Assessment of the Renaissance City
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The assignment focuses on the critique and evaluation of tourist experiences at Singapore art Museum. First and foremost, the arts have been generally used as a means to regenerate the urban environment and give new life to the economy. There are some cities that have attempted to adopt urban cultural policy that is either internally or externally oriented while others have attempted to implement policies that aim to balance both orientations. In the case of Singapore, the policy of turning it into a renaissance city is both internally and externally oriented. In Singapore, the vision of the renaissance city is imagined at a variety of levels including the individual level. Here, the Renaissance Singaporean would have a zeal for life as well as an impressive bound for creativity. The interest in art would guide people to art resources and centers (Kin, 2003).
To increase the potential international appeal, the museum has taken measures so as to feature a wider collection of exhibits that would be alluring in the international perspective. Thus, tourists of local origin would have to cultivate international tastes while critiquing their museum. Some of these art works that have entered the museum include “black is my weapon”. This work features black figures that are set in chronological order and symbolize the strength of their color. Black is meant to represent beauty as well as strength.
These initiatives are obviously placed to make Singapore a significant and international cultural composition hub that is attractive to the tourists themselves and, most importantly, to the foreign investors and highly skilled professionals (Patrick 2009). Overall, theseWant an expert to write a paper for you Talk to an operator now
are rather large scale investments aimed at increasing the commitment to developing the level of local art talent as well as the interest towards art within the city of Singapore.
Motivation Theory of Visitor Behavior
The current motivation theory places an extra emphasis on the self-regulating role of the visitor. In this way, some of the contemporary motivational proposers perceive motivation more broadly as the process of intrinsic regulation of the individual learners in contrast to that of extrinsic control by a powerful entity from the outside. Motivation has always played a vital role in the museum learning. In the event it is absent, no one would have an interest in the museum or interact with the exhibits to the point they learn something about it. Some of the active drivers of motivation that bring tourists to the museum and control the psychology include the following (Lightner, 1995). The main driver is personal interest that endures and could be related to one’s professional field. For example, an archeologist will naturally be attracted to prehistoric era exhibits. The others include curiosity which encourages the human want to know about the actual past. Connections to the actual past remind the individual of a part of his/her live, thus visiting such exhibits would give them a pleasant sense of nostalgia; hence they will visit the exhibits again. Last but not least, group influence is the other motivator influencing visitor behavior. The tastes of the group would be responsible for the exhibits visited and what is learnt during that session. The visitor that tags along will depend on the influencing hand of their peer to give direction on the visit at all times.
The Travel Career Patterns Model
The contributions that have been made by defining travel experience as a function of the general experience without emphasis on the use of age as the predictor of tourist experience (Sebastian and Greenacre, 2007). This implies that tourists’ motivation can be measured through the experiences attained through their journey.
Leadership Sphere and Mediatory Sphere
In most cases, the tour managers operate very much in the leadership sphere, and the local guides mostly expect them to accomplish that part of their duty during the guided tour under the instruction of the local guide. In this way, it relieves the guide of some of the logistical functions involved, leaving him to focus on the duties on the ground such as the playful and entertaining mediatory role. On the other hand, it would require that the manager looks at things through the eyes of the tour guide (Meged, 2010).
Role of the Tour Manager in the Mediatory Sphere
Apart from being a local expert to do the local tour, a guide is also assumed to take over the role of cultural mediator. Similarly, if there is a tour manager on board, the manager may have to introduce the guide and the tour group, but from that moment, it is generally expected that the mediation will be left to the guide. Thus, visitors will probably perceive the guide as an expert upon introduction and refer all questions on exhibits towards him.
There is an active link between cognitive psychology and tourism as several researchers have seen the need for visitors to be oriented and enhance the onsite preferences (Pearce, 1991). Visitors that are disoriented do not have actual motivations, whether internal or external. This type of visitors is erratic and not a reliable asset to the museum unless one gives them direction. There has always been a direct fascination between the things of the past or inspired works and the curiosity of a man. Visitor’s psychology becomes more in touch with the artistic when they are in the museum than when they are in any other location.
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