the rest of northern Europe enjoyed over the same time (Baum 1995). This was compounded by the failure to invest in and develop our broad cultural tourism product.

3.1.5.More recently, tourism during the summer period has been blighted by the images of street riots and by the continued failure to resolve the issue of contested parades.

3.1.6.In the Republic of Ireland, Scotland and Wales, tourism makes a contribution of around 6% to GDP. In Northern Ireland, the figure is just 1.8%.

3.1.7.It is clear to the Committee that with the opportunity for new beginnings in so many contexts, the scope for cultural tourism in the region is immense. However, if it is to achieve its full economic and social potential, Northern Ireland's image problem must be addressed and we must invest in our infrastructure, in its broadest sense.

3.2.1.Visitors have tended to come to Northern Ireland because they had a particular reason to visit, as opposed to adding a stay in Northern Ireland as part of a wider trip itinerary. Nevertheless, the majority of attractions within Northern Ireland are designed to provide visitors with a cultural and heritage experience, with heritage fundamentally tied to the product base of people, landscape, culture and activities (NITB, 2000c).

3.2.2.In terms of physical heritage, attractions in Northern Ireland can be subdivided into a number of distinct categories:

• Historical (elements within the built landscape, e.g. houses, castles, monuments, cathedrals);
• Industrial (links to products indicative of the region's past, e.g. linen, pottery, whiskey, crystal, shipbuilding);
• Cultural (links to past societies, lifestyles, customs, e.g. early Irish settlement, Norman settlement, settlement from early British presence in Ireland);
• Natural (elements of the natural landscape, e.g. Giant's Causeway, country & forest parks, caves); and
• Educational (links to attractions where the ultimate purpose is the dissemination of information for the purposes of learning, e.g. museums, visitor centres, libraries, the Armagh Planetarium and Observatory, genealogy centres).

3.2.3.Table 1 ranks, in terms of attendance figures, the twenty top tourist attractions which have featured in recent annual surveys undertaken by the NITB. The table indicates that heritage related attractions are key elements of the visitor experience Northern Ireland has to offer and that, as a reliable brand, it should continue to be promoted. However, the Committee is concerned that the NITB's method of collecting the data for the survey may not be sufficiently robust and that the figures may not represent the true picture in terms of attendance at visitor attractions. The accuracy of these surveys would appear to be a crucial element in measuring the appeal of attractions. The Committee would, therefore, strongly recommend that NITB should establish more reliable procedures for ensuring that comprehensive and accurate information is gathered.

3.2.4.In a study by Boyd (2000), heritage tourism emerged as a dominant theme in the tourism product that Northern Ireland was able to offer its visitors in the period between the first paramilitary cease-fires and the signing of the Belfast Agreement in 1998. Tables 2 and 3 record visitor numbers to different categories of heritage attractions, both fee-paying and free. During the period from 1994 to 1998, Northern Ireland's heritage attractions enjoyed their best visitor numbers on record. However, the tables also point to the volatility of the market, as demonstrated by the drop in visitor numbers for 1996 across all categories of attraction.

3.3.1.The arts enrich our lives, inspire imagination, power creativity and self-fulfilment, build confidence and inspire hope in communities. They can make an important economic contribution to a region. Myerscough (1996) in his assessment of the arts and the economic role they play, stated that they can draw '.people and their spending to particular localities where service industries can take advantage of an expanding customer base. Arts institutions bring life to a place. They provide a catalyst to wider developments, they have a role to play in regional economic initiatives and contribute to the success of property projects.'

3.3.2.The arts must be linked with tourism to provide visitors with a comprehensive package of cultural tourism products.

3.3.3.The role attendance at arts venues and performances plays in overall trip composition should not be underestimated. Within this report, cultural tourism and the arts are considered together, forming one integrated package, providing a complete cultural resource base for both the domestic and international visitor.

3.3.4.From the perspective of cultural tourism, emphasis must be placed on the out-of-state visitor, as the economic returns from this source are greater than those from within Northern Ireland itself. Yet, it is important that the local market is grown in parallel, especially in terms of broadening interest in the arts.

3.3.5.The benefits of linking the arts with cultural tourism include:

• increasing visitor numbers and, in specialist markets, forming a prime reason for visiting;
• defining a destination and adding to its overall appeal and sophistication;
• adding value to a visit and increasing customer satisfaction;
• generating off-peak visitor traffic; and
• optimising the use of accommodation and transport (NITB, 1997).

3.3.6.However, the Committee believes that Northern Ireland's approach to the arts and cultural tourism as 'products' should embrace the principles of sustainability, long-term viability, limited negative impact, local involvement and positive social and economic benefits for all communities, groups and individuals involved.

3.3.7.Tourism is in many ways an intangible product. In essence, what visitors seek to take home with them is an experience. However, it relies on a tourist infrastructure of attractions, services, accommodation, transportation, and marketing to meet the needs of visitors. Culture and heritage lies at the heart of the Northern Ireland experience, and it is this opportunity which the Committee set out to examine.

3.4.1.Visiting Friends and Relatives (VFR) has remained the principal reason why people come to Northern Ireland. Table 4 sets out the main purposes of visits between 1995 and 2000. Apart from 1995, when the percentage declaring VFR as their main reason fell to 36%, it remained relatively constant between 41% and 44% for the years thereafter. Table 4 also illustrates that pure holiday visits were ranked third, after VFR and business visits. The only year where this pattern changed was 1995, when holiday visits exceeded business visits.

3.4.2.What Table 4 reveals above all is that we are failing to convert more of our various categories of visitor into holiday-makers.

3.4.3.Nevertheless, both VFR and business visitors are important sectors of the region's niche markets. Just because people do not declare 'pure holidays' as their reason for visiting, does not mean that tourism has not been on the rise since 1997. An examination of the total trip numbers in Table 4 reveals that the declines in the 1996-1998 years have been turned around from 1999 to the present day.

3.4.4.The capacity of culture, heritage and the arts as a niche market with potential to capitalise on a trend for interest in the culture of destinations is growing. The World Tourism Organisation recently stated that around 37% of all tourism trips have a cultural and heritage component. This is, in part, because today's traveller is increasingly seeking more than the "sunkist" destinations can offer (sun, sand, sea and skin cancer). Added to this is the reality that people within the key tourism source regions are living longer and remain more affluent in their retirement than earlier generations. These people are interested in visiting places to learn about different cultures and view education while on holiday as a legitimate and enjoyable experience.

3.4.5.Since 1995, there has been growth in the European, North American and other overseas markets. The same period has seen minimal growth, and sometimes loss, in the market regions of Great Britain and the Republic of Ireland. However, when market regions are considered in terms of total numbers of trips taken, our two key markets still remain Great Britain and the Republic of Ireland.

3.4.6.In the aftermath of the terrorist attacks on the US on 11 September 2001, it is essential that Northern Ireland be sold as a holiday destination in its principal market regions. These must include continental Europe, as the likelihood of growth from the North American market and from other overseas markets cannot be assured in the short term. While Australians, New Zealanders and Canadians may still wish to travel as part of the VFR market, there can be no certainties about this in the foreseeable future. If culture and heritage are to remain key attractions, Northern Ireland must regard customers outside the long-haul market as being of critical importance in the short to medium term.

3.5.1.The opportunity now exists to promote the region as a holiday destination which focuses on authentic visitor experiences of our people, our places and our way of life. There is also considerable scope for developing the domestic market, which has been neglected in recent times. Key niche products, such as roots tourism and local studies, education and linguistics, as well as the many facets of what constitutes the arts and heritage, all hold considerable potential for growing the cultural tourism sector in Northern Ireland.

4.1.1.The written submissions clearly demonstrated the breadth of the products and attractions base which exists throughout Northern Ireland. As noted in section 3, our cultural and heritage product has been well defined, with attractions catering for particular niche interests. However, the extent to which each product has been developed for tourism varies considerably. While visitor attractions of a cultural or heritage nature have fared reasonably well, considerably less attention has been accorded to the development of events, linguistics and genealogy as tourist activities or visitor experiences.

4.2.1.Northern Ireland contains a wealth of cultural and heritage attractions. The NITB undertakes a survey of visitor attractions each year, the most recent figures being for 2000 (NITB, 2001). One hundred and sixty four attractions responded to the survey, comprising those owned by government, local authorities and the National Trust, as well as those in private hands. This represents neither a 100% response nor, indeed, a full survey of all the attractions which exist. The concern raised in paragraph 3.2.3 above about the robustness of the survey results applies equally to the figures in Table 5 below. The table shows the breakdown, by type, of those attractions which responded, with the majority of attractions falling within the classification of museums/visitor centres, or as Boyd (2000) termed 'educational heritage'.

4.2.2.In addition, the NITB has identified over 600 individual organisations, attractions and individuals from the broad cultural sector which present opportunities for tourism.

4.2.3.Research undertaken in 2001 by the Academy for Irish Cultural Heritages at the University of Ulster, has identified over 440 'official' heritage sites in Northern Ireland, ranging from windmills to the Ulster Folk and Transport Museum. There are also a vast number of unofficial heritage sites. This research has been incorporated into a database and could be of enormous value to the tourism industry as an information resource.

A definitive inventory of Northern Ireland's cultural and heritage resources should be produced by the Department, in collaboration with other relevant bodies.

The existing descriptors used by the NITB in its annual survey should be renamed to reflect more appropriately the different categories of heritage eg built; historic; natural; cultural/educational (ie museums/visitor centres); or industrial.

4.3.1.Industrial heritage tourism is a relatively new area of local tourism development and its potential benefits have been largely untapped in Northern Ireland. Examples include factory visitor centres (e.g. textiles, pottery and glassware), re-use of industrial buildings for leisure or tourism purposes, and restoration of canals. Industrial heritage tourism helps to create employment and investment in industrial towns where the manufacturing industry has gone into decline. Many local authorities, particularly in industrial towns in the English Midlands, are incorporating industrial heritage tourism into their tourist development programmes.

4.3.2.As well as the economic benefits industrial heritage tourism brings to these areas, there is also an improvement in people's perceptions of their locality and a sense of pride in their own unique industrial heritage. Industrial heritage tourism also helps to project a positive image of towns and cities which have suffered from post-industrial decline.

4.3.3.Industrial heritage can offer a real and sustainable type of cultural experience and has clear potential for further development within Northern Ireland. The buildings and processes associated with linen production, shipbuilding, distilling, brewing, pottery, glass/crystal, steam, waterways, printing, spade-making and gas production all offer opportunities for cultural tourism. A number of Northern Ireland's leading attractions fall under this label, for example, Beleek Pottery, Old Bushmills Distillery, and Tyrone Crystal.

4.3.4.It appears to the Committee that Northern Ireland has neglected its industrial heritage and has failed to recognise the importance of preserving and re-using it for sound economic reasons, as well as for the education and appreciation of our community and visitors. During the Committee's visit to Boston, members travelled to the nearby city of Lowell, which was the centre of the Massachusetts cotton industry in the 19th century. The disused cotton mills have now been restored and tell the history of the production process and the conditions under which locals and immigrants worked and lived. The Lowell History Park, in which the mill buildings are situated, is also the venue for a programme of public entertainment events throughout the year, including an annual folk-festival which attracts 300,000 visitors over a weekend.

4.3.5.The creation and co-ordination of imaginative industrial heritage trails and packaged programmes, catering for a range of users from independent travellers to coach tour operators, has the potential to form the basis for a quality niche product.

4.3.6.A number of written submissions expressed interest in the development of a maritime museum within the Belfast shipyard. The story of the Titanic has been told across the world, but Northern Ireland has failed to capitalise on the fact that the ship was designed, built and launched in Belfast. The plans for the Titanic are currently held in the Ulster Transport Museum at Cultra. The original drafting rooms still exist, as does Thompson Dock and the keel blocks on which the Titanic rested during its fitting out. Furthermore, the SS Nomadic, the last remaining White Star Line tender, which was used to ferry passengers to and from the Titanic, is currently located on the River Seine in Paris. The acquisition of the vessel would be a focal point for a Titanic attraction.

4.3.7.With the downturn in employment within the shipbuilding and heavy engineering sectors, there appears to be considerable economic potential to develop an attraction of this nature. The Committee, therefore, strongly supports the creation of a museum of sea and sky within the Titanic Quarter, with the Titanic itself as a key theme, particularly with the centenary of the ill-fated voyage only ten years away.

As more of our historic mills and other industrial buildings disappear each year, an audit of the current position should be undertaken by the Department of the Environment, as a matter of urgency. In conjunction, a strategy should be developed to protect and preserve such buildings in the context of a broad heritage product.

4.4.1.Festivals have an important role as showcases of the culture of specific local areas, or of the region as a whole. More importantly, they are significant economic generators. For example, the 2001 Edinburgh Festival redeemed an otherwise devastated Scottish tourism industry in the wake of last year's outbreak of foot and mouth disease.

4.4.2.A number of major festivals exist at present in Northern Ireland e.g. Cinemagic, Belfast Festival at Queen's, Féile an Phobail (West Belfast Community Festival), and the Foyle Film Festival. The Republic of Ireland hosts many high-profile arts festivals, particularly during the summer months, which attract artists and audiences, from all over the world. In addition, a huge number of colourful local festivals take place in towns and villages, again during the summer months, which are attractive to the community and to tourists.

4.4.3.Potential clearly exists to develop further festivals in Northern Ireland. However, they must be able to offer long-term viability and serve both the host community and the visitor. For instance, the West Belfast Community Festival (currently in its 13th year) has proven to be an important element in assisting the long-term regeneration of this part of Belfast, with the 2000 August Féile generating approximately £300,000 for the community.

4.4.4.The Belfast Festival at Queen's, while unable to rival the Edinburgh Festival, is the largest arts festival in Ireland and, in its 40th year, has proven its sustainability. The Festival has recently been brought forward to coincide with the Halloween period. This has allowed it to capitalise on the growing focus on Halloween events, as well as on the expanding market for city breaks. In its evidence, however, the Belfast Festival indicated that it was conscious of the gap that exists during the summer period. The Committee would strongly support any proposal to consider running summer events, both to fill this gap and to promote the Festival's profile on a longer basis.

4.4.5.The Belfast Festival should also consider how to market itself to the out-of-state audience more effectively. There would seem to the Committee to be scope to tap into the huge international coverage provided by the satellite broadcasting sector through the commissioning of a purpose-made feature show-casing the highlights of the Festival.

4.5.1.Northern Ireland lags significantly behind England and Scotland as a location for world-class or major international events. It is even further behind the Republic of Ireland. The region's negative image is clearly a major factor for performers, promoters and sponsors.

4.5.2.The Northern Ireland Events Company's budget for this year is just over £1 million. Two years ago the Government in the Republic allocated an extra £2.5 million per year for three years to bring extra events. This was in addition to the financial support already provided for four major golf tournaments and a range of other cultural, arts and sports events. Some £7 million has been allocated to the 2006 Ryder Cup from the public purse. The return to the Irish Exchequer on this investment is expected to be between £50 million and £100 million.

4.5.3.We need to persuade promoters that Northern Ireland is a sensible location and a safe place to come, with good facilities. We also need to persuade ourselves that we can host major events. The devolved administrations in Scotland and Wales have allocated significant budgets to attract big events. With competition becoming more intense, the key to success is for the Northern Ireland Events Company to be in a position to give a financial commitment sufficiently far ahead in the bidding process.

4.6.1.Band music is an important part of the cultural landscape of Northern Ireland. The opportunity exists to showcase the very real talent within our bands (pipe, drum, accordion, brass, flute and concert), which too often have a negative association with the Marching Season. The promotion of band competitions, particularly where Northern Ireland can host contests at All-Ireland, European and World Championship level, should be supported by the Arts Council, the NITB, the Northern Ireland Events Company and district councils.

4.6.2.Evenings of traditional song and music, either in pubs, céilí houses or other venues, serve not only to enrich the experiences visitors absorb as part of their stay, but to develop performers and sustain a vibrant traditional arts sector.

4.6.3.Following the demise of Opera Northern Ireland, Castleward Opera is now the only professional opera company in Northern Ireland. While the Welsh National Opera season in Belfast attracts audiences from the Republic, and provides some opportunity for young local performers to participate in opera, Northern Ireland remains poorly served. Although Castleward Opera's performances at the Grand Opera House have resulted in financial difficulties, its annual seasons at Castle Ward have provided critically acclaimed performances for local audiences and visitors alike. They have also allowed local singers to explore roles in a professional setting. The Arts Council must examine what further steps it can take to ensure that local professional opera can offer a quality product to local audiences, which can also be promoted to the cultural tourist market.

4.6.4.The World Irish Dancing Championships were held to considerable acclaim in Belfast in 2000. However, dance of all categories remains an underdeveloped part of the cultural attraction base. Again, the Arts Council must examine what more it should be doing to support the promotion and development of dance within the region.

4.6.5.Professional theatre in Northern Ireland has fostered the talents of Liam Neeson, Stephen Rea, Graham Reid and other international icons. "Stones in his Pockets" was written and first performed in Belfast. Tinderbox won best production in the Irish Times/ ESB Irish Theatre Awards 2000 for "Convictions", surpassing the Abbey Theatre and other highly regarded productions. However, the sector is plainly in a state of crisis. The Committee understands that a professional theatre performer here is lucky to earn £4,500 a year. The average wage is £275 a week, before agent's commission and other deductions are made, and securing four-month's work a year is the norm. In addition, the young people we are training in theatre, and the arts in general, do not have jobs to go to in Northern Ireland when they graduate.

4.6.6.Short-term funding cannot sustain the professional theatre sector. Without vibrant independent theatre companies, objectives such as broadening access, community outreach and the development of new audiences, may ultimately be difficult to deliver. The Department and the Arts Council must review the opportunities which exist to support the growth of the independent professional theatre sector. This is also fundamental to the development of an attractive niche tourism product, particularly during the summer season.

4.6.7.The Committee is also conscious that Northern Ireland has a strong tradition of amateur choral, light opera and drama societies and groups. It considers that there is a particular need for the Arts Council and district councils to support and recognise the efforts of these volunteers who keep the amateur arts alive at local and community level.

4.7.1.As Table 7 reveals, trips to museums and visitor centres remain the most popular activity for visitors. Northern Ireland offers a wealth of such assets, with many having international recognition e.g. the Ulster Museum, the Ulster Folk and Transport Museum, and the Ulster-American Folk Park. Although only opened in 2001, W5 (the interactive science museum) is already showing signs of overtaking many other attractions in terms of visitor numbers. W5 will, however, need to ensure that it reviews and updates its exhibits regularly to retain its share of the market.

4.7.2.Belfast is the only major city in the United Kingdom without a dedicated public art gallery. Yet the Ulster Museum has a unique collection of Irish art, as well as a collection of British contemporary art which was described by 'The Times' as the finest outside London. In a period when Irish art is hugely popular, particularly in America, the Museum is unable to display its full collection, simply because it does not have the space to do so.

4.7.3.The development of a Museum of Creative Arts should be the key priority for the Department and MAGNI. Not only would this provide a showcase for the prestigious collection held by the Ulster Museum, but it would allow special exhibitions of world-class collections to be staged. It is worth noting that the Monet, Renoir and Impressionist Landscape exhibit, which was on show in the new Millennium Wing of the National Gallery of Ireland between January and April 2002 attracted an average of 2,000 paying visitors per day. A large proportion of these visitors would also have generated a considerable economic impact on the city, in terms of overnight/weekend stays etc.

4.7.4.The provision of a new gallery in Belfast would result in much needed space becoming available for the development of more dynamic exhibitions at the Stranmillis site. These might include exhibitions of treasures with an Ulster connection which are currently housed elsewhere. Examples include the Shankill Crozier and the Broighter Gold Hoard, which are in the ownership of the National Museum of Ireland.

4.7.5.In further developing the project, advice should be taken from cities which have invested in culture as a means of economic and physical regeneration e.g Barcelona, Valencia and Bilbao. The Committee understands that the Guggenheim Museum in Bilbao, which is an outstanding resource and the city's number one tourist attraction, cost some £100 million to build. However, in its first year of operation, direct tourism generated £100 million for the region.

4.8.1.The Committee believes that in developing our cultural resource base, Northern Ireland should look carefully at the sustainability of further 'heritage' ventures. Recently, the Navan Visitor Centre, a key cultural resource, was forced to close due to a shortfall in projected visitor numbers. This raises general concerns about flagship tourism projects. The most recent of these is the St. Patrick's Centre in Downpatrick, and only time will tell if it has long-term potential. Often the weakness of flagship projects is their singular purpose. The difficult trading position of a number of such centres recently, demonstrates that projects should only be developed which have intellectual and financial rigour, and which are based on real subjects unique to the region.

4.8.2.Existing heritage centres should co-ordinate their operation and establish links with similar ventures, particularly in the context of themes, so as to ensure that visitors are provided with interesting and easily accessible attraction trails within the region. Links should also be forged with the hotel sector to ensure that 'front desk' staff are well briefed about local attractions.

4.8.3.Shared, multiple activity centres, which have a cultural focus, may prove to be more sustainable in the longer term. The Odyssey, Northern Ireland's Millennium project, is such a centre, offering visitors a science museum, cinemas and restaurants, as well as a state of the art venue at which to enjoy ice hockey and many other sporting and entertainment activities.

4.9.1.Language remains an undervalued asset by the tourism sector. It is a key element of any area's culture. It has long been recognised that tourism has an important role to play in the revitalisation of minority languages (Wall, 1982). The current Tourism Strategy for Wales identifies the Welsh language as an integral aspect of the cultural brand used to appeal to visitors (www.wales-tourist-board.gov.uk).

4.9.2.Northern Ireland is a patchwork landscape which echoes with different cultures - Irish, English and Ulster-Scots. In addition to Irish and Ulster- Scots, there is opportunity to hear West Tyrone Irish, Ulster Gaelic and Donegal Irish in the Sperrins. It is this diversity of language which makes Northern Ireland distinctive and creates real tourism opportunity.

4.9.3.Linked to this patchwork of linguistic traditions, exists the associated folklore and mythology of places that has survived over the years. The mythology relating to Ulster is better developed than in the rest of Ireland, or in Scotland.

4.9.4.Linguistics, as a high quality product for tourists, must be fostered at ground level. This should be taken forward through the development of language schools, tours and/or talks based on place-names or family-names, language trails with explanatory plaques on significant buildings in the different languages, and utilising song and music.

4.9.5.There are 1.5 million Irish speakers in the Republic of Ireland, half a million of whom speak the language fluently. However, a wider market for minority languages exists across the whole of Europe. With over 40 million minority-language speakers in Europe, there is a significant potential market for Irish and Ulster-Scots, along with other regional variants.

4.9.6.In developing linguistics as part of Northern Ireland's cultural brand, equal attention should be devoted to both minority languages.

The Department should consider what support might be given to the development of more language schools, tours and trails, particularly where the language is integrated with its associated literature, song and music.

4.10.1.Linked to language is the opportunity to promote roots tourism (genealogy) in Northern Ireland. Clearly a market exists, with 60 million people worldwide claiming to have Irish ancestry. In the United States alone, the Irish community is estimated at around 40 million, the majority of whom remain a huge untapped source for tourism into Northern Ireland (NITB, 1999).

4.10.2.The Department should, in association with the NITB and other relevant bodies, develop a Roots Strategy for Northern Ireland.

4.10.3.Extensive genealogical databases are held by: the Genealogy Centre (serving Co. Londonderry), Armagh Ancestry (serving Co. Armagh), Heritage World (serving Co. Tyrone, and Co. Fermanagh), and the Ulster Historical Foundation (serving Co. Antrim and Co. Down). The Centre for Migration Studies at the Ulster- American Folk Park, Omagh, although not primarily a family history centre, has an extensive emigration database and reference library. However, despite this wealth of material for a roots tourist there is no central point of contact for initial enquiries. This should be addressed.

4.10.4.The issue of cost is important and the Committee heard evidence that there appears to be an expectation on the part of tourists that a genealogy search will be free. As this is not the case in Northern Ireland, it may be a factor in deterring visitors from committing themselves to researching their roots on a visit.

4.10.5.The cost of initial searches might be absorbed within 'roots tours', particularly in relation to packaged visits to areas associated with ancestral names or clans. The Federation for Ulster Local Studies (FULS) can provide information and expertise in the link between townland names and ancestry, and in the development of local history trails. Initiatives of this nature will require investment, but roots tourism remains a relatively untapped area. As a special interest sector, the market is open to the promotion of clan reunions, genealogy conferences and speciality short breaks, all of which have the potential to generate repeat visits.

4.10.6.One of the Programme for Government's key themes is 'Developing North/South, East/West and International Relations'. The Committee would strongly encourage the Northern Ireland Executive to make a formal commitment to cherishing our special affinity with people of Northern Irish ancestry living abroad, who share our cultural identity and heritage. One measure of giving concrete expression to this commitment would be through the provision of financial support for a first-class family history information service, tailored to the needs of the tourist.

The Department should consider the establishment and promotion of a designated, 'one-stop' point of contact for initial genealogical enquiries as a matter of urgency.

4.11.1.The Committee heard compelling evidence about the impact of the move away from the use of townland names. The resonances of history and place, which Northern Ireland's townland names encapsulate, are even now almost lost to the next generation. Furthermore, the old birth, marriage and death records, which are the roots tourist's main source of information about his or her ancestors, tend to refer to the townland in which the relevant event took place. The gradual erosion of familiarity with townlands and their boundaries will, if not halted, eventually result in stalling the development of the potentially dynamic roots tourism product referred to above.

4.11.2.Government departments, district councils and other public bodies, as well as the public utilities, must lead the way through including townland names on all postal communications. The Department should ensure that the Common Address File project is completed as a matter of priority to facilitate the provision of the necessary address data. The Department of Education should consider how it might encourage the greater promotion of local history awareness, particularly at primary school level.

4.12.1.Cultural tourism is essentially a highly fragmented product. However, there is ample potential to develop and co-ordinate trails and tours focusing on diverse aspects of culture on a local and regional basis. Furthermore, the historic cores of our key cities offer ample opportunity for tourism e.g. Derry's Walls, the linen trade, and the development of Belfast as a major ship-building and industrial centre. The development of dynamic cultural quarters should also be encouraged to promote and showcase local culture, and as locations in which arts-related holidays can be offered.

District councils should place greater focus on the historic cores of our cities and towns, through the development of history trails, imaginative interpretation and storytelling.

4.13.1.Northern Ireland's cultural resource base urgently requires the necessary infrastructure to be in place.

4.13.2.Since 1995, over £86 million of private sector money has been invested in the accommodation sector. The number of hotel rooms has increased by over 60%, compared to the position prior to 1995 (NITB, 2001a). The extent of this development in new infrastructure resulted in a moratorium in September 1997, with a shift of emphasis to upgrading the existing tourism infrastructure.

4.13.3.Although it appears that, in terms of room numbers, a good supply of tourist accommodation exists, some areas of Northern Ireland which have important cultural resources still remain poorly provided for e.g. the Ards Peninsula/Strangford area, Lisburn, and areas in the west, such as Strabane. The Committee considers that there is now a need for a more strategic approach to the provision of new tourist accommodation infrastructure.

4.13.4.At the level of individual cultural tourism attractions, better physical access is essential for people with disabilities, the elderly and the less mobile generally. Provision must also be made to allow those with sensory impairments to access the information and exhibits on offer.

4.13.5.The opening times of attractions should be reviewed regularly to ensure that they meet the needs of visitors.

4.13.6.Northern Ireland is very poorly provided for in terms of public art. The inclusion of high quality pieces of public art should be made a requirement in all major developments, particularly in urban areas. There is not, to the Committee's knowledge, an official either at central or local government level anywhere in the region whose specific responsibility it is to encourage the sponsorship and incorporation of art work in public areas.

The Department should assess the potential for, and cost of, developing a regional online ticket purchasing system, which can be used across the cultural, heritage and creative sectors.

4.14.1.Many written submissions noted that a major barrier to developing cultural tourism is the persistence of a negative image about Northern Ireland. However, the feedback from visitors indicates that they are impressed by how different the reality is from the image. While a number of successful films have been made here, and world-class creative talent exists, the industry must continue to explore the potential to portray what the place and its people are really like. Film, both as a medium and the industry itself, must refocus on a realistic portrayal of what is interesting, unique and positive about Northern Ireland.

4.14.2.Film and television drama locations have developed into major tourist attractions elsewhere. There has been considerable success in this regard in the Republic of Ireland, as well as in other areas of the United Kingdom. The Department, the NIFTC and the NITB must work together and adopt a strategic approach to attracting production companies to consider locations within the region.

4.14.3.The NITB must also explore ways of securing positive travel media coverage of our cultural tourism product.

The Department, the NIFTC and the NITB must work together and adopt a strategic approach to attracting production companies to consider locations within the region.

5.1.1.With over eighty organisations and/or individuals contributing to the inquiry, the need for 'focal' agencies within the arts, heritage, culture, and tourism sectors seems clear. These are identified as organisations which have greater responsibility in helping to set out a vision for their respective sectors, and agreeing a direction through consultation with other players in those sectors.

5.2.1.The focal agency for the arts is, clearly, the Arts Council. It is in a position to influence the development of the different sectors within the arts community (eg music, dance, drama, film, literature, traditional arts, visual arts, arts within a community context, arts centres, and festivals).

5.2.2.The five-year Arts Plan (2001-2006) indicates that priority is to be given to artists, arts organisations, arts initiatives and partnerships. While the plan outlines priorities and strategic objectives, there is an absence of specifics about developments for each sector.

5.3.1.The two main focal agencies here are the NITB and Tourism Ireland Limited (TIL). The role of the NITB is to promote Northern Ireland as a holiday destination and to develop the product and experience on offer in Northern Ireland. In contrast, TIL has responsibility for destination marketing for the whole island of Ireland. Prior to the establishment of the new structure, there appeared to be an expectation within the cultural sector that the NITB should market every aspect of culture Northern Ireland could offer. This is represented in many of the written and oral submissions.

5.3.2.The written and oral evidence also demonstrates the clear enthusiasm to contribute to the development of cultural tourism in Northern Ireland. However, a number of the organisations which gave evidence were critical of the absence of support apparent in their dealings with the NITB. Whether it may have been the case that some of the requests made by these organisations were outside the remit of the Board is not an issue for the Committee. However, the frequency of comments to the effect that contacts with the NITB were often less than helpful, must be a matter of concern for the Board and the Department of Enterprise, Trade and Investment.

5.3.3.There were also other criticisms of apparent breakdowns in customer service, such as failure to return phonecalls or respond to queries. Again, the Committee is not in a position to say whether all of the criticisms were justified, but there is clearly a perception among a number of those organisations which gave evidence that the Board is not as customer focussed as it ought to be.

5.3.4.In its oral evidence, the NITB acknowledged that it could improve on what it is currently doing. The Committee would strongly encourage the Board to adapt quickly to the changing structure and responsibilities for tourism on the island.

5.4.1.The focal agencies for the other key components of our broad cultural tourism product lie within the Department of Culture, Arts and Leisure and the Department of the Environment ie language, museums and galleries, historical records, events, built and natural heritage.

5.4.2.District councils also play a key role in the promotion of cultural activity at the local level, as do bodies such as the National Trust.

5.5.1.Given the diversity of themes, sectors and responsibilities involved in Northern Ireland's cultural heritage, and its importance to the quality of life of our whole community, the Committee believes that its promotion and development should be undertaken within the context of a Cultural Strategy for Northern Ireland. The Strategy should identify key priorities and associated actions for its delivery. The Department should take the lead in co-ordinating its preparation with the other focal agencies.

6.1.1.Tourism is a community-owned resource (Singh et al., 2002; Murphy, 1985), and culture is a fundamental element of any community or region (Richards, 1996). The majority of tourism impacts are localised, which means that communities have to deal with the impacts it creates. It is, therefore, important that communities also enjoy the benefits derived from tourist activity. Unfortunately, there is too often the feeling by local residents that tourist attractions are set up only for visitors to enjoy. Such thinking serves to create a 'them' and 'us' situation and stifles local pride in the facilities which exist within communities. This in turn can lead to low use levels by local residents.

6.1.2.Much greater attention should be focussed on involving communities in activities and functions. Where feasible, they should be offered the chance to undertake an active role in the running and operation of cultural events.

6.1.3.Community-based initiatives are attractive to local residents and tourists alike. To the former, they provide the means to bring communities together to share their common culture, while for the latter, the ability to be part of some other culture adds to the intangible experiences they form while visiting. Furthermore, the appearance of close-knit communities shaped around their culture creates positive images for Northern Ireland, helping to alter the negative images people have about the region.

6.1.4.Visitors often comment about the welcome they receive, but they rarely get the opportunity to witness real communities, as the focus of organised tours and visits tends to be directed at viewing tourist attractions. However, communities are also attractions, and an integral part of what makes places different from one another.

6.1.5.Many of the submissions commented on the need to make better use of the openness and attitude of local people to visitors. While Northern Ireland has some outstanding tourist attractions to offer its visitors, communities across Northern Ireland offer the chance to see living culture; culture which is different to that portrayed within heritage parks. The scope for visitors to come into direct contact with local people should be explored, particularly in the context of exploring roots or local history.

6.2.1.Northern Ireland is recognised as having divided communities. The differences which separate our communities have fuelled the negative images that have been projected to the world over the years. However, differences can also identify communities and, in that context, can be a positive factor. Northern Ireland should embrace the pluralist nature of its society, acknowledging that it is this pluralism which makes it different from other parts of the United Kingdom and the Republic of Ireland.

6.2.2.Heritage is too often associated with inheritance. Where a distinct community is perceived to inherit a certain heritage, this automatically means that another group is disinherited and not part of that heritage, this results in 'dissonance', (Tunbridge and Ashworth, 1996).

6.2.3.In Northern Ireland, the classic scenario of heritage dissonance is reflected in the deep-seated, cultural schism which exists between different sectors / communities, where one person's heritage is viewed by the opposing community as their poison (Boyd, 2000). This is often demonstrated in how different groups attach separate meanings to historical, cultural and material artefacts (Graham, 1994). The challenge is in the interpretation of a contested and dissonant heritage for the visitor and, indeed, for ourselves.

6.2.4.While differences will exist in how each community views certain aspects of our heritage, perceived ownership by one group should not exclude appreciation and understanding of that heritage by the other. The way in which materials or events are interpreted is key to avoiding sectarian distinctions and promoting the common elements of heritage. The Somme Heritage Centre is an example of the emphasis not being placed on the relevance of an event to one community ie Unionist/Protestant. Rather, remembrance is the broad focus of loss in the First World War from all communities.

6.2.5.By focusing on common heritage, the element that creates dissonance and contention is removed, leaving the focus on the attraction. This may not always be possible, especially for those attractions which clearly reflect the heritage of only one community. In these circumstances, tolerance and respect is required.

'Difference' within the Northern Ireland setting can be a key feature for the cultural tourist. The Department and the NITB should undertake an assessment of the potential to interpret this as part of the region's cultural tourism product.

Where feasible, heritage attractions should focus on the many elements of Northern Ireland's heritage which are common to all communities. This should be considered by the Department as a specific element of the Cultural Strategy proposed in section 5 of the Report.

6.3.1.Partnership was a recurring theme within much of the written and oral evidence.

6.3.2.The 1998 report 'The Cultural Sector: A Development Opportunity for Tourism in Northern Ireland', concluded that the creative and cultural industries could make a substantial contribution to tourism growth. Out of this came the creation of a Cultural Tourism Officer post within the NITB, and the formation of the Cultural Tourism Partnership (CTP), with representation from the lead organisations within each product group.

6.2.3.The Committee noted that progress has been slow, with development reports only being produced by a few of the product groupings. This may be due, at least in part, to resource problems within the NITB, which resulted in the Cultural Tourism Officer's position being vacant for some time.

6.3.4.The NITB revealed that the main role of this officer had been to liaise with the various working groups. While this was important, there is now a clear need to move beyond talking to producing strategies for each group.

6.3.5.Adequate resources need to be allocated by the NITB to a dedicated Cultural Tourism Officer post at a senior level. The responsibilities of the job should include overseeing the product grouping structure, liaising with all sectors of government responsible for tourism-related issues, and assisting those product groupings which have not yet produced a development report to do so.

6.3.6.For those cultural product groupings eg the creative industries, which do not have a formal organisational structure, the approach taken by the NITB has been to engage with the sector through the 'Grow Your Business' process. This programme for identifying both current needs and strategies for future development should be maintained.

6.3.7.The Committee would hope that an effective level of co-operation will be maintained between cultural product groupings and the NITB. Although there may be a danger of the CTP becoming too unwieldy, it would seem appropriate to involve those government departments whose responsibilities encompass issues related to cultural tourism (see Figure 1).

6.3.8.A newly constituted CTP should go some way towards addressing the gaps in communication which were noted in many of the written and oral submissions.

NITBNorthern Ireland Tourist Board

VAANIVisitor Attractions Association of Northern Ireland

NIHFNorthern Ireland Hotels Federation

DCALDepartment of Culture, Arts and Leisure

DETIDepartment of Enterprise, Trade and Industry

DARDDepartment of Agriculture and Rural Development

DOEDepartment of the Environment (Environment & Heritage Service)

7.1.1.While developments are needed within specific areas of the cultural sector, strategic developments are also required within the tourism industry as a whole.

7.1.2.A strategic heritage planning process involves the following steps:

• Purpose (What are we trying to achieve? What are our limitations?)
• Strategic analysis (environmental, market, competitor, resource, aspirations, situation)
• Vision, goal and objective setting (long-term strategic plans; mid-term goals and objectives such as action plans; short-term objectives such as day-to-day decisions)
• Actions, operation and strategies (identifying how objectives are to be implemented, setting of performance standards)
• Indicators, monitoring and evaluation (tools by which to assess success, or its lack of, evaluation as an assessment of performance).

These stages are dealt with in detail below.

7.2.1.It was disappointing to note that the evidence from a number of cultural organisations indicated that they believed that the NITB, to date, had not been doing as good a job as it might in marketing our cultural tourism product.

7.2.2.The NITB has a clear purpose to market Northern Ireland as a tourism destination. The creation of TIL will allow the Board to invest greater energy and resources in promoting Northern Ireland to the UK and Republic of Ireland markets, which have been neglected recently in favour of the out-of-state market.

7.2.3.A number of submissions highlighted the need for any marketing strategy to have a clear purpose, to set out objectives and targets, and to play to our strengths, while accepting our limitations. Northern Ireland has not been recognised in the past as a 'pure holiday' location, but there was strong sentiment echoed throughout all the evidence that Northern Ireland has potential as such a destination. This is evident in the NITB's current Corporate Plan (2002-2005) which gives a clear focus to targeting the holidaymaker, and to increasing visitor numbers by 7% per annum over the period.

7.2.4.Culture and heritage have emerged as key brands to market the image of Northern Ireland, and the Committee hopes that the NITB will see this as a mainstream activity, crucial to both the general and the special interest markets.

7.3.1.The NITB must analyse and understand what attracts our current visitors and identify what would attract potential visitors. It must also work with other tourism bodies within Ireland and the rest of the UK to identify market trends.

7.4.1.Vision, goal and objective setting needs to be focused at the level of individual cultural product groups, with each group agreeing the vision, goal and objectives most suited to it. However, this must take place within the strategic context of the Cultural Strategy recommended in section 5 of the Report.

7.5.1.Actions to be taken will vary from cultural and heritage tourism in general, to the more specific product groups. At a regional level, a number of submissions suggested that a heritage day be established, with the theme changing on a yearly basis so as to ensure that all cultural groups are supported and represented.

7.5.2.Other actions should include the establishment of formal networks of cultural partners and tourist attraction operators. The objective of this would be the development of theme-based packaged tours and trails, which would incorporate visits to all the members of a specific product group. For instance, this type of packaging could be applied to our industrial heritage product and could be tailored to the special interest market. The extent to which the general sightseeing market will take up tours and trails will depend on the level of their attractiveness and the way in which they are promoted. The NITB should work closely with the members of each product group on the specifics of these trails.

7.5.3.The development of local tourism action plans, with attraction clusters within a specific locale, would allow visitors to have a range of cultural and heritage experiences. This requires that cluster development occurs and that a formalised network of attractions is established. For networking to be successful, it often requires a key attraction or 'champion', to which other lesser attractions become linked and subsequently benefit. One option could be to identify attraction clusters within the mix of cultural products that are found within single Regional Tourism Organisations (RTOs) and the geographic areas they cover.

7.5.4.The complexities of responsibility for culture, heritage and tourism issues is another area where action is required. Government departments, district councils, non-departmental public bodies, attraction operators, accommodation providers, transport undertakings, tour companies, and bodies such as the National Trust and the Northern Ireland Events Company, must work together more effectively, on a local and regional level, for the exchange of information and the co-ordination of their activities.

7.5.5.The Committee is encouraged by the work of the individual product groups and their working parties within the Cultural Tourism Partnership. The programmes produced in 2000 identified certain strategic conclusions and marketing strategies. However, specific action must now be taken on these ie development of networks, proposed annual heritage event, branding exercise, development of a marketing strategy, marketing segmentation exercise, and tapping into the short-break market.

7.6.1.The final stage of a strategic heritage planning framework is to identify appropriate indicators against which actions and strategies can be monitored and evaluated. Specific product groups and their partners, in concert with NITB, need to identify what they deem appropriate indicators for measurement within their sector of the cultural tourism industry. Arrangements for monitoring, evaluation and review should also be established.

8.1.1.The focus of communication must be on ways to convey a more positive image of Northern Ireland as a destination.

8.1.2.The visual medium is a powerful communicator of messages and images. It has a major role to play in changing the perception the rest of the world has of Northern Ireland as a place and a holiday destination. Submissions from the film and broadcasting sector indicated that an imbalance also exists in the focus given to the dramatisation of the stories of both communities.

8.1.3.Elsewhere, film and television dramas have created tourism attractions around them almost overnight. While the Republic of Ireland's tourism industry has benefited considerably from 'The Quiet Man', 'Ryan's Daughter', and 'Ballykissangel', Northern Ireland has not fared so well. Many of the productions set here have had some association with the decades of violence. While the 'Troubles' have been a dominant historical fact of life in Northern Ireland, constant reminders of these decades do little to encourage visitors or to help change peoples' perceptions. The broadcast news media could also do much more to tell our good news stories to the world.

8.1.4.Although the local film and television industry has a wealth of talent, it remains a creative sector which requires better structure, organisation and financial support. Links need to be developed with other partners in the rest of the UK and in the Republic of Ireland. Evidence indicated that the lack of adequate financial incentives is often the main reason why production companies, which would prefer to use locations in the North, transfer to alternative locations in the South.

8.1.5.The loss of opportunity to project through film positive images of what the Northern Ireland landscape and culture can offer visitors, will continue to affect tourist numbers indirectly, for as long as old, stereotypically negative images remain. A key towards offering solutions is to invest in the industry.

The NIFTC should consider how more balanced storytelling about life and communities in Northern Ireland can be achieved.

8.2.1.IT has emerged as a critical element in the tourism infrastructure of any region. The use of the Internet has revolutionised the industry, with decisions about where to visit and what to see often being taken prior to the trip itself. It is, therefore, essential that potential visitors can access a range of information.

8.2.2.The issue of IT was a common feature in the majority of submissions. At present, substantial information is available about facilities, businesses, attractions and places. What is lacking are the links between websites. The Committee was dismayed to find that this key area of linkages had been seriously neglected. Whether this was the result of a lack of resources, or of vision, is not clear.

8.2.3.The NITB website (www.discovernorthernireland.com) contains nine pages devoted to culture and heritage, and while it allows for links to different features and organisations, there remain major gaps in linking all sectors of the creative industries with the NITB website. Creating those links will, however, require a high level of sustained co-operation between the Board and the businesses, attractions, and service providers concerned. In particular, the NITB should consider whether its links to arts facilities are adequate, as well as exploring the potential for a link to the Federation for Ulster Local Studies (FULS).

8.2.4.Links will also need to be established between the NITB site and the planned 'culturenorthernireland' website, to ensure that visitors do not miss the portal to the wealth of our arts and heritage.

8.2.5.Good IT support facilities exist within the Province, and both the creative industries and the Tourist Board need to make greater use of this expertise. A prime example of this is the type of work in which the Nerve Centre, Derry, is engaged. The Nerve Centre can not only cater for IT needs, but has an excellent multimedia arts and education centre. Some imaginative work which has been done on community perception, has been to shift the focus away from Northern Ireland as a place of conflict, to a place of culture.

The Cultural Tourism Partnership should adopt a strategic approach to product group websites in the context of the development of the 'culturenorthernireland' site. The Partnership should ensure that product groups and individual members are made aware of the multimedia expertise which exists in Northern Ireland.

9.1.1.Cultural and heritage tourists are distinguishable from other types of tourist by their interest and willingness to learn about the places they visit. Learning plays a central role in the provision of cultural and heritage tourism.

9.2.1.A number of submissions indicated that there is strong support for developing learning programmes based on culture and heritage. These already exist within the university sector. For example, summer schools are run on the themes of language and literature at the University of Ulster. The Ulster Historical Foundation (UHF) also has a long tradition in undertaking research tours and hosting annual family history conferences.

9.2.2.Other areas of opportunity for tourists include music courses, residential courses on theatre, and summer schools combined with rural tours. Community colleges can also play a key role in connecting local people to their culture, particularly through language courses.

9.2.3.In terms of catering to the international tourist, the UHF and FULS can play a central role as the brokers of storytelling at the local level. Both have extensive experience and have an infrastructure of member groups which can cater for this niche market. Organisations such as these must be regarded as having a valid and vital role in educating visitors.

9.3.1.Museums, libraries and visitor centres hold the apex in terms of interpretation. However, it is essential that there is diversity in the modes of delivery used. These should include interactive learning, displays, re-enactments, simulation, and multi-channel delivery of information (eg web and print form).

9.3.2.Museums have had long experience in how they tell their stories, but visitors require variation to retain their interest and to provide overall enjoyment. Quality of information emerged as a key issue in those submissions within the museums and visitor centres category. Museums can often be labelled as boring places to visit and a wet weather activity. In addition, most visitors fail to retain all the information that is presented to them. The need to capture the audience and maintain their interest is fundamental to creating a positive experience from a visit. This is the constant challenge that the sector faces.

Museums, libraries and visitor centres should undertake an evaluation of their modes of information delivery to ensure that they offer diversity, quality and a positive learning environment.

10.1.1.The Committee was not surprised that funding was a common concern across the broad cultural and heritage sectors. This section identifies where investment has been lacking, where there is imbalance, and what opportunities exist to create new financial arrangements. The Committee is convinced that if money is not invested in the sectors, then the economic and creative potential they offer will not be realised.

10.1.2.Table 5 below, identifies areas where additional funding would allow existing cultural products to be developed further.

10.2.1.The taxation regime and subsidy mechanisms for the creative industries differ between Northern Ireland and the Republic of Ireland. Artists working in Northern Ireland do not enjoy the same exemptions in relation to taxation and benefits as their counterparts in the Republic of Ireland. Furthermore, direct subsidy for filmmaking in the South is more generous than the level of funding available here. This, combined with the tax breaks which are also available, means that filmmakers looking for suitable locations will choose the Republic of Ireland over Northern Ireland on most occasions.

10.2.2.It is interesting to note that the income to the Irish Exchequer has exceeded the tax foregone through the "Section 481" tax scheme for investment in film production in every year since its introduction. The net gain to the State has risen from £6.4 million in 1996, to £12.8 million in 2000.

10.3.1.There are relatively few opportunities to promote innovative strategies to fund culture and the arts in Northern Ireland. Elsewhere, the most usual approach is through specific taxation measures, whether at a local, regional or national level. The most common of these is a bed tax or a specific levy applied to rates or taxes. Another is through an arts, culture and heritage lottery. This is one of the main funding mechanisms used in New Zealand. In France, a specific tax is added to cinema tickets, which is then reinvested in the French film industry.

10.3.2.One novel idea from Canberra, Australia, was to require the successful applicant for the city's only casino licence to establish an arts and cultural fund. This fund was in the region of A$15 million. Other options include imposing a tourism tax on car rentals, hotels, fast food outlets etc, as happens in many places at present. Rather than disappear into the Exchequer, the money raised via the tax would then be allocated to tourism related projects, which would change on a year to year basis. Cultural and arts projects would, therefore, have the opportunity to avail of this funding.

10.3.3.In the absence of tax raising powers, there is a need to seek monies from sources additional to central government subsidy. The National Lottery has been extensively used to fund causes and projects within the arts and heritage sectors. Local government could also play a greater role in supporting the cultural sector than it currently does.

10.3.4.In the United States, the cultural and arts sectors are largely funded by private and corporate donations. However, the success of this approach is dependent on a taxation system which supports such charitable donations, as well as on a strong culture of philanthropy. In comparison with other countries, the culture of philanthropy and corporate donation exists only in a limited way in Northern Ireland. The private sector locally needs to be encouraged to invest much more in the cultural sector. However, assurances that projects are of high quality and that niche markets exist will be necessary to encourage investment.

10.3.5.Strategic alliances need to be formed to provide the international visitor with international events. There is further scope for the Northern Ireland Events Company (NIEC) to co-operate with the Sports Council and the Arts Council to co-finance major events. There has been success with the Laganside Corporation rejuvenating Belfast's waterfront region and the development of cultural infrastructure. Festivals offer opportunities for private and corporate sponsorship.

10.3.6.European Union funds are another potential source. The 'Building Sustainable Prosperity' programme is worth £4 million (approximately 6.5 million euro) per year over the next 5 years. Two programmes under Peace II (natural resource tourism, and outward and forward-looking tourism) are worth some £10.8 million (17.5 million euro) and £12.0 million (19.5 million euro), respectively. Furthermore, through the INTEREG IIIA programme, tourism will indirectly benefit from a rural development project worth between 10 and 11 million euro (some £6 million).

10.3.7.With funding of this quantum available, the need to support organisations within the cultural and heritage sectors with advice on how to develop bids is critical. The same comment applies to bids for National Lottery funding.

The Department and the relevant focal agencies should assess how financial and bidding advice and training could be made available to those organisations within the cultural and heritage sectors interested in developing bids for EU and/or National Lottery funds.

10.4.1.Consideration must also be given to how the grant timeframe can be extended beyond the traditional annual budget. One option would be to move towards three-year funding schemes, which would secure money well in advance. This would greatly facilitate forward planning of large projects.

10.4.2.For example, the Belfast Festival at Queen's is unable to compete with the Edinburgh Festival, as key attractions and major performers cannot be secured sufficiently far in advance because of the sort-term approach to funding. The Northern Ireland Events Company finds itself in a similar position.

The Department should press the Department of Finance and Personnel to consider moving towards three-year funding arrangements to ensure that financial support can be guaranteed for forward planning of projects and events.

There is now both the potential and the opportunity to interest the out-of-state visitor in cultural tourism. Northern Ireland's broad cultural tourism product must be promoted as aggressively as possible to the out-of-state visitor market.

The support of the local market is critical to growing a quality arts sector, which ultimately will have the potential to attract the out-of state visitor. The development of quality arts products, objectively measured, and the building of interest in the arts among local audiences must be a key priority for the Department and the Arts Council.

The Department, the Arts Council and the NITB must consider cultural tourism and the arts in a strategic context and ensure that they are developed in parallel as the key elements of Northern Ireland's cultural resource base.

The NITB should introduce a methodology and process which will ensure that the data which appears in the annual survey of visitor attractions is comprehensive and accurate.

A definitive inventory of Northern Ireland's cultural and heritage resources should be produced by the Department, in collaboration with other relevant bodies.

The existing descriptors used by the NITB in its annual survey should be renamed to reflect more appropriately the different categories of heritage e.g. built; historic; natural; cultural/educational (i.e. museums/visitor centres); or industrial.

As more of our historic mills and other industrial buildings disappear each year, an audit of the current position should be undertaken by the Department of the Environment, as a matter of urgency. In conjunction, a strategy should be developed to protect and preserve them in the context of a broad heritage product.

The Department and the Arts Council should assess the economic, social and artistic impact of both the major arts festivals and the local community festivals which take place in the Republic of Ireland each year. District councils should consider how they could encourage the development of sustainable local community festivals, which would also provide a focus for visitors.

The Committee would strongly encourage Belfast Festival to examine the potential for summer events and to use the broadcasting media to develop a greater international audience.

The Department, the Arts Council and the NITB should undertake an assessment of the potential to promote and develop band championships as a major cultural tourism product.

The Arts Council must examine what further steps it can take to ensure that local professional opera can offer a quality product to local audiences, which can also be promoted to the cultural tourist market.

The Arts Council must examine what further steps it can take to support the promotion and development of dance within Northern Ireland.

The Arts Council should liaise with the professional theatre sector and others, including district councils, to develop a summer arts programme both for local audiences and the visitor. The establishment of repertory theatre, both as a training-ground for young actors and as a frequently changing entertainment option during the summer season, should also be considered.

The Arts Council and district councils should assess what further steps they could take to support and recognise the efforts of amateur choral, light opera and drama societies and groups which keep the amateur arts alive at local and community level.

The Department and MAGNI should pursue the development of a museum of creative arts as a key priority.

The Department should encourage existing heritage centres to work together to develop attraction trails and to liaise with the hotel sector about the provision of information to visitors.

The Department should consider what support might be given to the development of more language schools, tours and trails, particularly where the language is integrated with its associated literature, song and music.

The Department and the NITB should ensure that the promotion of the Irish and Ulster-Scots languages, as assets unique to tourism in Northern Ireland, is taken forward on an equal basis.

The Department should, in association with the NITB and other relevant bodies, develop a Roots Strategy for Northern Ireland.

The Department should consider the establishment and promotion of a designated, 'one-stop' point of contact for initial enquiries, as a matter of urgency.

Government departments, district councils and other public bodies, as well as the public utilities, should include townland names on all postal communications.

The Department should ensure that the Common Address File project is completed as a matter of priority to facilitate the provision of the necessary address data.

The Department of Education should consider how it might encourage the greater promotion of local history awareness, particularly at primary school level.

The Department should assess the further potential for the development of dynamic cultural quarters to promote and showcase local culture, and as locations in which arts and culture-related holidays can be offered.

District councils should place greater focus on the historic cores of our cities and towns, through the development of history trails, imaginative interpretation and storytelling.

All visitor attractions should upgrade physical access arrangements and ensure that those with sensory impairments can enjoy equal access to information and exhibits.

Operators of visitor attractions should review, on a regular basis, their days and times of opening, to encourage everyday use and maximise visitor numbers.

The Department and the Arts Council should assess the position elsewhere in terms of requirements placed on developers to incorporate public art into major schemes, particularly in urban areas.

The Department should assess the potential for, and cost of, developing a regional online ticket purchasing system, which can be used across the cultural, heritage and creative sectors.

The film and media industry should refocus on a realistic portrayal of what is interesting, unique and positive about Northern Ireland.

The Department, the NIFTC and the NITB must work together and adopt a strategic approach to attracting production companies to consider locations within the region.

The Arts Council should identify and publish the specific developments and objectives planned for each sector of the arts.

The Department of Enterprise, Trade and Investment should ensure that the respective roles and responsibilities of the NITB and TIL are clarified, particularly for the cultural/heritage sectors.

The Department should take the lead in co-ordinating, publishing, and ensuring the implementation of a Cultural Strategy for Northern Ireland at the earliest opportunity.

The NITB should assess the potential, and consider what support is needed, to create opportunities for visitors to experience life within Northern Ireland's communities.

'Difference' within the Northern Ireland setting can be a key feature for the cultural tourist. The Department and the NITB should undertake an assessment of the potential to interpret this as part of the region's cultural tourism product.

Where feasible, heritage attractions should focus on the many elements of Northern Ireland's heritage, which are common to all communities. This should be considered by the Department as a specific element of the Cultural Strategy proposed in section 5 of the Report.

Joined-up government is essential in this area. All government departments with responsibility for cultural tourism-related issues should commit to playing an active role in contributing to the success of the Cultural Tourism Partnership.

Adequate resources should be allocated to a dedicated Cultural Tourism Officer position within the NITB, to liaise with all sectors of government responsible for cultural tourism-related issues, and to co-ordinate and direct the work of the Cultural Tourism Partnership.

Culture and heritage should be promoted by the NITB as key brands, particularly for the special interest market.

The Department should take the lead in exploring with other departments and bodies the potential for establishing a Heritage Day (with an annual theme), aimed at the domestic market, to emphasise the importance of celebrating and having pride in our heritage.

The product groups established under the Cultural Tourism Partnership should create formal networks, which establish linkages between similar types of attraction offering a specific experience.

The NITB and each product group network should determine the extent to which themed tours and trails can be developed for the special interest market, as well as for the general sightseeing tourist.

The NITB should develop a Regional Tourism Strategy, with a focus on culture and heritage as key brands for tourism in Northern Ireland. The Strategy should take account of product development and strategic positioning.

Cultural partners within Regional Tourism Organisations should develop Local Tourism Action Plans in consultation with the NITB. These should include attraction clusters for specific locales which can offer a mix of cultural and heritage experiences.

Immediate action should be taken on the strategic conclusions identified by individual product groups within the Cultural Tourism Partnership.

The Department and the NITB should undertake a review of the quality of visitor attractions and consider what contribution the implementation of a grading system, similar to that which exists within the tourism accommodation sector, could make.

The NIFTC should consider how more balanced storytelling about life and communities in Northern Ireland can be achieved.

The Department, the Arts Council and the NIFTC should engage with the film and broadcasting industry to establish what support is needed to allow Northern Ireland to compete as a location and to increase the level of locally developed productions.

The NITB should review its website links to arts facilities, local history groups (such as FULS) and other cultural providers. A link to the proposed 'culturenorthernireland' site should be established in due course.

The Cultural Tourism Partnership should adopt a strategic approach to product group websites in the context of the development of the 'culturenorthernireland' site. The Partnership should ensure that product groups and individual members are made aware of the multimedia expertise, which exists in Northern Ireland.

Museums, libraries and visitor centres should undertake an evaluation of their modes of information delivery to ensure that they offer diversity, quality and a positive learning environment.

The Department should carry out an assessment of all the assistance available to the creative sector in the Republic of Ireland and of the economic, and other, benefits, which accrue as a result.

The Department and the relevant focal agencies should assess how financial and bidding advice and training could be made available to those organisations within the cultural and heritage sectors interested in developing bids for EU and/or National Lottery funds.

The Department should press the Department of Finance and Personnel to consider moving to three-year funding arrangements to ensure that financial support can be guaranteed for forward planning of projects and events.

The creation of a cultural heritage regional training organisation should be considered by the Department and the Department of Employment and Learning.

Arts Council of Northern Ireland (2000) The Arts five year plan (2001-2006)

Aziz, H. (1995) Understanding attacks on tourists in Egypt. Tourism Management 16(2) 91-95.

Baum, T. (1995) Ireland - the peace dividend. Insights July pp. A9-A14.

Blackwell and Associates (1992) Final Report: Sustainable Tourism in Northern Ireland. Dublin, Blackwell and Associates.

Boyd, S.W. (2000) Heritage Tourism in Northern Ireland: Opportunity under Peace. Current Issues in Tourism 3 (2) 153-174.

Boyd, S.W. (2001) Marketing challenges and opportunities for heritage tourism. In A. Fyall, A. Leask and B. Garrod (eds) Visitor Attractions. London. Butterworth Heinemann.

Boyd, S.W. and D.J. Timothy (2001) Developing partnerships: tools for interpretation and management of World Heritage Sites. Tourism Recreation Research, 26(1): 47-53.

Bramwell, B. and B. Lane (1999) Collaboration and Partnerships for Sustainable Tourism. Journal of Sustainable Tourism, 7 (3): 197-181.

Browne, L. (1994) Tourism in Northern Ireland: A sustainable approach. Paper presented at the International Institute for Peace Through Tourism, 2nd Global Conference, Montreal, Canada.

Buckley, P.J. and Klemm, M. (1993) The decline of tourism in Northern Ireland. Tourism Management 14 (3), 184-194.

Graham, B., G.J. Ashworth, and J.E. Tunbridge (2000) A Geography of Heritage: Power, Culture and Economy. London: Arnold.

Graham, B. (1994) Heritage Conservation and Revisionist nationalism in Ireland. In G.J. Ashworth and P. Larkham (eds) Building a New Heritage: Tourism, Culture and Identity in New Europe (pp 135-158) London: Routledge.

Gray, B. (1989) Collaborating. San Francisco, CA: Jossey-Bass Publishers.

Hall, C.M and S. McArthur (1998) Integrated Heritage Management: Principles and Practice. London: The Stationery Office.

Herbert, D.T. (1995) Heritage, Tourism and Society. London: Mansell.

Leslie, D. (1999) Terrorism and tourism: The Northern Ireland situation - a look behind the veil of certainty. Journal of Travel Research 38, 37-40.

Lord Cultural Resources Planning and Management Inc. (1993) Strategic Directions for Ontario's Cultural Tourism Product

Mackin, M. Johnson, D., and J. Edmund (1998) The Cultural Sector: A Development Opportunity for Tourism in Northern Ireland.

Murphy, P.E. (1985) Tourism: A Community Approach. New York: Methuen.

Myercough, J. (1996) The Arts and the Northern Ireland Economy. Northern Ireland Economic Council.

Northern Ireland Hotels Federation (2001) The Blueprint for Tourism.

Northern Ireland Tourist Board (NITB) (2001a) Visitor Attractions Survey 2000: Annual Report.

NITB (2001b) Tourism Facts: 2000.

NITB (2000a) The Cultural Heritage of Northern Ireland: Towards a Common Vision.

NITB (2000b) Growing Tourism Together (Draft) Corporate Plan 2001-2004.

NITB (2000c) Building the Proposition: Foundations of Future Tourism in Northern Ireland.

NITB (1999a) Report of the Genealogy Working Group on Cultural Tourism.

NITB (1999b) Tourism Facts: 1998

NITB (1997) Tourism and the Arts in Northern Ireland: A Consultation Document.

NITB (1993) Tourism in Northern Ireland: A Sustainable Approach.

Prentice, R.C. (1993) Tourism and Heritage Attractions. London, Routledge.

Richards, G. (1996) Cultural Tourism in Europe. London: CAB International.

Singh, S., D.J. Timothy and R. Dowling (eds) (2002) Tourism and Host Communities. New York: CAB International.

Sonmez, S.F. and Graefe, A.R. (1998) Influence of terrorism risk on foreign tourism decisions. Annals of Tourism Research 25 (1), 112-144.

Timothy, D.J. and S.W. Boyd (2002) Heritage Tourism. London: Prentice Hall.

Tunbridge, J.E. and G. Ashworth (1996) Dissonant Heritage: The Management of the Past as a Resource in Conflict. London: Wiley.

Wall, G. (1996) Terrorism and tourism: An overview and an Irish example. In A. Pizam and Y. Mansfeld (eds) Tourism, Crime and International Security Issues (pp. 143-158) Chichester: Wiley.

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Wilson, D. (1993) Tourism, public policy and the image of Northern Ireland since the Troubles. In B. O'Connor and M. Cronin (eds) Tourism in Ireland: A Critical Analysis (p. 138-161) Cork: Cork University Press.

Apologies:Mr J Shannon
Mr J Wilson

In attendance:Mrs C White
Mrs L Gregg
Ms M Higgins
Mr J McCourt

4.1The Committee divided regarding the wording of one objective in the Terms of Reference. Mrs Nelis proposed an amendment that was seconded by Mr McElduff. To remove the words "including" and "indigenous to this region" and include "to include the Irish and Ulster Scots languages" and add a separate objective "To identify the support required by other cultures not indigenous to this region". The Committee voted as follows. For the proposal, Mrs Nelis, Mr McElduff and Mr McMenamin. Against the proposal, Mr ONeill, Mr Hilditch, Dr Adamson, Mr Davis and Mr McCarthy.

4.2A different amendment to the same objective in the Terms of Reference .was proposed by the Chairperson. To remove the words "indigenous to this region". The Committee voted as follows. For the proposal Mr ONeill, Mr McCarthy, Mr Hilditch, Dr Adamson, Mr Davis and Mr McMenamin. Against the proposal Mr McElduff. Mrs Nelis abstained.

4.3Agreed - that the wording in bold should be omitted from the Terms of Reference.

8.1Agreed - that the 'Cultural Tourism and Arts Inquiry' would be launched at a Press Conference in the Press Conference Suite on Thursday 25 January at 10:00am and that Press and Public notices would be issued.

Mr E ONeill
Chairperson

Apologies:Mr F Agnew
Mrs M Nelis (Deputy Chairperson)

In Attendance:Mrs L Gregg
Ms M Higgins

1.1.The Chairperson advised members that Amsterdam had been suggested as a city to include in the proposed visit to Paris, Rome and Barcelona. The Committee proposed that the visit should take place during the third week in June 2001.

Agreed - that the members would consider this date and revisit the issue next week.

1.2.Agreed - that the groups and individuals in the suggested list should be invited to make written submissions to the inquiry into 'Cultural Tourism and the Arts'. Jim Aiken and organisations representing disabled groups and amateur drama should be included. The Chairperson referred to the 'Cultural Directory for Northern Ireland' and asked the Committee Office to consider whether other names should be added to the list.

E ONeill
Chairperson

Apologies:Mr F Agnew
Mr E McMenamin
Mr J Shannon

In Attendance:Ms L Gordon
Mrs L Gregg
Ms M Higgins

1.1The Chairperson updated members on the interest shown in the Cultural Tourism and the Arts inquiry.

1.2Agreed - that the Committee Office would seek advice from the Assembly Research Office on which of the four proposed European cities would provide the best cultural tourism and arts examples/information thus benefiting the Committee's inquiry to greatest effect.

1.3Agreed - that the Committee Office would seek advice from the Assembly Research Office on Irish/European connections. Specifically mentioned was Louvain, Simancos, Steps of Columbanus and Cardinal O'Fee.

E ONeill
Chairperson

In Attendance:Ms L Gordon
Mrs L Gregg
Ms M Higgins
Mr N Magee

1.2The Chairperson updated members on the current level of interest in the Cultural Tourism and the Arts Inquiry.

E ONeill
Chairperson

In Attendance:Ms L Gordon (Committee Clerk)
Mrs L Gregg
Ms M Higgins

1.2Members received copies of the seven submissions received to date on the inquiry into Cultural Tourism and the Arts.

1.3The Chairperson advised members that he had received a reply from the Chairperson of the Committee for the Environment in response to the letters sent to Chairpersons in respect of the Cultural Tourism and the Arts Inquiry.

E ONeill
Chairperson

Apologies:Mr E ONeill (Chairperson)
Mr F Agnew
Mr J Wilson

In Attendance:Ms L Gordon (Committee Clerk)
Mrs L Gregg
Ms M Higgins
Mr R McConaghy (Assembly Research)

The Committee approved an extension of the deadline for receipt of written submissions to the Inquiry into Cultural Tourism and the Arts to 23 March 2001.

6.1Mr McConaghy provided an overview of the potential benefits, in terms of informing the Committee's next inquiry on the subject of cultural tourism and the arts, to be gained from visiting a number of European cities.

6.2Agreed - that members would consider the information provided and revisit the issue at the next meeting of the Committee.

M Nelis
Deputy Chairperson

Apologies:Mr F Agnew
Mr I Davis
Mr J Wilson

In Attendance:Ms L Gordon (Committee Clerk)
Mrs L Gregg
Ms M Higgins
Mr R McConaghy (Assembly Research)

1.2The Chairperson advised members that 30 submissions had been received in respect of the Cultural Tourism and the Arts Inquiry.

4.1Agreed - that the Committee would conduct a study tour of Barcelona and Paris, in week commencing 18 June 2001, as part of its Cultural Tourism and the Arts Inquiry.

E ONeill
Chairperson

Apologies:Mr I Davis
Mr D Hilditch
Mr J Wilson

In Attendance:Ms L Gordon (Committee Clerk)
Mrs L Gregg
Ms M Higgins
Mr N Magee

1.2The Chairperson advised members that 58 submissions had been received in respect of the Cultural Tourism and the Arts Inquiry.

1.3Agreed - that members would start looking at the submissions in terms of considering whom the Committee might invite to give oral evidence and that the issue would go on the agenda for discussion next week. It was also agreed that cross-border organisations could contribute to the inquiry.

E ONeill
Chairperson

Apologies:Dr I Adamson

In Attendance:Ms L Gordon (Committee Clerk)
Mrs L Gregg
Ms M Higgins
Mr N Magee

11.1Members were advised that a total of 63 submissions had now been received.

11.2Agreed - that the Committee office would divide the submissions into broad groupings i.e. community arts, more formal arts, historical/heritage issues and language issues, taking into account the geographical spread.

11.3Agreed - that the public evidence sessions would in the main be held in Room 152 with the Senate Chamber being used occasionally.

11.4Agreed - that the Committee would consider visits to Glasgow, Limerick , Cork, Glencolmcille and San Francisco.

11.5Agreed - that it would be important to ensure that the work associated with the inquiry did not adversely affect into the other ongoing work of the Committee.

E ONeill
Chairperson

In Attendance:Ms L Gordon (Committee Clerk)
Mrs L Gregg
Ms M Higgins
Mr N Magee
Mr R McConaghy (Assembly Research )

4.1The Chairperson outlined the delegation's successful study tour of Boston's cultural heritage and artistic treasures, the political figures met and the information gleaned on public/private funding partnerships.

4.2The Chairperson recorded the Committee's thanks to the Committee Clerk, the Assistant Committee Clerk and Mr William Stuart of the Transition Programme for their assistance on this study tour.

4.3A report on the visit was tabled for further consideration at a meeting at 10.30am on Tuesday 10 April 2001.

7.1The Chairperson advised members that 75 submissions had been received including a submission from the Department.

8.2Agreed - that the Committee office would group the submissions within specific themes, taking account of geographical spread and community background issues.

E ONeill
Chairperson

Apologies:Mrs M Nelis (Deputy Chairperson)
Mr F Agnew
Mr B McElduff

In Attendance:Ms L Gordon (Clerk)
Mrs L Gregg (Assistant Clerk)
Ms M Higgins (Administrative Support)
Mr N Magee (Administrative Support)

1.1.Members agreed the list of organisations to be called before the Committee to give oral evidence. Staff will begin organising the evidence sessions.

1.2.Members agreed that some evidence sessions would be held on Tuesday mornings.

E ONeill
Chairperson

Apologies:Mr B McElduff

In Attendance:Ms L Gordon (Clerk)
Mrs L Gregg (Assistant Clerk)
Ms M Higgins (Administrative Support)
Mr N Magee (Administrative Support)

1.1.Members were informed that invitations had been issued to several organisations inviting them to give oral evidence on Thursday 10 May, Tuesday 15 May and Thursday 17 May 2001. Members agreed that oral evidence would not be taken between 29 May and 12 June 2001 inclusive. Evidence sessions would recommence on Thursday 14 June 2001.

1.2.Members agreed that evidence from organisations in the North-West could be heard at Magee College. Members also agreed to hear evidence at all-day sessions, should the need arise.

1.3.Members discussed the need to agree an appropriate format for evidence gathering during the oral evidence sessions.

E ONeill
Chairperson

Apologies:Mr K McCarthy

In Attendance:Ms L Gordon (Committee Clerk)
Mrs L Gregg (Assistant Committee Clerk)
Ms M Higgins (Administrative Support)

1.1.The following members indicated their availability to visit Paris and Barcelona commencing 25 June 2001, Dr Adamson, Mr McMenamin, Mrs Nelis, and Mr ONeill.

E ONeill
Chairperson

Apologies:Mr B McElduff
Mr J Wilson

In attendance:Ms L Gordon (Clerk)
Mrs L Gregg (Assistant Clerk)
Ms M Higgins (Administrative Support)
Mr N Magee (Administrative Support)

In attendance for public evidence session at 10:30am: Cultural Tourism and the Arts Inquiry - North of Ireland Band's Association - Mr Douglas Gourley, Chairperson, Mr Bill Clements, Secretary and Mr Joe Cassells, Representative to the European Brass Band Association.

In attendance for public evidence session at 11:10am: Cultural Tourism and the Arts Inquiry - Royal Scottish Pipe Band Association - Mr John Crozier, Chairman, Mr Eddie Montgomery, Pipe Major, Mr Gordon Parks, Drum Major and Mr Nelson McCausland, Vice President RSPBA & Executive Officer of Ulster Scots Heritage Council.

In attendance for public evidence session at 11:50am: Cultural Tourism and the Arts Inquiry -Castleward Opera - Dr Roelof Schierbeek, Chairman, Mr Ian Urwin, Artistic Director and Mr Ian Lindsay, Financial Director.

1.1.The North of Ireland Band's Association gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

2.1.The Royal Scottish Pipe Band Association gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

3.1.Castleward Opera gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

E ONeill
Chairperson

Apologies:Mr McMenamin
Mrs Nelis (Deputy Chairperson)
Mr J Wilson

In attendance:Ms L Gordon (Clerk)
Mrs L Gregg (Assistant Clerk)
Ms M Higgins (Administrative Support)
Mr N Magee (Administrative Support)

In attendance for public evidence session at 10:15am: Cultural Tourism and the Arts Inquiry - Lyric Theatre - Ms June Moore, Marketing and PR Manager and Mr Patrick Dalgety, Production Manager.

In attendance for public evidence session at 10:55am: Cultural Tourism and the Arts Inquiry - Brian Waddell Productions Limited - Ms Jane Coyle, Head of Film and Drama Development and Mr Richard Williams, Executive Producer.

In attendance for public evidence session at 11:35am: Cultural Tourism and the Arts Inquiry - Cinemagic Film Festival - Ms Frances Cassidy, Director, Cinemagic, Ms Judith Sharvin, Festival Management Team and Mr Michael O'Neill, Director, Dream Ireland Limited.

In attendance for public evidence session at 12:15pm: Cultural Tourism and the Arts Inquiry - Mr Richard Taylor, Chief Executive and Mr Malachy Martin, Information Officer.

1.1.The Chairperson referred members to a copy of a report by the Local Government Training Group as an output from the William Johnston Memorial Trust Millennium project. The report had been copied to the Committee by Dr Aideen McGinley, in the context of its Inquiry on Cultural Tourism and the Arts. The Committee agreed to consider the report at a later meeting, prior to taking evidence from district councils.

2.1.The Lyric Theatre gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

3.1.Brian Waddell Productions gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

4.1.Cinemagic Film Festival gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

5.1.The Northern Ireland Film Commission gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

E ONeill
Chairperson

Apologies:Mr F Agnew
Mr J Wilson

In attendance:Ms L Gordon (Clerk)
Mrs L Gregg (Assistant Clerk)
Ms M Higgins (Administrative Support)
Mr N Magee (Administrative Support)

In attendance for public evidence session at 10:30am: Cultural Tourism and the Arts Inquiry - Federation of Ulster Local Studies - Mr Jack Johnston, Chairman, Mr Roddy Hegarty, Development Officer and Mr Keith Haines.

In attendance for public evidence session at 11:10am: Cultural Tourism and the Arts Inquiry - Belfast Public Libraries - Ms Jennifer Crossland, Librarian, BELB, Ms Linda Houston, Chief Librarian, BELB and Ms Katherine McCloskey, Assistant Chief Librarian, BELB.

In attendance for public evidence session at 11:50am: Cultural Tourism and the Arts Inquiry - Linen Hall Library - Ms Mary Delargy, Co-Ordinator Languages of Ulster Project.

1.1.The Federation of Ulster Local Studies gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

2.1.Belfast Public Libraries gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

3.1.The Linen Hall Library gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

E ONeill
Chairperson

Apologies:Mr F Agnew
Mrs M Nelis (Deputy Chairperson)
Mr J Wilson

In attendance:Ms L Gordon (Clerk)
Mrs L Gregg (Assistant Clerk)
Ms M Higgins (Administrative Support)

In attendance for public evidence session at 10:30am: Cultural Tourism and the Arts Inquiry - Environment and Heritage Service, DOE - Mr Nick Brannon, Head of Built Heritage in EHS, Dr Chris Lynn, Assistant Director (EHS) Protecting Historic Monuments.

In attendance for public evidence session at 11:20am: Cultural Tourism and the Arts Inquiry - Centre for Migration Studies, Ulster American Folk Park - Dr Brian Lambkin, Director.

In attendance for public evidence session at 12:00noon: Cultural Tourism and the Arts Inquiry - Glass Ceiling Theatreworks - Ms Janice Kennedy, Company Manager.

1.1.The Environment and Heritage Service, Department of the Environment gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

2.1.The Centre for Migration Studies, Ulster American Folk Park gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

3.1.The Glass Ceiling Theatreworks gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

E ONeill
Chairperson

In attendance:Ms L Gordon (Clerk)
Mrs L Gregg (Assistant Clerk)
Ms M Higgins (Administrative Support)

In attendance for public evidence session at 10:30am: Cultural Tourism and the Arts Inquiry - Museums and Galleries Northern Ireland - Mr Mike Houlihan, Chief Executive and Ms Linda Ballard, Executive and Policy Assistant.

In attendance for public evidence session at 11:10am: Cultural Tourism and the Arts Inquiry - School of Archaeology and Palaeoecology - Professor Gerry McCormac, Head of School, Dr Colm Donnelly, Archaeology Project Officer, Dr Finbar McCormick, Lecturer and Ms Sarah Gormley, Research Assistant.

1.1.MAGNI gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

2.1.The School of Archaeology and Palaeoecology gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

E ONeill
Chairperson

Apologies:Mr E ONeill (Chairperson)
Mr D Hilditch
Mr F Agnew

In Attendance:Ms L Gordon (Clerk)
Mrs L Gregg (Assistant Clerk)
Ms M Higgins (Administrative Support)
Mr R Reid (Administrative Support)

In attendance for public evidence session at 10:30am: Cultural Tourism and the Arts Inquiry - Ulster Historical Foundation - Dr WH Crawford, Vice Chairperson, Dr B Trainor, Research Director and Mr F Mullan, Executive Director.

In attendance for public evidence session at 11:10am: Cultural Tourism and the Arts Inquiry -
Omagh District Council - Mr F Sweeney, Head of Arts and Tourism, Mr Danny McSorley, Chief Executive, Cllr R McKelvey and Cllr S Shields.

In attendance for public evidence session at 11:50am: Cultural Tourism and the Arts Inquiry - Gael Linn - Mr F Mac An Fhailigh, Manager of Cultural Schemes Northern Ireland, Mr R Ó Ciaráin, Regional Officer, Mr H Ó Brian, Chief Executive and Mr Daithí Ó Duffaigh, Head of Arts.

In attendance for public evidence session at 2:00pm: Cultural Tourism and the Arts Inquiry - Irish Genealogy Ltd, Mr Eamonn Rossi, Chief Executive, Ms Grace Greer, Director, Armagh Ancestry and Mr Brian Mitchell, Londonderry Genealogy Centre.

In attendance for public evidence session at 2:40pm: Cultural Tourism and the Arts Inquiry - Belfast Festival at Queen's - Ms Margaret McKee - Sales Manager.

1.1.The Ulster Historical Foundation gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

2.1.Omagh District Council gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

3.1.Gael Linn gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

4.1.Members agreed that a submission from the Independent Professional Theatre Lobby group should be accepted as evidence to the Cultural Tourism and the Arts Inquiry and that the group should be called to give oral evidence as part of the inquiry.

5.1.Irish Genealogy Ltd gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

6.1.Belfast Festival at Queen's gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

M Nelis
Deputy Chairperson

Apologies:Mr F Agnew
Mr D Hilditch
Mr K McCarthy
Mr J Shannon
Mr J Wilson

In attendance:Ms L Gordon (Clerk)
Mrs L Gregg (Assistant Clerk)
Ms M Higgins (Administrative Support)
Mr R Reid (Administrative Support)

In attendance for public evidence session at 10:30am: Cultural Tourism and the Arts Inquiry - Féile an Phobail - Ms Maura Brown, Chairperson, Ms Caitriona Ruane, Director, Ms Carol Jackson, Children's Co-ordinator and Mr Anthony McGrath, Marketing Officer.

In attendance for public evidence session at 11:20am: Cultural Tourism and the Arts Inquiry - National Trust -Ms Ruth Laird, Director for Northern Ireland, Ms Diane Forbes, Northern Ireland Affairs Manager and Mr Paul Mullan, Area Manager.

In attendance for public evidence session at 12:00noon: Cultural Tourism and the Arts Inquiry - Antrim Borough Council - Ms Kate Wimpress, Arts & Heritage Development Officer.

1.1.Féile an Phobail gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

2.1.The National Trust gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

3.1.Members received an update on the European visit to Paris and Barcelona and agreed that the Clerk and Assistant Clerk would accompany the delegation.

4.1.Antrim Borough Council gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

E ONeill
Chairperson

Apologies:Dr I Adamson
Mr F Agnew

In attendance:Ms L Gordon (Clerk)
Mrs L Gregg (Assistant Clerk)
Ms M Higgins (Administrative Support)
Mr R Reid (Administrative Support)

In attendance for public evidence session at 11:10am: Cultural Tourism and the Arts Inquiry - The Independent Professional Theatre Lobby - Mr Simon Magill, Artistic Director of Tinderbox Theatre Company, Mr Drew McFarlane, NI Secretary, Equity, Ms Paula McFetridge, Actor and Artistic Advisor Lyric Theatre, Mr Paul McErlean, Director of Drury Communications Ltd and Director Tinderbox Theatre Company and Mr Tim Loane, Oscar Nominated Film Director (Dance Lexi Dance) and writer of Channel 4's 'Teachers'.

In attendance for public evidence session at 11:50am: Cultural Tourism and the Arts Inquiry - Belfast City Council - Cllr Tom Hartley, Chairman of Tourism and Promotion of Belfast, Ms Shirley McCay, Head of Economic Initiative and Mr Brendan Toland, Tourism and Development Manager.

1.1.The Chairperson advised the Committee of the usefulness of the recent visits to Paris and Barcelona in informing the Inquiry and referred to the offer made by the Ministry of Culture in Paris to engage with Northern Ireland counterparts in sharing their experiences of promoting cultural issues. Members were also advised that the Director of the British Council in Northern Ireland, had also been in touch to offer assistance with the arrangements and to explain to the Committee what the Council's role is in terms of showcasing abroad the best of the arts from Northern Ireland. Members agreed that this would be useful and also agreed to pursue the proposed seminar with the French Ministry of Culture, contacts in Barcelona and in Boston.

2.1.The Independent Professional Theatre Lobby gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

3.1.Belfast City Council gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

E ONeill
Chairperson

In attendance:Ms L Gordon (Clerk)
Mrs L Gregg (Assistant Clerk)
Ms M Higgins (Administrative Support)
Mr R Reid (Administrative Support)

In attendance for public evidence session at 10:30am: Cultural Tourism and the Arts Inquiry - Ards Borough Council - Ms Eilis O'Baoill, Arts Officer and Mr Chris Webster, Assistant Tourism Development Officer.

In attendance for public evidence session at 11:10am: Cultural Tourism and the Arts Inquiry - Lisburn Borough Council - Mr Brian Mackey, Assistant Director of Leisure Services, Ms Siobhan Stewart, Arts Manager, Ms Susan Orr, Tourism Development Officer and Cllr Peter O'Hagan, Chairman of Economic Development.

In attendance for public evidence session at 11:50am: Cultural Tourism and the Arts Inquiry - Down District Council - Ms Sharon O'Connor, Director of Cultural and Economic Development and Mr John McGrillen, Chief Executive.

In attendance for a presentation on the work of the British Council in Northern Ireland at 12:30pm: Mr Peter Lyner, Director, The British Council, Northern Ireland.

1.1.The Committee agreed the issue of a Press Release regarding progress on the Cultural Tourism and the Arts Inquiry.

2.1.Ards Borough Council gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

3.1.Lisburn Borough Council gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

4.1.Down District Council gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

5.1.Mr Lyner gave a brief outline of the work of the British Council in Northern Ireland within the arts domain. The Council's aim is to promote a balanced and realistic view of the arts in Northern Ireland. The booklet 'Arts from Northern Ireland' produced jointly by the Council and the Arts Council of Northern Ireland has been distributed to all British Council offices. Another magazine 'AlumNI' produced by the Council is distributed to past participants on British Council visits to Northern Ireland.

5.2.Mr Lyner quoted some examples of their work - eg the management of a literary works event of Northern Ireland writers in Canada and the UkinNY Festival scheduled for October 2001 where plans are underway to bring the best of the UK's vibrant, modern and creative energy to New York in a fortnight long celebration of UK arts. In this festival the Ulster Orchestra will be involved in the gala opening.

5.3.Mr Lyner undertook to assist the Committee in the organisation of a major seminar which will involve bringing cultural tourism experts from the Ministry of Culture in France, the Barcelona Tourist Authority and Boston, to Belfast to share their experiences. He also agreed to assist in any other related visits in advance of the international seminar.

E ONeill
Chairperson

Apologies:Mr E ONeill (Chairperson)
Mr E McMenamin
Mr J Wilson

In attendance:Ms L Gordon (Clerk)
Mrs L Gregg (Assistant Clerk)
Ms M Higgins (Administrative Support)
Miss L Colhoun (Administrative Support)

1.1.The Committee agreed to accept a written submission from the North Belfast Tourism Project. It also agreed that no further submissions would be accepted.

1.2.The Committee agreed to hold evidence sessions at Magee College on Thursday 11 October 2001.

1.3.The Committee agreed to await the availability of the Chairman of the Northern Ireland Tourist Board before taking evidence from the Board. The Committee also agreed that the Clerk would write to the Board seeking the earliest date possible for the Chairman's attendance.

1.4.Members received the draft report of the study visit to Paris and Barcelona and were asked to forward comments to the Clerk by 20 September 2001

M Nelis
Deputy Chairperson

Apologies:Mr E ONeill (Chairperson)
Mr D Hilditch

In attendance:Ms L Gordon (Clerk)
Mrs L Gregg (Assistant Clerk)
Ms M Higgins (Administrative Support)
Miss L Colhoun (Administrative Support)

In attendance for public evidence session at 10:30am: Cultural Tourism and the Arts Inquiry - Ultach Trust - Mr Aodán Mac Póilin, Director.

In attendance for public evidence session at 11:10am: Cultural Tourism and the Arts Inquiry - Arts & Business NI - Mr Peter Holmes, Chairperson and Ms Hilary McGrady, Director.

In attendance for public evidence session at 11:50am: Cultural Tourism and the Arts Inquiry - Ballymena Borough Council - Mr William Young, Cultural Services Manager.

In attendance for public evidence session at 12:30pm: Cultural Tourism and the Arts Inquiry - Northern Ireland Hotels Federation - Mr Colin Shillington, Director General, Mr Alistair Good, Advisor, NIHF, Mr Sean Small, Burrendale Hotel and Ms Margaret Nagle, Jury's Hotel, Belfast.

1.1.Members were reminded that comments regarding the report on the study visit to Paris and Barcelona should be with the Clerk by 20 September 2001.

Dr Adamson declared an interest as a Founding Member of the Ultach Trust.

2.1.The Ultach Trust gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

3.1.Arts & Business NI gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

4.1.Ballymena Borough Council gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

5.1.The Northern Ireland Hotels Federation gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

M Nelis
Deputy Chairperson

Apologies:Mr F Agnew
Mr E McMenamin

In attendance:Ms L Gordon (Clerk)
Mrs L Gregg (Assistant Clerk)
Ms M Higgins (Administrative Support)
Miss L Colhoun (Administrative Support)

In attendance for public evidence session at 10:30am: Cultural Tourism and the Arts Inquiry - Arts Council of Northern Ireland - Prof. Brian Walker, Chairman, Ms Roisín McDonough, Chief Executive and Mr Nick Livingston, Director of Strategic Development.

1.1.Members agreed that the findings contained in the report on the Committee's study visit to Paris and Barcelona would be incorporated in the recommendations in the final report.

1.2.The Committee agreed to defer the appointment of a Specialist Adviser to a future meeting.

2.1.The Arts Council of Northern Ireland gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

2.2.The Committee agreed to write to the Minister supporting the case made by the Council for additional funding for artists and arts organisations.

E ONeill
Chairperson

Apologies:Mrs M Nelis (Deputy Chairperson)
Mr F Agnew

In attendance:Ms L Gordon (Clerk)
Mrs L Gregg (Assistant Clerk)
Ms M Higgins (Administrative Support)
Miss L Colhoun (Administrative Support)

1.1.The Committee discussed and agreed the appointment of a specialist advisor to the Cultural Tourism and the Arts Inquiry.

1.2.The Committee agreed the terms of reference for the advisor - "To structure and write the draft inquiry report (including recommendations) based on the submissions, oral evidence and other relevant material."

2.1.The Clerk advised the Committee about the difficulties in arriving at an agreed date on which the Chairman of the Northern Ireland Tourist Board would be available to give evidence to the Committee on the Cultural Tourism and the Arts Inquiry. The Committee agreed that this evidence was critical to the Inquiry and that a letter would issue from the Committee Chairperson.

E ONeill
Chairperson

Apologies:Mr I Davis
Mr D Hilditch

In attendance:Ms L Gordon (Clerk)
Mrs L Gregg (Assistant Clerk)
Ms M Higgins (Administrative Support)
Miss L Colhoun (Administrative Support)

In attendance for public evidence session at 10:30am: Cultural Tourism and the Arts Inquiry -Department of Culture, Arts and Leisure - Dr Aideen McGinley, Permanent Secretary and Mr Jack Palmer, Arts and Sport Division.

1.1.The Department of Culture, Arts and Leisure gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

2.1.Paragraph 8.1 - The Northern Ireland Tourist Board have confirmed that they will be attending the Committee meeting on Thursday 25 October 2001 when Mr Roy Bailie, Chairman, Mr Alan Clarke, Chief Executive and Mr Feargal Kearney, Cultural Tourism Officer will give oral evidence to the Cultural Tourism and the Arts Inquiry.

E ONeill
Chairperson

Apologies:Dr I Adamson
Mr D Hilditch
Mr K McCarthy
Mr J Shannon
Mr J Wilson

In attendance:Ms L Gordon (Clerk)
Mrs L Gregg (Assistant Clerk)
Ms M Higgins (Administrative Support)
Ms L Colhoun (Administrative Support)

In attendance for public evidence session at 11:30am: Cultural Tourism and the Arts Inquiry -
The Nerve Centre - Mr John Peto, Cultural Development Officer.

In attendance for public evidence session at 12:10pm: Cultural Tourism and the Arts Inquiry -
The Genealogy Centre - Mr Brian Mitchell, Genealogy Centre Manager.

In attendance for public evidence session at 1:50pm: Cultural Tourism and the Arts Inquiry -
The University of Ulster - Dr William Kelly, Research Officer for the Institute of Ulster Scots Studies, Prof. Mairead NicCraith, Academy for Irish Culture and Heritages, Dr Yvonne Whelan, Academy for Irish Culture and Heritages and Mr Philip Wing, Course Director Tourism Masters.

In attendance for public evidence session at 2:30pm: Cultural Tourism and the Arts Inquiry -
The North West Archaeological and Historical Society - Mr Roy McCullough, Secretary and Mr Charles Logue, Vice President.

1.1.The Committee discussed the possibility of visiting Berlin as part of the Cultural Tourism and the Arts Inquiry and agreed that no further visits would be made as part of the Inquiry.

2.1.The Nerve Centre gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

3.1.The Genealogy Centre gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

4.1.The University of Ulster gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

5.1.The North West Archaeological and Historical Society gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

E ONeill
Chairperson

Apologies:Mr F Agnew
Mr D Hilditch

In attendance:Ms L Gordon (Clerk)
Mrs L Gregg (Assistant Clerk)
Ms M Higgins (Administrative Support)

In attendance for public evidence session at 10:30am: Cultural Tourism and the Arts Inquiry -
The Northern Ireland Tourist Board - Mr Roy Bailie, Chairman, Mr Alan Clarke, Chief Executive, Mr Feargal Kearney, Marketing Cultural Tourism Officer and Ms Isabel Jennings, Director of International Marketing.

1.1.The Committee agreed that the BBC would film proceedings during the meeting.

1.2.The Committee noted a letter from the Chairman of the Northern Ireland Tourist Board clarifying for the Committee why he had had difficulty agreeing a date to give evidence as part of the Cultural Tourism and the Arts Inquiry and assuring the Committee of his co-operation.

2.1.The Northern Ireland Tourist Board gave evidence, in public, to the Committee on the Cultural Tourism and the Arts Inquiry.

E ONeill
Chairperson

Apologies:Mr I Davis
Mr E McMenamin

In attendance:Ms L Gordon (Clerk)
Mrs L Gregg (Assistant Clerk)
Ms M Higgins (Administrative Support)
Mr D McCabe (Administrative Support)

1.1The Committee agreed to accept the supporting evidence supplied by the Northern Ireland Tourist Board for inclusion in the report on the Inquiry into Cultural Tourism and the Arts and noted the Board's paper addressing key issues raised by the Committee at the meeting on Thursday 25 October 2001.

E ONeill
Chairperson

Apologies:Mr I Davis

In attendance:Ms L Gordon (Clerk)
Mrs L Gregg (Assistant Clerk)
Ms M Higgins (Administrative Support)
Mr D McCabe (Administrative Support)

2.1The Committee agreed that the Report on Cultural Tourism and the Arts would include only written submissions from those who also gave oral evidence to the Committee. The remaining written submissions would be placed in the Assembly Library.

E ONeill
Chairperson

Apologies:Mr I Davis

In attendance:Ms L Gordon (Clerk)
Mrs L Gregg (Assistant Clerk)
Ms M Higgins (Administrative Support)

2.1Members agreed to hold a special meeting on Tuesday 22 January 2002 in Room 152 from 12:00noon - 2:00pm to continue consideration of the draft Report on Cultural Tourism and the Arts.

3.1The Committee began an initial scrutiny of the draft Report prepared by the Specialist Advisor.

E ONeill
Chairperson

Apologies:Mr F Agnew
Mr I Davis

In attendance:Ms L Gordon (Clerk)
Mrs L Gregg (Assistant Clerk)
Ms M Higgins (Administrative Support)
Mr D McCabe (Administrative Support)

1.1The Committee continued the initial scrutiny of the draft report, prepared by the Specialist Advisor and agreed that the Clerk would redraft identified areas.

1.2Mr Wilson reiterated his position, as expressed at the meeting on 17 January 2002, that the words "terrorism" and "terrorist" should not be removed from the draft report and could not support the redrafted version omitting the words, which had been prepared by the Clerk, as requested, for consideration at the meeting. Mr Wilson recalled that only one member had strongly objected to the use of the words at the previous meeting. Mr Wilson advocated that the Committee was not preparing a tourist brochure, and that the report should reflect the negative facts that had an adverse effect on the development of Northern Ireland as a tourist destination during the period 1969 to 1993.

1.3Mrs Nelis reiterated her position, as expressed at the meeting on 17 January 2002, that the words "terrorism" and "terrorist" should be removed from the draft report. Mrs Nelis stated that she would prefer a word such as "conflict", but could not agree to the inclusion of words, which were perceived differently in her constituency. In the absence of consensus on the paragraphs, the Committee agreed to continue its consideration of the rest of the report.

1.4The Committee agreed to return to the matter when the initial consideration of the draft had been completed.

1.5The Committee agreed to seek further information about the World Tourism Organisation's definition of 'culture'.

1.6The Committee agreed that the report would include reference to the Shankill Crozier and the Broighter Gold Horde, both of which have a Northern Ireland dimension, but are held in the National Museum of Ireland.

1.7The Committee agreed that it would visit the Saint Patrick's Centre in Downpatrick.

1.8The Committee agreed to obtain annual visitor attendance figures for the W5 Science Park.

E ONeill,
Chairperson

Apologies:Mrs M Nelis (Deputy Chairperson)

In attendance:Ms L Gordon (Clerk)
Mrs L Gregg (Assistant Clerk)
Ms M Higgins (Administrative Support)
Mr D McCabe (Administrative Support)

1.1.The Committee continued the initial scrutiny of the draft report, prepared by the Specialist Advisor and agreed that the Clerk would redraft identified areas.

1.2.The Committee agreed that advice would be sought from Research Service on identified aspects.

E ONeill
Chairperson

Apologies:Mrs M Nelis (Deputy Chairperson)
Mr J Shannon
Mr J Wilson

In attendance:Ms L Gordon (Clerk)
Mr D McCabe (Administrative Support)

6.1.The Committee continued the initial scrutiny of the draft report, prepared by the Specialist Advisor and agreed that the Clerk would redraft identified areas.

E ONeill
Chairperson

Apologies:Mrs M Nelis (Deputy Chairperson)

In attendance:Ms L Gordon (Clerk)
Mrs L Gregg (Assistant Clerk)
Ms M Higgins (Administrative Support)
Mr D McCabe (Administrative Support)

10.1.The Committee continued the initial scrutiny of the draft report, prepared by the Specialist Advisor and agreed that the Clerk would redraft identified areas.

11.1.The Committee agreed to hold a special meeting to continue the scrutiny of the draft report on the Cultural Tourism and the Arts Inquiry at 11:30am on Tuesday 5 March 2002 in Room 152.

E ONeill
Chairperson

Apologies:Mrs M Nelis (Deputy Chairperson)
Mr F Agnew
Mr I Davis
Mr D Hilditch

In attendance:Ms L Gordon (Clerk)
Mrs L Gregg (Assistant Clerk)
Ms M Higgins (Administrative Support)
Mr D McCabe (Administrative Support)
Ms L McCarron (Administrative Support)

1.3.The Committee completed its initial scrutiny of the draft report, prepared by the Specialist Advisor and agreed that the Clerk would redraft identified areas.

E ONeill
Chairperson

Apologies:Mr F Agnew
Mr I Davis
Mr D Hilditch
Mr E McMenamin
Mr J Wilson

In attendance:Ms L Gordon (Clerk)
Mrs L Gregg (Assistant Clerk)
Ms M Higgins (Administrative Support)
Ms L McCarron (Administrative Support)

2.4.The Committee began its first formal reading of the report on Cultural Tourism and the Arts and agreed a number of alterations.

2.5.The Committee agreed to ask the Northern Ireland Tourist Board how it selects the visitor attractions to include in its annual survey.

E ONeill
Chairperson

Apologies:Mr F Agnew
Mr E McMenamin

In attendance:Ms L Gordon (Clerk)
Mrs L Gregg (Assistant Clerk)
Ms M Higgins (Administrative Support)
Ms L McCarron (Administrative Support)

2.6.The Committee agreed to hold the reading in private session.

2.7.The Committee continued with its first formal reading of the report on the Cultural Tourism and the Arts Inquiry and agreed a number of alterations.

2.8.The Committee agreed to ask the Chief Executives of the 26 District Councils to identify their top 3 visitor attractions, in terms of numbers, and to provide attendance figures. The Committee also agreed to ask the Councils to advise on how many local/community/other festivals take place in their respective areas and to provide attendance figures.

E ONeill
Chairperson

Apologies:Mrs M Nelis (Deputy Chairperson)
Dr I Adamson
Mr K McCarthy
Mr E McMenamin

In attendance:Ms L Gordon (Clerk)
Mrs L Gregg (Assistant Clerk)
Ms M Higgins (Administrative Support)

2.9.The Committee continued with its first formal reading of the report on the Cultural Tourism and the Arts Inquiry and agreed a number of alterations.

E ONeill
Chairperson

Apologies:Mr J Kelly

In attendance:Ms L Gordon (Clerk)
Mrs L Gregg (Assistant Clerk)
Ms M Higgins (Administrative Support)
Ms L McCarron (Administrative Support)

2.10.The Committee agreed that it would seek to schedule the debate on the Report of the Cultural Tourism and the Arts Inquiry for the week beginning Monday 10 June 2002. It was also agreed to hold a press briefing, on an embargoed basis, on Thursday 6 June 2002.

2.11.The Committee concluded its first formal reading of the report on the Cultural Tourism and the Arts Inquiry and agreed a number of amendments.

E ONeill
Chairperson

Apologies:Mr J Kelly
Mr J Wilson

In attendance:Ms L Gordon (Clerk)
Mrs L Gregg (Assistant Clerk)
Ms M Higgins (Administrative Support)
Ms L McCarron (Administrative Support)

2.12.The Committee began its second formal reading of the report on the Cultural Tourism and the Arts Inquiry and read the report paragraph by paragraph:

Introduction -

Paragraphs 1.1 to 1.4 read and agreed

Definition of key terms -

Paragraphs 2.1.1 to 2.1.5 read and agreed

The Northern Ireland context -

Paragraphs 3.1 to 3.5 read and agreed

Products, attractions base and infrastructure -

Paragraphs 4.1 to 4.6.6 read and agreed

Paragraph 4.6.7 read and agreed as amended

Paragraphs 4.7 to 4.10.2 read and agreed

Paragraph 4.10.3 read and agreed that the Clerk would redraft the paragraph to include a reference to the Centre for Migration Studies

Paragraphs 4.10.4 to 4.13.2 read and agreed as amended

Paragraph 4.13.3 - Agreed - that examples of areas in Northern Ireland which have important cultural resources but remain poorly provided for in terms of room numbers should be included. The Committee divided on this issue. The question was proposed by the Chairperson - 'Do the members agree that examples of areas in Northern Ireland which have important cultural resources, but remain poorly provided for in terms of room numbers, should be included?' The following members voted 'Yes' - Mrs Nelis, Dr Adamson, Mr Agnew, Mr Davis, Mr Hilditch, Mr McCarthy and Mr Shannon. The paragraph was agreed as amended.

Paragraphs 4.13.4 to 4.14 read and agreed

E ONeill
Chairperson

Apologies:Mr E ONeill (Chairperson)
Mrs M Nelis (Deputy Chairperson)
Mr J Kelly

In attendance:Ms L Gordon (Clerk)
Mrs L Gregg (Assistant Clerk)
Ms M Higgins (Administrative Support)
Ms L McCarron (Administrative Support)

2.13.The Committee continued its second formal reading of the report on the Cultural Tourism and the Arts Inquiry and read the report paragraph by paragraph:

Focal Agencies -

Paragraphs 5.1 to 5.5 read and agreed

Community Involvement, Relationships and partnerships -

Paragraphs 6.1 to 6.3 read and agreed

Strategic Planning and Development -

Paragraphs 7.1 to 7.6 read and agreed

Communication and Information Technology -

Paragraphs 8.1 to 8.2 read and agreed

Learning -

Paragraphs 9.1 to 9.3 read and agreed

Funding -

Paragraphs 10.1 to 10.4 read and agreed

Summary of Recommendations -

Recommendation 1 to recommendation 56 read and agreed

I Davis
Acting Chairperson

Apologies:Mr E McMenamin
Mr J Shannon

In attendance:Ms L Gordon (Clerk)
Mrs L Gregg (Assistant Clerk)
Ms M Higgins (Administrative Support)
Ms L McCarron (Administrative Support)

2.1.The Committee agreed that the information obtained from District Councils on visitor attractions and festival events would not form part of the report but would inform members' input to the report debate.

2.2.Mr Hilditch agreed to raise the issue of non-responses from councils in its area to the Committee's inquiry for information with the Causeway Coast umbrella body.

2.3.The Committee agreed -

• Appendix 1: The list of witnesses who gave oral evidence.
• The list of memoranda submitted which have been printed as part of the report (ie written submissions from those who gave oral evidence).
• The list of memoranda submitted which have not been printed as part of the report (ie written submissions from those who did not give oral evidence.) These submissions will be placed in the Assembly Library.
• Appendix 2: The itineraries for Boston, Paris and Barcelona and summaries of the key issues which emerged from the visits.

2.4.The Committee agreed -

"That the Report be the Third Report of the Committee for Culture, Arts and Leisure to the Assembly and that it should be printed."

2.5.The Committee agreed that copies of the report would be sent to all those organisations and individuals who submitted evidence, whether written or oral.

2.6.The Committee agreed that the debate on the report should be scheduled for two hours on Tuesday 11 June 2002 and that members would bring this to the attention of Party Whips. The Committee also agreed the wording of a Motion to be tabled in the Business Office for the debate -

"That this Assembly approves the Report of the Committee for Culture, Arts and Leisure, on its Inquiry into Cultural Tourism and the Arts, and calls on the Executive to ensure that the Committee's recommendations are evaluated and implemented at the earliest opportunity."

2.7.The Committee agreed the guest list for the media lunch on Thursday 6 June 2002 in the Members' Dining Room.

E ONeill
Chairperson

North of Ireland Band's Association

Royal Scottish Pipe Band Association (Northern Ireland Branch)

Castleward Opera

Lyric Theatre

Brian Waddell Productions Ltd

Additional submission from Brain Waddell Productions Ltd

Cinemagic Film Festival

Northern Ireland Film Commission

Belfast Public Libraries

Linen Hall Library

Environment and Heritage Services

Centre for Migration Studies

Glass Ceiling Theatreworks

Museums and Galleries of Northern Ireland

School of Archaeology & Palaeoecology

Ulster Historical Foundation

Omagh District Council

Gael-Linn

Irish Genealogy Ltd

Belfast Festival at Queens

Féile an Phobail

National Trust

Antrim Borough Council

Independent Professional Theatre Lobby

Belfast City Council

Ards Borough Council

Lisburn Borough Council

Down District Council

Ultach Trust

Arts & Business for Northern Ireland

Ballymena Borough Council

Northern Ireland Hotels Federation

Arts Council of Northern Ireland

Additional submission from Arts Council of Northern Ireland

Department of Culture, Arts and Leisure

The Nerve Centre

The Genealogy Centre

The University of Ulster

The North West Archaeological & Historical Society

Northern Ireland Tourist Board

Additional submission from Northern Ireland Tourist Board

Boston is an economically and culturally wealthy city. Most of its cultural institutions are privately funded and sophisticated fundraising mechanisms exist. However, cultural projects are also supported by the city and the state, both in terms of their educational value, and as economic generators. Boston's cultural offering is one of the key attractions to visitors.

Lowell is a city with an industrial history and location not dissimilar from Belfast. Following a period of serious economic and social decline, it has been imaginatively and successfully regenerated in recent years.

Government, both at city and state level, endeavours to use public funds to best advantage to increase accessibility, foster diversity, encourage economic development and secure effective public / private partnerships.

• Tax system encourages the establishment of charitable trusts and foundations, which play a major role in American society, particularly in relation to sponsorship of the arts.
• The success of most foundations or trusts lies not just in a strong Board and effective Trustees, but also in building a strong base of supporters.

• Kennedy Library and Museum attracts roughly 50:50 public/private funding. The Museum is a major tourist attraction and an academic research facility.
• Fenway Park, the home of Boston Red Sox, raises 65% of its running costs from ticket sales and the remainder from advertising and TV/radio coverage. The club has major plans to re-site, but state funding has been limited to only those infrastructure improvements which will also benefit the neighbourhood eg roads and sewerage schemes. The remainder of the funding for the move is to come from the club. The State has indicated that it is "not in the business of funding millionaires".
• The New England Aquarium is a major tourist attraction, with a strong educational component. It is expensive to run, but gets no direct government support. Income is boosted by an IMAX cinema.
• The Museum of Science is a major visitor attraction, particularly geared towards children. It is non-profit taking, with profits being ploughed back into the facility.

• Walking trails marked on the footpaths around cultural and historical sites, to allow visitors to see attractions on foot.
• The City of Lowell has redeveloped its disused cotton mills and warehouses into a History Park. Public entertainment events take place all year long in the Park eg an annual folk festival attracts 300,000 visitors over a single weekend. As part of anchoring its regeneration, Lowell has built a multi-purpose arena and a medium-sized baseball stadium.

• The Massachusetts Cultural Council receives public, private and Lottery funding, and offers a range of grant programmes.
• YouthReach, for young people at risk, has been successful in involving marginalised youth with 'Shakespeare and Co'.
• There are 450,000 people employed in the arts.
• Boston Mayor's Office of Arts and Culture promotes and supports the work of artists and cultural organisations.
• It provides technical assistance to local artists and cultural organisations with facilities, including rehearsal, studio, performance, office, and live-work space.
• Grants are available for artists and cultural non-profit making organisations.
• Arts education opportunities are provided for Boston's young people in and out of school.
• Open Studios annual festival - artists open their studios to the public in nine neighbourhoods. Economic spin-offs for the neighbourhoods.
• Painting of murals is allowed in agreed places.
• Scheme whereby young people work as artists' apprentices during summer months.
• Emphasis on the creation of more public exhibition spaces.
• Supporting local cultural festivals to raise quality and increase out-reach.
• Funding initiatives for residents and visitors to overcome language, transportation, financial and accessibility barriers and to enable participation in existing cultural opportunities.
• Boston Arts Academy is a pilot second level city public school for artistic young people. It receives support from a range of sources and teaches dance, vocal, instrumental, theatre and visual arts. It is also rigorous in maths and science. It receives the same basic funding as other schools, but needs much more to deliver its curriculum. The shortfall is raised by fundraising and sponsorship.

1.Encourage greater interest in the development of cultural tourism for example by the increased involvement of local authorities;

2.Production of good brochures and leaflets;

3.Holding heritage days or a heritage year;

4.Raise awareness of people particularly the young;

5.Consider the introduction of heritage classes in schools;

6.History and art town development;

7.Increased use of guided tours with people trained to present history and heritage;

8.Deal with regional cultural imbalances.

A significant outcome of the visit was the offer by the Ministry of Culture to share their experiences with Northern Ireland's cultural and heritage professionals in a seminar to be organised in Belfast in autumn 2002. Officials from Barcelona have also been invited to take part.

The city has turned itself around in little more than 10 years from being a predominantly industrial economy to being a holiday and business destination. Those with whom the delegation met during the visit underlined that their continued success has been due to:

• identifying what needed to be done;
• good public/private co-operation to get on with doing it;
• making the very best of all their assets;
• delivering a very high standard of service.

• Political leadership.
• The Olympic Games of 1992.
• Spanish integration into the European Union.
• Economic situation.
• Investment in infrastructure and training.
• Support of the local citizens.
• Good tourist industry co-ordination.
• Definition of the tourism product and selling a specific Barcelona to each segment of demand.

• 2000 years of history and cultural heritage.
• Unique minority language and culture.
• Diversity of architecture and cityscapes.
• Major cultural amenities eg Picasso Museum; the Gaudi Cathedral; Barcelona Football Club.

• Turisme de Barcelona is representative of all sectors in the city.
• Heavily committed to the tourist product and its marketing.
• Meets regularly to discuss key issues
• Places sustainability high on its list of criteria for products.
• 70% of the tourism budget is raised from its own resources.