acknowledgements - university at buffalo

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A C U L T U R A L T O U R I S M S T R A T E G Y : E N R I C H I N G C U L T U R E A N D B U I L D I N G T O U R I S M I N B U F F A L O N I A G A R A

The production of this strategic blueprint has reliedupon the tireless efforts of more than 200representatives of the cultural, arts, heritage, tourism,education, government, business and philanthropycommunities over the span of two years. Indeed, thepremise of this effort has been that the strategy willbe a practical success only if those who are to beresponsible for its implementation – those on thefront lines of cultural tourism – are involved in itscreation.

Participants in the planning process volunteeredcountless hours to attend meetings, participate indiscussions and contribute valuable insight on thedevelopment of a strategic blueprint for culturaltourism development in Buffalo Niagara. Over anintense, two-year planning process stakeholdersidentified core issues, set goals and priorities andcritiqued the report's major concepts and criticaldetails. Members of the initiative's volunteer SteeringCommittee, co-chaired by Donald K. Boswell,President and CEO of WNED, and William L.McHugh, formerly Executive Vice President ofIndependent Health, attended these as well as regularcommittee meetings, providing vision and guidanceto keep the effort on track and ensure the productionof a practical report.

The region is indebted to The John R. OisheiFoundation, Erie County, The Margaret L. WendtFoundation and Independent Health, whose financialsupport made possible the Buffalo Niagara CulturalTourism Initiative and its resulting report. Theircontinued dedication to the region's cultural, arts andheritage organizations and the development ofcultural tourism has been, and will continue to be,essential to attaining the vision of A Cultural TourismStrategy.

It is important to note that this strategy attempts toreconcile diverse and even diametrically opposedviewpoints. These same viewpoints fostered a richand vibrant discourse. Indeed, this report is strongerbecause of the broad participation and engagement ofBuffalo Niagara's cultural tourism stakeholders.

STEERING COMMITTEE:

Co-Chairs:Donald K. Boswell, WNED, Western New York Public

Broadcasting AssociationWilliam L. McHugh, Independent Health

Members:Thomas E. Baker, The John R. Oishei FoundationCharles W. Banta, Mercury Capital PartnersDavid Caban, Buffalo Public Schools Daniel E. Cantara, III, First Niagara Financial Group,Inc.Pamela Davis Heilman, Hodgson Russ LLPJanet Day, The Margaret L. Wendt FoundationDavid Hart, Hart Hotels, Inc.

Muriel A. Howard, Buffalo State College, Office of the President

Robert J. Kresse, Hiscock & Barclay LLPReverend Joseph L. Levesque CM, Niagara

University, Office of the President Thomas Lunt, The Margaret L. Wendt FoundationMary Martino, The John R. Oishei FoundationKerry Mitchell, Canadian Consulate General Donald Moran, WUTV- Fox 29Burton Notarius, Prime Wines CorporationJames Pappas, University at Buffalo, Department of

African American StudiesHal D. Payne, Buffalo State College, Office of the

Vice President of Student Affairs Robert Skerker, Robinson Knife CompanyMatthew Wolfe, Tri-Main Development

Project Management Team: Institute for Local Governance and Regional Growth:

John B. Sheffer, II Executive DirectorRachel M. Teaman Communications DirectorNancy Baun Facilitator Robert G. Shibley Director, Urban Design ProjectBradshaw Hovey Research Director, Urban

Design ProjectConsultants:Mary C. MeansMary Means & Associates, Inc.

Elaine Van S. CarmichaelEconomic Stewardship, Inc.

ACKNOWLEDGEMENTSBUFFALO NIAGARA CULTURAL TOURISM INITIATIVE

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CULTURAL TOURISM STAKEHOLDERS:**Please note, affiliations listed are as indicated at the start of the planning process.

REPRESENTING:AAA Western and Central New YorkAfrican American Cultural Center African American Cultural Center African American Cultural CenterAlbright-Knox Art GalleryAlbright-Knox Art GalleryAlbright-Knox Art GalleryAllen Street Dance Studio and Folkloric Productions Dance Inc.Allentown Association, Inc.Allentown Village Society, Inc.Alliance Francaise de BuffaloAmherst MuseumAmherst MuseumAntecesoresAquarium of NiagaraArt on WheelsArt on WheelsArt on WheelsArtpark & Company, Inc.Artpark & Company, Inc.Artpark & Company, Inc.Arts Council in Buffalo & Erie CountyArts in Education Institute of Western New York, Inc.ArtvoiceAt Look Systems, Inc.The Baird FoundationBuffalo and Erie County Botanical Gardens SocietyBuffalo and Erie County Historical SocietyBuffalo and Erie County Historical SocietyBuffalo and Erie County Historical SocietyBuffalo and Erie County Historical SocietyBuffalo and Erie County Historical SocietyBuffalo and Erie County Naval & Military ParkBuffalo & Erie County Public Library Buffalo & Erie County Public LibraryBuffalo Arts CommissionBuffalo Arts CouncilBuffalo Arts StudioBuffalo Arts StudioBuffalo City Ballet Company, Inc.Buffalo City Ballet Company, Inc.Buffalo Hellenic Festival; Hellenic Orthodox Church of the AnnunciationBuffalo Museum of Science Buffalo Museum of Science Buffalo Museum of Science Buffalo Museum of Science Buffalo Niagara Convention & Visitors BureauBuffalo Niagara Convention & Visitors BureauBuffalo Niagara Convention & Visitors BureauBuffalo Niagara EnterpriseBuffalo Niagara Guitar Festival

NAME:John ConnorsAgnes Bain Carl JohnsonSam Pittee-Polkah ToeLouis GrachosMary Ann RogersSusan Scholterer Cathy SkoraWilliam Harmon Mary Myszkiewicz Olivia ArditiBetty LernerJoseph WeickartSheila LopezGay MolnarTony BilloniWendy Attea HuntingtonKate ScaglioneThomas FattaMaureen KellickRuth SassCeleste Lawson Margaret KaiserAnthony ChaseHarry StyliadesCatherine SchweitzerJeannette CiambellaAnne ConableWilliam EvittsLinda RayWilliam SienerSally TreanorPatrick CunninghamAmi PatrickCynthia Van NessMargaret RoblinDavid GranvilleJoanna AngieJoan BukowskiMarvin AskewKarl SingletaryRobert FrangoolesDavid ChesebroughMichael LazzaroMary SahrCheryl Spengler Richard GeigerEdward HealyDavid LackiLeslie HornungGitti Barrell

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First, special appreciation is extended to the chairpersons of the initiative’s three Work Groups for their time,research and efforts in facilitating engaging discussions throughout the planning process: Ted Pietrzak (Marketing), Glendora Johnson-Cooper (Capacity Building) and Robert Blanchard (Implementation). Specialthanks is also extended to members of a small working group that worked over several months to develop apractical structure for implementing the strategy based on stakeholder recommendations: David E.Chesebrough (Buffalo Museum of Science), Paul Hogan (The John R. Oishei Foundation), Ted Pietrzak(Burchfield-Penney Arts Center), Susan Pryzbyl (Kenan Center), Lewis Rich, Jr. (Rich Results, Inc.) and SusanScholterer (Buffalo Niagara Convention & Visitors Bureau).


Beverly HalliganJoy Testa CinquinoMichele HolbrookDeborah Ann TrimbleCarrie VeltriAmy MantonPeggy BeardsleyMichael SchmandLillian BatchelorLynn NorthropJanique CurryWanda SlawinskaRobert BudinJames Sandoro Judie TakacsJavier BustillosDonna FernandesHeidi HenzlerCindy Abbot-LetroMary Joy BuscemiTed PietrzakVictor Shanchuk, Jr.Robert CarrGlen WhiteRaphaelle ProefrockLaurene BuckleyJoyce FinkDale McBrierEdward DeutschmanEva HassettClinton BrownMacy FavorCharles BalbachGail JohnstoneRichard TobeHolly BraunCraig CentrieThomas Blanchard, Jr.Maggie CowellTimothy Doolittle Florine LuhrBarbara BakerCarole EvittsKate RossAdam Ziklilowski Mary Ann MoriarityDemone SmithCharlene Ritter-LesterLinda BagleyBruce FisherJoel GiambraTod A. KniazukBarbara Park LeggettKathleen Monti Sr. Mary Marvina KupiszewskiJason HaremzaSusan BirminghamKelly KiebalaCarol BronnenkantBeverley FederTricia HenzelSusan SmithEdmund CardoniJohn Amershadian

Buffalo Niagara International AirportBuffalo Olmsted Parks ConservancyBuffalo Olmsted Parks ConservancyBuffalo Olmsted Parks ConservancyBuffalo Olmsted Parks ConservancyBuffalo Philharmonic OrchestraBuffalo Place, Inc.Buffalo Place, Inc.Buffalo Quarters Historical SocietyBuffalo Society of ArtistsBuffalo State CollegeBuffalo State CollegeBuffalo State College Foundation, Inc.Buffalo Transportation Pierce-Arrow MuseumBuffalo Transportation Pierce-Arrow MuseumBuffalo United ArtistsBuffalo ZooBuffalo ZooBurchfield-Penney Art CenterBurchfield-Penney Art CenterBurchfield-Penney Art CenterBurchfield-Penney Art CenterCarr Marketing CommunicationsCarr Marketing CommunicationsCarrousel Society of the Niagara FrontierThe Castellani Art Museum of Niagara UniversityThe Castellani Art Museum of Niagara UniversityChautauqua InstitutionCitizens Regional Transit CorporationCity of Buffalo, Mayor's OfficeClinton Brown Company Architecture, PCColored Musicians’ Club of BuffaloCommunity Foundation for Greater BuffaloCommunity Foundation for Greater BuffaloCommunity Foundation for Greater BuffaloEl Museo Francisco Oller Y Diego RiveraEl Museo Francisco Oller Y Diego RiveraEmpire State Development-WNY RegionEmpire State Development-WNY RegionEmpire State Development-WNY RegionEmpire State Development-WNY RegionErie County Cultural Resources Advisory BoardErie County Cultural Resources Advisory BoardErie County Cultural Resources Advisory BoardErie County, Department of Environment & PlanningErie County Legislature, Lynn Marinelli's Office, District 11Erie County Legislator, District 7Erie County Office of Arts, Culture, and TourismErie County Office of the ExecutiveErie County Office of the ExecutiveErie County Office of the ExecutiveErie-Niagara Regional PartnershipExplore & More...A Children's MuseumFirst Niagara Financial Group, Inc.Franciscan Sisters of St. Joseph Archives - Polish Research CenterFriends of the School of Architecture and Planning, University at BuffaloFrontier Central School District Food ServicesGenesee-Orleans Regional Arts CouncilGraycliff Conservancy, Inc.Greater Niagara Ballet CompanyGreater Olean Area Chamber of CommerceHAG Theatre CompanyHallwalls Contemporary Arts CenterHodgson Russ LLP

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Dianne BennettKathy ButlerLisa KaneJulie LevyWolfgang WildoerPaulette JurekMarjorie NortonLorraine PierroNancy DohertyFortunato PezzimentiDeborah WanecskiMarge Thielman HastreiterOliver MillerMarcie FrankelChristopher DunstanPaul HoganAnne TobeyLaurie Dean TorrellElaine HarriganBen MarchioneSusan PrzybylMarsha HendersonMark HalterThomas Kazmierczak, IIIDennis GaluckiJames “Pappy” MartinBarbara Duarte Susan Warren RussDaniel MurphyMolly BethelMichael CalhounMargaret TurnerIrene LiguoriJohn CourtinMargaret StehlikDawn WarsawKevin CottrellCarol MurphyRandall KramerPhilip AckermanAllan JamiesonRichard LambertHelen Cash JacksonMichael UnthankMary Lou RathDenise Blankenship-SchmoyerKathie KudelaMichelle Rehm Michael CasaleDoreen O'Connor Thomas Callahan David RosenwasserRobert Blanchard

Gary PraetzelDeborah CurtisJan Van HarsselConnlith KeoghDorothy FurtneyStephanie Grace CarterGary RouleauRobert EmersonTerry YonkerArlene White

Hodgson Russ LLPHodgson Russ LLPHodgson Russ LLPHyatt Regency BuffaloHyatt Regency BuffaloImpact Artists GalleryImpact Artists GalleryIndustrial Heritage Committee, Inc.Irish Classical Theatre CompanyIrish Classical Theatre CompanyIrish Classical Theatre CompanyIron Island Preservation Society of Lovejoy, Inc.Jamaican American Association of Buffalo Jewish Community Center of Greater BuffaloThe John R. Oishei FoundationThe John R. Oishei FoundationThe John R. Oishei Foundationjust buffalo literary center, inc.Kenan CenterKenan CenterKenan Center; Cultural Alliance of Niagara Key Bank - Western New YorkKissing Bridge CorporationLancaster Opera HouseLandmark Society of the Niagara FrontierLangston Hughes InstituteLatin American Cultural AssociationLeadership Buffalo, Inc.Lockport Locks & Erie Canal CruisesLocust Street Neighborhood Art ClassesLos CaribesMargaret S. Turner & AssociatesMark Twain Museum of BuffaloMartin House Restoration CorporationMartin House Restoration CorporationMartin House Restoration CorporationMotherland ConnextionsMurphy OrchardsMusicalFare Theatre CompanyNational Fuel Gas CompanyNeto Hatinakwe OnkwehoweNew Phoenix Theatre on the ParkNew York State Council on the ArtsNew York State Council on the ArtsNew York State Senator, District 60Niagara Aerospace MuseumNiagara Arts and Cultural CenterNiagara Arts and Cultural CenterNiagara County Department of Planning, Development & Tourism Niagara Majestic ToursNiagara Tourism and Convention CorporationNiagara Tourism and Convention CorporationNiagara University, Center for Community Economic Development Through

Hospitality & TourismNiagara University, College of Hospitality and Tourism ManagementNiagara University, College of Hospitality and Tourism Management Niagara University, College of Hospitality and Tourism Management NiagaraFun.ComOffice of New York State Assemblyman Paul A.Tokasz, District 143Office of New York State Assemblyman Sam Hoyt, District 144Office of New York State Senator George D. Maziarz, District 61Old Fort NiagaraOld Fort NiagaraOntario Ministry of Tourism and Recreation, Binational Tourism Alliance

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Douglass Legg, Sr.Irving RubinJessica ThorpeJerold Bastedo Curt SteinzorMarilyn LojekPeter GessnerDon KingLuke RichAnn AngeloChristine PetersDavid CutterAmanda BeardAnthony ConteLisa Grisanti-CabreraScott SaxonZo Ann SchwabelDianne GiliforteCarol HalterKen NeufeldMichael ColsonMortimer SpillerRobert BrunschmidJanice KuzanMolly QuackenbushKathleen RooneyTroy HengstLorna HillKristin RiemerPeggy Brooks-BertramDavid Wedekindt Glendora Johnson-CooperPatricia Carter Michael ConboyEllen CarlsonJim ComerfordLora VahueMichael VeneziaKelli Bocock-NataleCarole Smith PetroMary Van VorstJoel DombrowskiBarbara RiceDonald SiutaSusan PearsonLarry GottesmanHeidi BamfordSheryl KnabDawn HamiltonPamela JohnsonRose Vecchiarelli Helga MacKinnonHillary BurkePatrick FaganThomas FrankRoger GlasgowPatrick KeyesRichard Taczkowski

Ontario Ministry of Tourism and RecreationOperaBuffs of Western New York, Inc.Outside the BoxPenn Dixie Paleontological and Outdoor Education CenterPick of the Crop DancePine Avenue Business AssociationPolish Arts Club of BuffaloPolly King Art GalleryRich Results, Inc.Richmond Neighborhood Community AssociationRoycroft Inn and East Aurora TourismSeaway Trail, Inc.Shaw Festival TheatreShea's Performing Arts CenterShea's Performing Arts CenterShea's Performing Arts CenterSix Flags – Darien LakeStudio Arena TheatreStudio Arena TheatreStudio Arena TheatreTalavara - Manning & Napier Information ServicesTemple Beth Zion MuseumTheatre of Youth Theodore Roosevelt Inaugural National Historic SiteTheodore Roosevelt Inaugural National Historic SiteTravers Collins & CompanyTrocaire College, Hospitality Management Certificate ProgramUjima CompanyUniversity at Buffalo Art Galleries and Museum StudiesUniversity at Buffalo, Department of African American StudiesUniversity at Buffalo Center for the ArtsUniversity at Buffalo, Oscar A. Silverman Undergraduate Library University at Buffalo, School of Architecture and PlanningUpstate New York TravelU.S. Department of the Interior, National Park ServiceUSA Niagara Development CorporationVahue & Associates Venezia & Associates ConsultingWBFO-88.7 FM - University at BuffaloWBFO-88.7 FM - University at BuffaloWBFO-88.7 FM - University at BuffaloWe Care TransportationWe Care TransportationWestern New York Artists GroupWestern New York Bed & Breakfast AssociationWestern New York ChoraleWestern New York Documentary Heritage ProgramWestern New York Library Resources CouncilWNED, Western New York Public Broadcasting AssociationWNED, Western New York Public Broadcasting AssociationWUTV-Fox 29Young Audiences of Western New York, Inc.UnaffiliatedUnaffiliatedUnaffiliatedUnaffiliatedUnaffiliatedUnaffiliated



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I. EXECUTIVE SUMMARY

II. INTRODUCTION

III. CONTEXT FOR ACTIONa. Vision b. Opportunity: Robust regional developmentc. Challenge: Severe gaps in the cultural tourism system

IV. PLANNINGa. Stakeholder views: Issues and goalsb. Precedents: What other places are doing

V. STRATEGYa. Coordinated Programming: Leveraging our best assetsb. Targeted Marketing: Leading with researchc. Systemic Improvement: Filling the gaps

VI. IMPLEMENTATIONa. Organizing for Implementation: Performance-based leadership and

collaborationb. Recommendations: From strategy to actionc. Funding: Sustaining cultural tourism development

APPENDICESA. Cultural Tourism and Related Capital InitiativesB. Cultural Tourism and Related Funding C. Developing a Business Plan D. Measuring PerformanceE. Regional Asset Development Coordinator - Job Description

TABLE OF CONTENTS

A Cultural Tourism Strategy: Enriching Culture andBuilding Tourism inBuffalo Niagara…

This strategy is a result of Phase IIof the Buffalo Niagara CulturalTourism Initiative, a participatoryplanning process engaging theregion's cultural tourismstakeholders. This report isintended to serve as a blueprintfor cultural tourism developmentin Erie and Niagara Counties inthe context of the broader,binational Buffalo Niagara region.

The initiative has been led by avolunteer Steering Committee.The Institute for Local Governanceand Regional Growth of theUniversity at Buffalo has servedas Project Manager.

The Buffalo Niagara CulturalTourism Initiative began in 2002with publication of a Phase Ireport, Cultural Tourism in theBuffalo-Niagara Region:Developing a ComprehensivePlan, funded by The John R. OisheiFoundation. The second phasehas been funded by the OisheiFoundation, Erie County, TheMargaret L. Wendt Foundation andIndependent Health.

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Front and Back Cover Photo Credits:

Institute for Local Governance and Regional GrowthAlbright-Knox Art GalleryNiagara FallsGrain ElevatorsGuaranty BuildingNiagara RiverHerschell Carrousel Factory Museum

Buffalo Niagara Convention & Visitors BureauBuffalo Philharmonic OrchestraDarwin D. Martin HouseOld Fort NiagaraArtpark TheatreMichigan Street Preservation Corporation (Michigan Street Baptist Church)Langston Hughes InstituteMaid of the Mist

Michael CalananDowntown Buffalo Waterfront

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The cultural tourismmission

• Strengthen cultural, artistic andheritage organizations;

• Expand individual opportunitiesfor creativity and interpretation;

• Help our regional economy grow;

• Enhance the quality of life in ourcommunities;

• Advance the image and identityof the region; and

• Build the region’s reputation asa world-class tourismdestination

These benefits reinforce oneanother and can be achievedtogether.

I . EXECUTIVE SUMMARY

CONTEXT FOR ACTION

Opportunity: Robust regional development.The region can expand the cultural tourismmarket by giving strength and stability to arts,cultural and heritage organizations, byexpanding opportunities for creativity andinterpretation, and by growing the regionaleconomy. In so doing the region will enhancethe quality of life for its residents, improve itsimage and identity in the world at large, andmake the region more attractive to investmentsof all kinds.

Challenge: Severe gaps in the culturaltourism system. High quality culturalattractions and the draw of a premier brand-name attraction in Niagara Falls give thisregion the potential to capture a growingmarket of travelers interested in culturalexperiences. But while many are hard at workpromoting tourism or sustaining culture, noone is in charge of cultural tourism, leavingsignificant gaps in the effort to develop andpromote it.

STRATEGY

Coordinated Programming: Leveraging ourbest assets. A Cultural Tourism Strategyproposes the creation of coordinatedprogramming around "centerpiece" attractionslikely to draw national and internationalattention. In an annual or multi-year phasedprogram, centerpiece attractions are to beconnected to "experience clusters" that includevenues and events related to the centerpiece aswell as other tourism experiences and services(e.g., sporting events, hotels and restaurants). Inany given cycle of this phased program,centerpieces could include Frank LloydWright's Darwin D. Martin House, Old FortNiagara, the Erie Canal, the Albright-Knox ArtGallery, the history of the UndergroundRailroad and others.

Targeted Marketing: Leading with research.These coordinated programs are to bepromoted through research-informed publicityand marketing campaigns directed to targeted

audiences. These strategies ultimately willattract greater visitation, reach new markets andprovide growing yields through improved datacollection and analysis, information sharing,message coordination and performance-basedmonitoring.

Systemic Improvement: Filling the gaps.Behind this phased and focused development ofthe Buffalo Niagara brand of experiences will bea comprehensive effort to fill critical gaps in thesupport structure, from the perspective of boththe entire cultural tourism system and itsindividual organizations. For instance, we canbetter reach targeted markets with improveddata collection and analysis and performance-based monitoring. Training can assistorganizations with management, strategiccapital investments and improving their visitorreadiness. Better coordinated transportation andsignage can help visitors reach theirdestinations. Technology applications canimprove organizational efficiency and visibility.Such infrastructure improvements, plannedaccording to programming cycles, will buildupon one another to strengthen the entiresystem.

IMPLEMENTATION

Organizing for Implementation: Performance-based leadership and collaboration. Accordingto the stakeholders’ vision, implementation willrequire active leadership by professionals whoseonly job is to develop cultural tourism. Newresources must be committed to createadditional capacity. The implementationstructure must possess the necessary skills andexperience, understand the situation andstrategy, engage all relevant stakeholders inboth Erie and Niagara Counties, and organizethe necessary collaborations.

In accordance with these principles, it isrecommended that a bilateral structure beformed around the two main components of acultural tourism system – marketing and assetdevelopment. The infrastructure needs of eachalso will be an important focus of this structure.Implementation will be monitored by a Cultural

Tenets of A CulturalTourism Strategy

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The Buffalo Niagara region is envisioned as a world-class tourismdestination, in significant measure because of its extraordinary artistic,cultural and heritage attractions which will become better known, morewidely admired and more frequently visited.


Tourism, cultural andotherwise

Cultural tourism and the broadertourism market of which it is asubset are inextricably intertwined.Culturally motivated visitorsdepend on much the sameinfrastructure as all other visitors.Even those whose primary purposeof travel is not culture may chooseto enjoy the same attractions thatdraw cultural tourists. The twomarkets overlap.

At the same time, cultural touristsremain a distinct group whosemotivations, expectations andneeds are different than those oftourists in general. Getting themhere will require targetedpromotional strategies. Gettingthem to come back will requireproviding a unique experience.



Tourism Oversight and Advisory Council(Advisory Council), composed of board- andleadership-level representatives from cultural,arts and tourism organizations, as well asgovernment and funding entities from Erie andNiagara Counties. The Advisory Council willprovide policy perspective and coordinateresources for implementation of A CulturalTourism Strategy. The Advisory Council willalso work directly with a Cultural TourismWorking Group (Working Group), to consist ofprofessional staff from cultural, arts andtourism organizations, and to focus on day-to-day implementation of all aspects of thestrategy.

With existing staff at the region’s two maintourism promotion groups already focusing oncultural tourism marketing, a new position willbe created to serve the area of assetdevelopment. A Regional Asset DevelopmentCoordinator will be charged solely with thetask of building the capacity of arts andcultural groups by assisting with organizationalassessment, providing resources and materials,and engaging appropriate training andconsultation

In broader terms, the Advisory Council andWorking Group will oversee a governancestructure for cultural tourism that establishes aforum for communication, coordination,collaboration and long-term planning involvingthe entire range of relevant parties.

Summary of Recommendations: From strategyto action. It isrecommendedthat theAdvisoryCouncil andWorking Groupimmediatelybegincoordinatingdevelopment ofthe firstprogrammingcycle – in termsof assetdevelopment,marketing andinfrastructureimprovements –by collaboratingwith the region's

tourism, arts, culture, heritage, economicdevelopment and marketing organizations.Other organizations whose missions are notdirectly related to cultural tourism must also bepartners.

In its implementation of the strategy and eachcycle of coordinated programming andmarketing, the Advisory Council and WorkingGroup are to maintain the perspective of theentire cultural tourism system.

Funding: Sustaining cultural tourismdevelopment. It is anticipated that anapproximately $210,000 annual budget will berequired to fund the new asset developmentcoordinator, consultation and training servicesrelated to marketing and asset development,support staff and operating expenses. Indeed,success for A Cultural Tourism Strategy mustdepend, in large measure, on a predictable andadequate source of funding over the long-term.It is important to note that this budget does notinclude funds for major promotionalcampaigns or capital investments. Financialsupport for this strategy should come fromboth existing sources and new and previouslyuntapped sources. Funding sources shouldinclude a combination of public, private andfoundation sources, as well as some degree ofearned income from involved organizations.

MOVING FORWARD

Those who created A Cultural Tourism Strategybelieve that if the process does not lead directlyto effective implementation and achievement, itwill not have been worth the effort. Thestrategy was crafted to make that possible, butone further ingredient is required: courage.

We must have the courage to go beyond oldhabits and organizational boundaries to engagea new and creative process of collaboration. Wemust also have the courage to act on ourconviction that investing in cultural tourismcan bring significant returns. The potential forcultural tourism is enormous. We have alreadybegun working together to make that potentialreal, but this work must continue.

1 Cave of the Winds, Niagara Falls© Niagara County Departmentof Planning, Development & Tourism

2 Louis Sullivan’s GuarantyBuilding, Buffalo, NY

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Potential audiencesinclude both visitorsand residents

This strategy makes no falsechoices between attracting visitorsto area cultural venues andincreasing audiences in general.Tickets sold to visitors fromCalifornia, New York City orRochester bring no more revenueto arts venues than do tickets soldto visitors from East Aurora,Kenmore or South Buffalo.

At the same time, it is understoodthat patronage by visitors frombeyond the region translates intoadditional revenue for the hotel,restaurant and transportationindustries, among others. Visitordollars also represent a kind of“export” income that expands thelocal economy.

Roycroft Summer Festival, and the Taste ofBuffalo is built upon a foundation ofcollaborative relationships.

The current phase of this strategic initiative(Phase II) involved a conscious and concertedeffort to embrace the perspectives of thediverse cultural institutions in our region andto involve other stakeholders in the tourism,government, education and philanthropysectors. Also, a special effort was made toreach out to a circle of small and ethnicallydiverse cultural institutions to ensure thestrategy would understand and benefit fromthe particular perspectives and needs of all ourunique institutions. Indeed, the initiative'sorganizers understood that a successfultourism plan must be based on theparticipation of those required to implement itsrecommendations.

More than two hundred different stakeholdersfrom these communities were engaged in theplanning process, defining the issues, settingthe goals and priorities, and providingcritiques of the emerging proposals andrecommendations.

The process also benefited from the continuingwork of a volunteer Steering Committee of keycommunity and business leaders who pushedpersistently for a practical, effective and do-able plan.

The strategic plan and implementationstructure represent a flexible,dynamic approach tocommunitywide collaborationfor cultural tourismdevelopment. They arestructured to respond to theopportunities and challengesof new circumstances.

A Report commissioned by the Cultural Tourism Steering Committeeof The John R. Oishei Foundation, Buffalo, New York

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1 BNCTI Phase 1 Report2 BNCTI Project Website

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I I . INTRODUCTION

The Buffalo Niagara Cultural Tourism Initiativewas initiated by cultural organizations not onlyconcerned about their own future in the contextof the struggling regional economy, but alsoconfident in cultural tourism’s potential tostrengthen their organization and improveBuffalo Niagara’s economy and quality of life.Their goal has been to craft an effective andenduring strategy and a practical blueprint forimplementation. Through collaboration, thisstrategic effort seeks to build the culturaltourism market while respecting the diverseneeds, resources and artistic visions of ourmany cultural institutions.

A precursor to the project – the Phase I report1

of the Buffalo Niagara Cultural TourismInitiative – inventoried the region's pastplanning initiatives for the development ofcultural tourism, listing nearly five dozenindividual plans and reports and describing arange of proposals, from one-time events tocomprehensive regional initiatives. The breadthand depth of this work highlighted the widelyshared understanding that cultural tourism is amajor opportunity for regional development,but concluded there is a need for a morecoordinated effort.

Indeed, the Buffalo Niagara Cultural TourismInitiative has intended to build on the region'spersistent efforts to improve venues, developnew programming, promote the region anddraw new visitors. These efforts have includedArt on Wheels, One Summerlong Sensation,Doors Open Niagara, the Binational TourismAlliance, the Pan American CentennialCelebration, Masterworks from The PhilipsCollection, The Summer of Monet, and manymore going back as far as exhibit selectionsfrom the William S. Paley Collection at theAlbright-Knox Art Gallery in 1995 and theWorld University Games in 1993.

Evaluations of these events have varied. Not allwere financial successes. But much that is goodremains: battle-tested relationships, a history ofcollaboration, growing capacity and acontinuing commitment in this community todevelop and promote cultural tourism. In thesame way, the success of annual galas andspecial events like Curtain Up!, the BuffaloNiagara Guitar Festival, the Allentown ArtFestival, the Canal Fest of the Tonawandas, the

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The geographic scope of the strategy isspecifically Erie and Niagara counties,but within the context of the broaderbinational region.

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1 “Cultural Tourism in the Buffalo-Niagara Region: Developing a Comprehensive Plan.” Institute for Local Governance and Regional Growth,April 2002.

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The exact economic impact of cultural tourismin general and specifically within BuffaloNiagara can be difficult to assess. The culturaltourism audience is diverse and includes grouptourists, independent travelers, conventioneers,business travelers, residents and visitingfriends and family. Critical marketing andeconomic data on these visitors – includingtheir places of origin, primary reasons forvisiting the region and spending patterns – arecollected only sporadically, yet need to beaddressed routinely and on a regional basis tohave any real value in deciphering importanttrends.

Certainly the region should not underestimatethe importance of this market simply becauseour measures of it are lacking. In fact, afundamental theme of this report is that theregion should pursue a much more deliberateand comprehensive approach to data collection,economic impact assessment and performancemeasurement which quantitatively monitorsthe value of cultural tourism to BuffaloNiagara.

Preliminary research in the region has shedsome light on the quantifiable benefits accruingto the region from cultural tourism. An analysisof One Summerlong Sensation, a cluster ofcultural tourism events in Buffalo Niagaraduring summer 2003, revealed that spending bymore than 700,000 visitors to 17 samplecultural, arts and tourism venues, as well asexpenditures by the organizations themselves,leveraged a $75 million economic impact uponthe region.2 Approximately one-third of these

a. Vision

The Buffalo Niagara region is envisioned as aworld-class tourism destination thatconsistently becomes better known, morewidely admired and more frequently visited.This vision is indeed attainable based on theregion’s abundant and extraordinary artistic,cultural, heritage and tourism attractions,among them Niagara Falls. Moreover, behindthese assets is a dedicated group of culturalstewards and tourism experts. National trendsare also in its favor, as cultural tourism is oneof the fastest growing dimensions of tourism inthe U.S. and beyond.

b. Opportunity: Robust regionaldevelopment

Achieving the vision of A Cultural TourismStrategy will generate economic benefits for theregion, at the same time enriching its culturalassets and institutions and building the tourismeconomy. Tourism can help support BuffaloNiagara's arts institutions and develop ourcultural heritage. It will also fill hotels,restaurants and shopping districts, and keepour airport busy. The regional economic "pie"grows when more people visit the region orchoose to stay longer to enjoy culturalattractions. Of course, the potential benefits ofcultural tourism go far beyond economics.Investments in cultural tourism help to buildour collective self-image and transform BuffaloNiagara's identity to the world. Culturaltourism and the things we must do to developit improve our shared quality of life andexpand opportunities for creative expression.

3 The Niagara River Gorge© Buffalo Niagara Convention & Visitors Bureau

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1 Shea’s Performing Arts Center© Buffalo Niagara Convention & Visitors Bureau

2 Buffalo & Erie County Historical Society© Buffalo Niagara Convention & Visitors Bureau

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I I I . CONTEXT FOR ACTION

Assessing the Value ofCultural Tourism in

Buffalo Niagara

We need better numbers

A primary conclusion of A CulturalTourism Strategy is that theregion's cultural tourism system isimpaired by a lack of data. Indeed,without the ability to quantifiablyassess the current picture and thepotential of cultural tourism,progress is difficult. Regionaltourism promotion agencies gatherdata on tourism in general; someindividual venues collect data ontheir visitors. These efforts are,however, incomplete.

A coordinated and region-widesystem for gathering, analyzingand sharing cultural tourism datashould include information onvisitors, visitor attitudes,spending, venues attended andeconomic impact, among othervariables.


2”One Summerlong Sensation – Economic Impact Assessment,” Institute for Local Governance and Regional Growth (A Report Commissionedby the Buffalo Niagara Convention & Visitors Bureau), February 2004.

visitors were tourists, or visitors from outside a50-mile radius of the region. The study showedthe average length of stay in the Buffalo area tobe about 2.2 nights, with more than half ofthose surveyed planning to stay at least onenight in a hotel, motel or bed and breakfast,and 24 percent planning to stay with familyand friends. Another study found that Shea'sPerforming Arts Center leverages a $40 millionannual economic impact upon the region. TheFrank Lloyd Wright-designed Darwin D.Martin House, upon completion of renovations,is expected to generate a $20 million annualeconomic impact.

The premise of A Cultural Tourism Strategy,however, is that there is room for growth.Cultural tourism is an increasingly importantsegment of the national tourism market whichproduces a $500 billion economic impact everyyear.3 And tourism is already one of the largestindustries in New York State, with domestictravelers spending more than $26 billionannually.4 In 2003 New York City was the mostpopular tourism destination for overseastravelers, according to another study.5Moreover, a 2003 Travel Industry Association ofAmerica study6 found:

• More than 20 percent of all trips taken by U.S.travelers in 2002-2003 included historical orcultural activities;

• Travelers on a historic/cultural trip tend tospend more ($623 vs. $457, excluding

transportation) than those on the average trip;they also travel almost two nights longer (5.2nights vs. 3.4 nights).

• In relation to the average U.S. trip,historic/cultural trips more often are sevennights or longer, and include air travel, arental car and a hotel stay;

• Such historic/cultural travelers tend toextend their stay to experience history andculture at their destination, with four in tenadding extra time to their trip for this reason.

The binational Buffalo Niagara region alreadyattracts about 16 million visitors each year,largely to see Niagara Falls. The economicimpact of just a small percentage of thosevisitors staying an extra day to visit a museum,historical attraction or festival is potentiallystaggering, not only for the arts and culturalorganizations themselves, but also for thetourism and hospitality industries and theentire Buffalo Niagara economy.

Cultural, arts and heritage assets also play anindirect but critically valuable role in thebroader economic development strategy of theregion. For instance, convention decisions oftenhinge upon the quality of life and culturaltourism amenities offered by a region.Moreover, people making location-basedinvestments – where to establish or expand abusiness, relocate for employment, raise afamily, vacation or retire – favorably regardregions offering opportunities for culturalenrichment. The arts and culture community inBuffalo Niagara should be recognized as part ofthe region's basic infrastructure for sustainableeconomic development and should be investedin accordingly.

Clearly the reasons to develop cultural tourismgo beyond ticket and retail sales at culturalvenues, hotels, restaurants and elsewhere. Theregion's extraordinary galleries, museums,theaters and historic sites remain important inand of themselves. They enliven communitycharacter, contribute to regional quality of lifeand signal that the community valuesexcellence and intelligent discourse. It is crucialthat we pursue strategies that can expand the

$26New York Statereaps $26billion annuallyfrom tourism

BILLION

3 Travel Industry Association of America. "Economic Research: Economic Impact of Travel and Tourism," (2002). Retrieved November 15, 2004,from www.tia.org/Travel/EconImpact.asp

4 Travel Industry Association of America. "California, Florida and Texas Rank Among Top States in Spending by Domestic Travelers," (2003).Retrieved November 14, 2004, from www.tia.org/Press/pressrec.asp?Item=309

5 Travel Business Roundtable. “About the Travel Business Roundtable - Travel and Tourism Data,” (2003). Retrieved November 14, 2004, from www.tbr.org/about/faqs.htm.

6 Travel Industry Association of America. "Travelers' Desire to Experience History and Culture Stronger than Ever" (2003). Retrieved November 14, 2004, www.tia.org/Press/pressrec.asp?Item=284.


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1 Buffalo Niagara International Airport2 Niagara Gorge Trails Wayfinding System3 Rainbow Bridge, Niagara Falls

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opportunities for artistic expression, historicalunderstanding and reflective experience.

Supporting cultural tourism, then, is critical inlight of both the potential economic benefitsand the chronic financial stress experienced bythe region's cultural, arts and heritageinstitutions and the broader regional economy.Thus far it has made intuitive sense to ourelected officials, investors, businesses andresidents to invest in cultural tourism inBuffalo Niagara. But with fewer dollars to offer,it is critical that the region confirm and specifywhat intuition tells us, and facilitate a morecoordinated, targeted investment in culturaltourism. To this end, the region should foster asystematic, ongoing and cooperative process ofgathering, analyzing and sharing data oncultural tourism and tourism in general inBuffalo Niagara.

c. Challenge: Severe gaps in the cultural tourism system

Although Buffalo Niagara is home to excellentinstitutions whose work is essential to thesuccess of A Cultural Tourism Strategy, includingarts councils, foundations, visitor bureaus,universities, local governments and, of course,the arts and cultural organizations themselves,two critical problems seriously impair thecapability of the region to take maximumadvantage of its rich and diverse array ofcultural and heritage resources:

• As outlined in the Phase I report of theBuffalo Niagara Cultural Tourism Initiative,past and current initiatives in the regionremain fractured and inefficient. Althoughthere have been many good people workingon many good efforts, the effectiveness ofthose efforts has been limited due to a lack ofan overall regional vision and strategy forcultural tourism.

• The current system leaves many serious gapsthat need to be filled if the region is toachieve its potential in cultural tourism and,in turn, strengthen cultural organizations,expand opportunities for individual artists,grow the regional economy, enhance itsquality of life and improve its image andidentity.

A primary motivation of A Cultural TourismStrategy is to respond to these two problems.

The following are examples of current gaps incritical cultural tourism functions that limit theability of the region and individualorganizations to move forward:

Long-term planning for cultural tourism. Inrecent years the region's cultural, arts andtourism organizations have worked together totake advantage of high-profile exhibits, eventsand special programs by developing bettermarketing strategies and more varied tourismpackages. Because Buffalo Niagara lacks a long-term vision for cultural tourism, however, theseefforts have been disjointed, often producingonly short-term benefits. They have failed toeffectively build on one another to move theregion forward.

Cultural tourism infrastructure. Making surethe region's cultural and arts facilities are"visitor-ready" is vital, but so is creating andmaintaining the infrastructure that connectsvenues and delivers visitors to the doorsteps ofthe region's attractions. Many entities areinvolved, but it is the job of no one, at leastfrom the perspective of cultural tourism, to payattention to signage for motorists andpedestrians, the development and integrationof bus, rail, airport shuttle and taxicab service,information systems or the maintenance of thevisitor environment in general. Anotherpotential dimension of tourism infrastructure isa significantly larger, more active Visitors



Center in the region, which could potentiallyhouse traditional public outreach functions aswell as many of the current or recommendedfunctions for cultural tourism coordination and"back office" services.

Education and training. The region has astrong education infrastructure with manyhigher education and other types of institutionsoffering degrees, certificates and training intourism and related areas. These resources aresufficient to prepare people for the full range ofroles in cultural tourism, including front-linehotel staff and tollbooth attendants, managerialpersonnel in hotels and restaurants, and boardmembers of arts and tourism organizations.However, the region is lacking in its capacity toplan, coordinate and deliver these programs toeffectively meet emerging system needs. Weneed to convene the partnerships required toaccomplish this task.

Research. A number of organizations collecttheir own data, but no system exists to gather,analyze or share information on a regionalbasis. The region needs to cooperate in thecollection and sharing of data on visitordemographics, spending patterns, lifestyleclues, travel behavior, qualitative visitorfeedback and best practices.

Identifying best practices. The region hasmuch to learn from other regions abouteffective strategies for developing culturaltourism. The region also can learn from its ownexperience in tourism and other sectors,although these lessons need to be effectivelyshared and communicated. Researching andapplying best practices is an essential – andlargely unattended – task in building thecultural tourism system.

Technology application. Technology hasbecome indispensable to the tourism industryfor the exchange and evaluation of information.Centralized technological applications,including a cultural tourism website,organizational websites, databases, surveyingtools and even ticketing programs, can help theregion's individual organizations and the entirecultural tourism system to more efficientlycommunicate with potential markets, serveaudiences, conduct research and evaluateperformance.

Shared services. There are manyopportunities for streamlining administrativefunctions now managed separately for eachcultural or tourism organization in the region.Such functions include program information,ticketing, employee health insurance, educationand training, marketing and data collection.Better coordination of these tasks has thepotential to save money and time for many ofthe region's organizations, and to vastlyimprove the overall efficiency of the culturaltourism system.

Evaluation and assessment. Largely as a resultof the region's fragmented data collectionefforts, Buffalo Niagara lacks a system ofevaluation and assessment for its culturaltourism programs and organizations and thetourism industry in general. It is essential forthe region to develop a centralized process forassessing organizational performance, settingbenchmarks and standards for accountability,and measuring the economic impact ofcooperative tourism development efforts.

Sustaining collaboration. Making A CulturalTourism Strategy work will require ongoingcollaboration to deliver packaging, coordinatedmarketing and capital investments in venuesand infrastructure. The region has built alegacy of partnerships through programs suchas Summer of Monet and One SummerlongSensation, but there needs to be a process thatensures the region is always "connecting thedots" – coordinating programs, events andinitiatives, building trust and partnershipsacross jurisdictional and organizationalboundaries, forging strategic collaborations andbuilding on the base of knowledge andexperience that these create.

Governance. The region counts among itsassets a strong base of organizations includingthe cultural venues themselves, tourismpromotion agencies, government entities,foundations, arts councils and universities.However, not one organization or staff memberhas as its mission the coordination of the entirecultural tourism system, including bridging thegaps in the services integral to that system. Theregion needs a centralized governancestructure to carry out these functions andcoordinate new and existing resources.


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a. Stakeholder views: Issues and goals

In lively working sessions over many monthsin 2003 community leaders in the cultural, arts,heritage and tourism sectors took part in theBuffalo Niagara Cultural Tourism Initiativeplanning process. They pointed out criticalissues, set goals and priorities, identified majorobstacles to overcome and offered their critiqueof the emerging plan’s concepts and importantdetails. Despite differing perspectives, allagreed that doing nothing is not an option.

To consider the region’s chief obstacles andopportunities for cultural tourismdevelopment, participants were initiallydivided into three Work Groups, each focusingon a major theme:

• Capacity building: Enhancing the visitorexperience by addressing requirements forcapital and operating support, improvingstaff and board skills, developing moreappealing exhibits and public programs,organizing education and training fortourism workers.

• Targeted Marketing: Developing better waysto attract larger audiences, reach new marketsand provide growing yields throughimproved research, data analysis, informationsharing, message coordination andperformance-based monitoring.

• Implementation: Designing and creating themechanisms to organize action, continueplanning, secure sustainable resources, buildvisitor infrastructure and facilitate a systemicapproach to cultural tourism development.

In an intentionally fast-paced but disciplinedprocess, planners brought the three WorkGroups back together again to develop a richand detailed description of overarching issuesand goals, examine cultural tourism practicesin other regions, and consider preliminaryconcepts for A Cultural Tourism Strategy.

Participants first characterized cultural tourismas a system that includes not only arts andcultural venues – the "product" – but also thosecharged with marketing the product, providinghospitality, creating and maintaining essentialvisitor infrastructure and financially

supporting the system.Everyone agreed it is crucial tofocus on the needs of thecustomer and the developmentof a visitor- and audience-centered strategy.

Stakeholders also identified arange of challenges. Forinstance, while someinstitutions enjoy financialsupport and technicalassistance for marketing andbusiness planning, manyrequire substantialinvestments before they can beclassified as visitor-ready. Onthe other hand, someorganizations are already planning ambitiousfundraising capital and endowment campaigns.The system requires significant investment inits support structure, which includes educationand training, information systems, directionalsignage and transportation. At the same time,most of the region's cultural, arts, heritage andtourism organizations have come to rely upona few funders that have grown weary seeingtheir resources stretched too thin as theyattempt to provide some assistance to all.

Ultimately, participants honed these dozens ofissues for cultural tourism into six interrelatedgoals for change:

• Create a system to foster continuousimprovement by cultural institutions in termsof the number of visitors, financialsustainability, artistic quality, visitor-readiness, contribution to regional quality oflife and support for economic development.

• Build partnerships that systemically work toimprove cultural experiences in the region interms of quality, authenticity andresponsiveness to audiences. Also, basecollaboration upon practical analysis ofpotential mutual benefits, organizational costsand strategic overlap of interests for allparticipants.

• Secure predictable and equitable funding and management resources for implementation; develop effective investment andreinvestment strategies for such resources.

IV. PLANNING

BNCTI Planning Session


• Convey the economic and quality-of-lifebenefits of Buffalo Niagara’s culturalinstitutions and its cultural tourism industryto residents, funders, elected officials, stateand federal organizations and otheraudiences.

• Tap cultural tourism as a means to enhanceBuffalo Niagara's image locally, regionally,nationally and globally, and leverage it as aresource for further growth.

Toward those ends, participants suggested a setof starting principles for an effective andefficient approach to achieving those goals:

• Build on strengths. It makes sense to putBuffalo Niagara’s best foot forward – leadingwith the region’s architectural gems, theaters,galleries and natural history and heritageresources. There also needs to be a vehicle forhelping less mature venues evolve andimprove.

• Balance inclusivity and pragmatism. Thestrategy should respect the region’s diverseinstitutions and ensure none is inadvertentlyexcluded. Yet the benefits of inclusion shouldalways exceed the costs; the process shouldrespect that some organizations may preferto go their own way.

• Develop organizational and systemic capacity.To be truly sustainable, work supporting thestrategy should always strengthen theorganizations as it builds the larger system ofcultural tourism.

• Tap organizations with know-how. BuffaloNiagara’s cultural institutions possessimportant expertise. Ongoing work shoulddraw upon this to improve outcomes and savetime and money.

• Enjoy market support and reflect real consumerbehavior. Rather than pursue speculativemarkets, the initiative should target proven orlikely visitor populations. Similarly, thestrategy should reflect that most visitors seekboth cultural and other experiences.

• Link cultural resources without compellingcompliance within a thematic structure.Collaboration generates benefits for bothparticipants and the system, but not when it isforced or fails to do good for contributors. ACultural Tourism Strategy should allow thesystem to deliver benefits regardless ofwhether organizations take on leadershiproles.

Stakeholders endorsing these principles madetheir position clear: to undertake a serious effortto improve how the cultural communityfunctions and influences economic development,we must build on strengths to maximizeefficiency and implement an effective strategy. Inshort, this initiative should find the best way tofoster an environment where arts and cultureflourish and contribute to regional development,economic and otherwise.


Greater Philadelphia!

Historical, cultural andentertainment and leisure offeringsacross a five-county region areavailable to online visitors ofwww.gophila.com, due in large partto the Greater Philadelphia TourismMarketing Corporation, which runsthe centralized, integratedmarketing program. Its workincludes consumer research, data-mining, advertising and publicrelations. It also serves as arespected voice on regionalinfrastructure issues.

GPTMC has been funded by a one-percent addition to the hotel salestax. The William Penn Foundationfunds GPTMC to work with theregion's cultural organizations onprojects like the unique "CultureFiles" space on the website.

Many of the region's museums andhistoric sites are much more visitorready, thanks to the Pew CharitableTrust's Cultural Leadership Program,a grants and capacity buildinginitiative. Pew's three-year grants tononprofits support not only artisticaccomplishments, but alsooperations and managementimprovements.

Once gritty Philadelphia is now"hot" in the eyes of the creativeclass. GPTMC is leading a mediapitch to convert graduates of theregion's prestigious universities intoresidents.

The Greater Philadelphia TourismMarketing Corporation has shownthat development and marketing ofcultural institutions is a crucialelement in tourism developmentand vice versa – a valuable lessonfor the Buffalo Niagara CulturalTourism Initiative.

PHIL

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1 Liberty BellPhoto by R. Kennedy © Greater Philadelphia Tourism MarketingCorporation

2 Philadelphia Trolley WorksPhoto by Bob Krist © Greater Philadelphia Tourism MarketingCorporation

3 Valley GreenPhoto by R. Kennedy © Greater Philadelphia Tourism MarketingCorporation

“Philadelphia and Its Countryside” isthe name used by six visitor bureausin three states working together asthe Greater Philadelphia TourismMarketing Corporation.

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b. Precedents: What other places are doing

Throughout the planning process, from theidentification of challenges and issues facingthe region to the development of specificstrategies, A Cultural Tourism Strategy wasinformed by research on best practices fromPhiladelphia, St. Louis, Indianapolis, Pittsburgh,Chicago, Boston and Cleveland, among otherU.S. cities.

Although these experiences elsewhere areinformative, there is no one model for agovernance structure, marketing strategy orcultural tourism program that can be adoptedhere in its entirety. There is also much to learnfrom the region's own experiences – positiveand otherwise. The region must attempt tosynthesize its past experiences with the lessonsit has learned from other U.S. metropolitanregions to create a solution that fits BuffaloNiagara.

Several stories from Philadelphia, Denver andWashington are included in this section assidebars. What follows is a summary of theemerging "state of the art" in cultural tourismin terms of the approach and scope of suchefforts, market research, brand management,packaging and programming, conventionmarketing, infrastructure improvements,product development, technology, funding andgovernance:

The approach and scope of cultural tourismdevelopment efforts has changed as the market

and an understanding of its value has changed.Recognizing that the economic impact oftourism goes far beyond "heads on beds," manyagencies are taking a more integratedapproach. This means going beyond groupsales to appeal to independent travelers;packaging shorter visits for affluent but time-starved tourists; appealing to women as traveldecision makers; moving beyond advertising asthe sole marketing tool; and most of all,appreciating that cities and the cultural andheritage attractions they hold are increasinglypopular destinations for more sophisticatedtravelers.

Market research is becoming less crude astechnology facilitates the collection and sharingof consumer information among attractionsand tourism promotion agencies. Much likeAmazon.com uses one's taste in purchasedbooks to pitch other titles with appeal, moresophisticated tourism promotion agencies arecollecting and mining data and using e-mailnewsletters and other techniques to reachqualified consumers. For example, a repeatvisitor to a music festival might also return fora wine event. Knowing the lifestylecharacteristics of target markets allowspromoters to place advertising dollars moreaccurately.

Brand is not a synonym for a slogan, a newname for a region or the product name of anyattraction or collection thereof. A brandinvolves the totality of emotions andassociations evoked by imagery associated withthe region. It is a promise of a certain type of


experience delivered at a certain quality level. Abrand is at the intersection between whatconsumers believe about the region and whatyou want them to believe. Volvo wants carbuyers to think safety. For Charleston, SC, thinkhistoric southern charm. Each "firm"understands the essence of its brand, worksconsistently to manage it, builds a reality tosupport it and keeps it clear and consistent bytaking charge of all communications thatrepresent it. Even as advertising campaignscome and go, the brand persists.

Packaging has become pervasive as travelerswith more money than time look for hassle-freetravel decisions and help in making the bestuse of limited leisure opportunities. Packagingruns the gamut, from all-inclusive offerings toweb-based, do-it-yourself packaging whichallow travelers to choose from a menu ofwalking tours, museums, boat rides, zoos,restaurants, entertainment, transportation andaccommodations. Pittsburgh's "Kidsburgh"package includes tickets to a half dozenattractions, including the zoo, children'smuseum and aviary and science centers. The"Andy Warhol's Pittsburgh" package includestickets to the Warhol Museum and the CarnegieMuseum of Art, a tour of Warhol's boyhoodneighborhood and tickets for the nightlifetrolley – the UltraViolet Loop. Both packagesare available with or without hotelaccommodations.

Special events may come and go, but manycities are highlighting permanent attractions bylinking them to anniversaries or openings andoffering them as packages. In Washington, D.C.,Cultural Tourism DC organized "Blues &Dreams" around the 40th anniversary of the "IHave a Dream" speech by Martin Luther King,Jr., capitalizing on two major shows at theSmithsonian Institution – one on blues music,the other on Romare Bearden (see sidebar,“Washington, D.C., Beyond the Monuments”).From African American quilts at the TextileMuseum to walking tours of Duke Ellington'sneighborhoods, visitors easily found a wealthof African American experiences. In April 2004the long-awaited World War II Memorialopened in Washington, D.C. A dozen or morecultural institutions offered exhibits, plays,musical performances and events focused onperiod themes. These included tours of EleanorRoosevelt's Washington, swing band concertsand more.

Convention marketing has found an ally incultural tourism, too. Because organizationsincreasingly depend upon conventions forrevenue, they take care to choose sites that willappeal to members and produce heavyattendance. As cities compete, those that areknown to be rich in cultural attractions have anedge. The twist in Philadelphia is thatconventioneers receive advance materials from

Millions of people visit the nation'scapital each year. Most head forthe Smithsonian and the majormonuments along the NationalMall, missing out on the city’smany other cultural jewels. That'schanging, thanks to CulturalTourism DC, "a non-profit coalitionlinking you to Washington'sheritage and arts."

CTDC's staff works with 130organizational members to takeadvantage of upcoming "bigevents" through themed or linkedprogramming and cooperativemarketing.

CTDCs $1 million annual budgetcomes from its dues-payingmembers, government, smallbusinesses, the downtownbusiness improvement district anda dozen foundations. Support isalso provided by arts organizationslarge (The John F. Kennedy Centerfor the Performing Arts) and small(GALA Hispanic Theater).

When the World War II Memorialopened in 2004, more than 60 ofthe city's museums andperformance groups featuredWorld War II-related exhibits andprogramming as a result of CulturalTourism DC's collaboration withthe Washington, D.C. Convention &Tourism Corporation, whichfocuses on convention centerbookings.

The success of the CTDC model – adedicated effort with securefunding to focus attention oncultural attractions within thelarger tourism system – suggests asimilar approach might work here.

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1 Tour of Washington, D.C. © Cultural Tourism DC

2 Civil War Reenactment© Cultural Tourism DC

3 Cultural Tourism DC Website© Cultural Tourism DC

Cultural Tourism DC gets a milliondollars a year from dues-payingmembers, government,foundations and the downtownbusiness improvement district.

Washington, D.C.:Beyond the Monuments

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Metro Denver’sRemarkable

Self-Investment

Denver's Scientific & CulturalFacilities District (SCFD), a seven-county funding district, pumps $35million annually into Denverorganizations which "provide forthe enlightenment andentertainment of the publicthrough...art, music, theater,dance, zoology, botany, naturalhistory or cultural history" (seewww.scfd.org).

A 10-member board overseesdistributions to three tiers ofrecipients. In the top tier are fourmajor regional organizations:Denver Art Museum, DenverBotanic Gardens, Denver Museumof Nature & Science and theDenver Zoo. Tier 2 includesregional organizations withoperating incomes above$900,000. Tier 3 includes nearly300 smaller theaters, orchestras,museums and art centers.

Metro citizens benefit from SCFD-funded activities. More than 9million people attended one ormore of them in 2001. Because theSCFD tax is a 'sales and use tax,'almost 900,000 out-of-statevisitors help defray the cost byspending millions on tourism.Sponsors say SCFD has helpedmake Colorado a great place tolive, work and play.

Leaders in Denver understandwhat the Buffalo Niagara regionneeds to learn: growth in culturaltourism depends on developmentof cultural institutions into visitor-ready attractions. Providingadequate and predictable fundingon a rational, equitable andtransparent basis is critical to thatprocess.

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1 Coors Field© Denver MetroConvention & Visitors Bureau

2 The Pavilions© Denver Metro Convention &Visitors Bureau

3 Denver as seen from CityPark© Denver Metro Convention &Visitors Bureau

Denver provides $35 million a year for cultural tourismdevelopment and promotionfrom a seven-county sales anduse tax.

famous natives like Kevin Bacon and FrankieAvalon promoting their favorite Philadelphiaexperiences, from mainstream museums to theItalian Market to the Mummers Parade.

Infrastructure has become a focus of attention.In cities like Philadelphia, New York, Boston,Pittsburgh and Chicago, business improvementdistricts work to keep major tourist areas freeof litter, graffiti and panhandlers. InWashington and Philadelphia, tourismorganizations partnered with cultural andheritage groups to develop walking trailsmarked by well-designed and informative mappanels. Signage is another part of theinfrastructure picture – a seemingly simple butactually major undertaking that requires manysectors to work together. Pittsburgh,Philadelphia, St. Louis and Cleveland are goodexamples of cities where tourism interests havehelped to create well-designed, pedestrian-scalegraphic systems that help people navigate onfoot or by car.

Product Development is a form of capacitybuilding. Well-traveled cultural and heritagevisitors expect fresh experiences. Foundationsin Cleveland and Philadelphia havecontributed to the upgrade of key cultural sitesand the creation of more engaging exhibits atmuseums. If you traveled to Chicago 30 yearsago and were interested in architecture, youwere on your own. Today, visitors have achoice of more than 30 guided tours of

architecture and neighborhoods. The ChicagoArchitecture Foundation organized the tours,trained 200-plus volunteer guides andproduced the materials. Buffalo Niagara couldtake another cue from Chicago, which isworking to capitalize on its equally frigidreputation through "Chicago Winter Delights –It's A Cool Place!," a series of activity-filled,themed weekend packages.

As in all industries today, technology is centralto cultural tourism. Tourism websites such aswww.visitpittsburgh.com, Washington D.C.’swww.culturaltourismdc.org, Philadelphia’swww.gophila.com and Buffalo Niagara’swww.gobuffaloniagara.com use excellentdesign and graphics to convey a sense ofquality and excitement. Some offer dynamicpackaging: you can create your own itineraryand hotel package online. Websites can becomea tool for research (conducting pre- and post-visit surveys) or promotion (pop-ups withBuffalo Niagara messages could link to usertravel inquiries). Websites can also provide aplatform for inter-organizationalcommunication and planning, as the BuffaloNiagara Cultural Tourism Initiative itself hasdemonstrated through its project website(www.regional-institute.buffalo.edu/bncti).

Funding is always a key issue. The mostsuccessful cultural tourism efforts enjoy secure,long-term and dedicated revenue streams. Butthe sources vary. Cultural Tourism DC gets a


million dollars a year from dues-payingmembers, government, foundations and thedowntown business improvement district.Philadelphia passed a one-percent increase inthe hotel sales tax at the urging of the hotelsthemselves (see sidebar: “Greater Philadelphia!”).Denver provides $35 million a year for culturaltourism development and promotion from aseven-county sales and use tax (see sidebar:"Metro Denver's Remarkable Self-Investment").Increasingly, public funding streams are tied toperformance measures, as Missouri has doneand Pennsylvania intends to do. Arts, culture,historic and natural venues enjoying newinvestments are likely to measure up becausethey are more attractive and better known.

Governance that spans political boundaries isincreasingly important. Because the majorfunding source often involves local or countygovernment, visitor bureaus tend to competewith each other more than they cooperate. Yet,visitors do not plan their vacations withincounty lines; they plan by region, or by eventsand attractions. Marketing that takes suchvisitor behavior into consideration is becomingmore widespread. For instance, "Philadelphiaand Its Countryside" is the name used by sixvisitor bureaus (in three states) workingtogether as the Greater Philadelphia TourismMarketing Corporation.

Organizational structures are changing to meetnew realities. In Washington, D.C., the visitors’bureau is responsible for keeping the newconvention center booked while CulturalTourism DC handles marketing the city to theindependent traveler – not an unusual divisionof labor. In Denver, cultural attractions arecategorized as Tier 1, Tier 2 and Tier 3 by thesize of their budgets; they receive supportaccordingly.

Across the continent in cities as diverse asDallas; Toronto; Mobile, AL; Albuquerque, NM;and Vancouver, WA, cultural tourismorganizations are addressing similar challengesin common ways: providing dedicated staff todo critically important work that is no one else'sjob; constructing broadly representative boardsto sustain political and organizational support;improving research on culturally motivatedvisitors; resolving to measure progress againstconcrete benchmarks and track economicimpacts; involving key community leaders tomove fundraising forward; providing training to

Website of Greater Buffalo-Niagara Regional Transportation Council © GBNRTC

There are many governancemodels in Buffalo Niagara whichcan inform this initiative and itsultimate organizational structure.The Greater Buffalo-NiagaraRegional Transportation Council isan interagency transportationplanning group that establishespolicies and programs for theregion (see www.gbnrtc.org). Itspolicy board and planning andcoordinating committee,composed of several keyimplementing agencies,aggressively reaches out tocitizens. A strong professionalstaff helps the agency carry out itsbroad coordinating role. TheGBNRTC is funded by federalhighway and transit agencies.

Similarly, the Buffalo NiagaraMedical Campus combines strongleadership by stakeholders anddues-paying members – KaleidaHealth, Roswell Park CancerInstitute, Buffalo Medical Group,Hauptman-Woodward MedicalResearch Institute and theUniversity at Buffalo – withstructured participation by a widevariety neighboring organizationsand businesses (seewww.bnmc.org). A small,dedicated professional staffcarries out critical work in physicalplanning, development andmaintenance of the campus;assistance to adjacentneighborhoods; promotion ofentrepreneurial spin-off activities;and support for core missions ofthe member organizations.

Other OrganizationalModels in

Buffalo Niagara

improve nonprofit business practices; andlooking for an appropriate organizational homefor their initiatives.

Two promising organizational models are to befound right here in our own region: TheGreater Buffalo-Niagara RegionalTransportation Council, which addressestransportation issues on a regional level, andthe Buffalo Niagara Medical Campus, whichintegrates neighborhood organizations andbusinesses into the medical campus' decisions(see sidebar: "Other Organizational Models inBuffalo Niagara").


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V. STRATEGY

The strategy for developing cultural tourism inBuffalo Niagara is the outcome of a two-yearplanning process undertaken by arts, culturaland tourism stakeholders. It puts forth a three-pronged approach:

1. Coordinated programming. Leverage thedrawing power of many of the region'sdistinguished cultural venues and specialevents to attract a wider audience andexpand visitation to these specific attractionsand the region’s wider range attractions,cultural and otherwise.

2. Targeted marketing. Coordinate promotionalresources and build research-basedmarketing strategies to support culturaltourism programming, penetrate nichemarkets and expand market share.

3. Systemic improvement to the cultural tourismsystem. Develop the support structures forcultural tourism organizations and the entiresystem. These include data collection,administrative efficiencies, technologyapplications, transportation and signage,capital improvements, education and trainingand research.

a. Coordinated programming:Leveraging our best assets

Buffalo Niagara already has several high profileevents on the horizon, many significant new

assets in development and majorimprovements to existing resources under way.This strategy seeks to position these attractionsand events as centerpiece features ofcoordinated, or clustered, cultural tourismprogramming, and as focal points for attractingvisitors to the Buffalo Niagara region. It isessential to tap in a timely fashion the fullpotential of any cultural tourism happening orasset likely to capture media attention andmore visitors from beyond our regionalborders.

Many attractions and events in Buffalo Niagarawould serve as ideal centerpieces to anchor amulti-year cultural tourism program. Thesequence of centerpiece and coordinatedprogramming would gradually build the entirecultural tourism system through capacitybuilding and infrastructure improvements.Possible centerpieces include: the opening ofFrank Lloyd Wright’s Darwin D. Martin House;the centennial of the Niagara Movement,precursor to the NAACP; dedication of thenew visitor's center at Old Fort Niagara;completion of the Erie Canal developmentsand major renovations at the Buffalo Zoo.Major exhibits of visual arts or natural history,and festivals of music, theater, literature ordance are also potential candidates forcenterpiece attractions.

Whether ongoing attractions or one-timespecial events, these attractions are necessaryas part of an effort to break down the

A “centerpiece” attraction is notmerely a major venue or event. Itmust be one of such significancebeyond our immediate region thatit generates widespread interestand national media attention. Itmust be truly “world class.”

Being world class in this regardmeans, of course, that the venue'spersons, stories or events are of acertain significance. It also meansthat the quality of the venue orexperience is of the highest order.

“Experience clusters” encompassthose attractions that are relatedsubstantively or thematically to thecenterpiece. Buildings by LouisSullivan, H.H. Richardson, ElielSaarinen, EB Green and others arelinkable in this way to works byFrank Lloyd Wright. This would bethe case as well for exhibits,performances and events with anarchitectural theme.

But not everything that a visitorcomes to experience is part of anexperience cluster. Visitors mayattend a professional sportingevent, enjoy live music at a club orconcert, play golf, tour wineries orsee Niagara Falls. They may alsodine out or stay in area hotels.Such attractions can be promotedand packaged, but they standbehind the centerpiece andexperience cluster attractions.

“Asset Families”Buffalo Niagara’s many arts,culture and heritage resourcesmake it easy to group them intomajor asset families. Someexamples include:

• Architecture• Performance Theater• African-American Experience• War of 1812/Historic Battles• Landscapes and Nature• Natural History• Maritime History• Visual Arts• Native American Heritage• Sports• Wine/Food

1 Old Fort Niagara© Buffalo Niagara Convention& Visitors Bureau

2 Underground Railroad Re-Enactment, MotherlandConnextions© Buffalo Niagara Convention & Visitors Bureau

3 Albright-Knox Art Galleryduring the Pan-AmExhibition

Centerpiece attractions mightinclude major exhibits of visual

arts or natural history and majorfestivals of music, theater,

literature or dance.

What Do These Words Mean?

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perceptual barriers that prevent visitors fromcoming here. Indeed, they have the power todraw those who otherwise may not haveconsidered Buffalo Niagara an appealingtourist destination. And once here, thesevisitors would be invited to experience otherrelated attractions and enjoy anything else inthe region that may be of interest. Suchattractions would be packaged into experienceclusters focused around the centerpiece toenrich and expand the visitor’s experience inthe region. For instance, visitors toUnderground Railroad exhibits at the JesseNash house on Michigan Avenue in Buffalowould likely also visit the Colored Musicians’Club or interpretive sites at the Old CustomsHouse in Niagara Falls. Those interested inFrank Lloyd Wright might also stay toexperience the works of Louis Sullivan, H.H.Richardson, Frederick Law Olmsted andothers. The scope of the experience clusterwould predictably extend beyond cultural, artsand heritage experiences to include NiagaraFalls, sporting events, restaurants, clubs,amusement parks and shopping.

To illustrate the concept of coordinatedprogramming, potential examples are providedas sidebars ("The Wright Stuff" and "Erie Canal?The Avant Garde? Underground Railroad?"). Eachcycle of coordinated programming will need tobe planned in detail by the participatinginstitutions. The examples below, therefore, arenecessarily suggestive until the recommendedplanning process is conducted. As

acknowledged throughout this strategicproject, practical implementation is absolutelyessential to make the entire effort worthwhile.

Given ongoing fundraising, construction andproduct development efforts, it is likely that thefirst cycle of programming will make theopening of the Darwin D. Martin House acenterpiece, with the experience clusterfeaturing other Frank Lloyd Wright buildings,the Roycroft Inn and perhaps masterpieces byH.H. Richardson, Louis Sullivan and others.Venues such as the Albright-Knox Art Galleryshould also be engaged. It must be understood,however, that this will be only the first cycle ofprogramming, and others could feature the ErieCanal, visual and performing arts and theUnderground Railroad. Others will follow asthey become visitor ready.

b. Targeted marketing: Leading with research

A Cultural Tourism Strategy also calls for linkingcoordinated programming to targetedmarketing. At the core of this strategy ismatching a compelling message – the “hook" –to worthy centerpiece attractions in a way thatwould generate national or regional publicityand interest and allow for the design oftargeted marketing efforts.

Other cultural institutions could harness theirown efforts to the drawing power of

1 Graycliff Mansion

2 H.H. Richardson Towers

3 Darwin D. Martin House© Buffalo Niagara Convention& Visitors Bureau

...it is likely that the first cycle ofprogramming will make the opening ofthe Darwin D. Martin House acenterpiece, with the experience clusterfeaturing other Frank Lloyd Wrightbuildings, the Roycroft Inn and perhapsmasterpieces by H.H. Richardson, LouisSullivan and others. Venues such as theAlbright-Knox Art Gallery should also beengaged.

“The Wright Stuff”

Conversations are already takingplace to create the first in a seriesof centerpiece attractions andrelated experience clusters aroundFrank Lloyd Wright's Darwin D.Martin House starting in 2005.

The venue partners, including theMartin House RestorationCorporation, the Albright-Knox ArtGallery, owners and promoters ofBuffalo's other great architecturaltreasures and Buffalo NiagaraConvention & Visitors Bureau, arecapable of putting together a greatprogram.

With A Cultural Tourism Strategy,organizers of the program will havededicated professional staff tohelp develop and manage theprogram; convene keyparticipants; conduct, analyze andshare research; create relatedprograms, packages and marketingcampaigns; address infrastructureissues that bear on the attractions;and evaluate programming andestimate economic impact.

A Cultural Tourism Strategy willalso help smaller cultural venuesand other tourism interests join inthe programming. To some extentthis amounts to "piggybacking" onthe major attractions. But theparticipation of smaller, high-quality, local attractions can makethe collective product more robustand appealing.

Indeed, visitors want to know thereis more to the story. Examples ofthese connections could includepromoting architecturalphotography by local artists at theCEPA Gallery, or even directingvisitors to the Buffalo Zoo, which isone block away from the Darwin D.Martin House.


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centerpiece attractions as they see fit, mountingrelated exhibits or events, joining a sharedpromotion initiative, participating in a packageoffering, coordinating scheduling with thecenterpiece, or simply carrying on as usual.Participation would be welcome, but nevermandatory.

Specific marketing strategies should begenerated by an analysis of potentialcenterpiece and experience cluster offerings asinformed by ongoing market research andpost-program evaluation. The target audiencefor an exhibit of robots at the Buffalo Museumof Science or the unveiling of a new aquaticmammal habitat at the Buffalo Zoo would bedifferent from the target market for a specialexhibit on Abstract Expressionism at theAlbright-Knox Art Gallery or the opening of anew wing of the Burchfield-Penney Art Center.Marketing messages and media would likewisebe different for each.

Several generic strategies, however, should bedeveloped. The first involves programs,messages and media for encouraging long-distance Niagara Falls tourists to visit otherregional attractions. A second should focus onattracting a national audience of culturaltourism visitors through centerpiecepromotions. A third should concentrate ondrawing visitors from a broad regional market– "the rubber-tire traffic" – in Cleveland,Pittsburgh, Toronto and upstate New York.

In each case, however, the region needs toconvene potential partners, analyze andpresent relevant research and negotiate agreedupon marketing strategies and programsamong the participants. It is essential that thesesynergies not be missed or potential conflictsleft unresolved. With strong coordination theprogram can deliver growing audiences to thecenterpiece attractions, experience clustervenues and all tourism sites.

c. Systemic improvement: Filling the gaps

Finally, the strategy intends to connectcoordinated programming and targetedmarketing with an organized approach tobuilding the support structure for culturaltourism organizations and the system in whichthey function. This is an important part of thestrategy, as it delivers benefits to all cultural,arts and tourism venues, regardless of theirparticipation in the experience cluster. Thisstructure for ongoing, systemic improvementsfor cultural tourism should focus on filling thecritical gaps in cultural tourism. These gaps,which are reviewed in detail in Section III ofthis report, are as follows:

• Long-term planning on a region-wide basis; • Improvements to infrastructure; • Conducting research, evaluating programs

and strategies;• Providing education and training services; • Identifying and learning from best practices; • Applying technology; • Fostering collaboration; • Pursuing shared services; • Improving cultural tourism governance.

These gaps would be filled as coordinatedprogramming and targeted marketing effortsprogress. At the same time, a strongerfoundation for the cultural tourism systemwould bolster subsequent coordinatedprogramming and targeted marketing efforts.Consider, for instance, that each program cyclewould require advanced planning,

1 WNED Buffalo Niagara Guitar Festival© Buffalo Niagara Convention & Visitors Bureau

2 Lockport Locks & Erie Canal Cruises© Buffalo Niagara Convention & Visitors Bureau

3 Artpark Theatre © Artpark & Company, Inc.

4 Shakespeare in Delaware Park© Buffalo Niagara Convention & Visitors Bureau

5 Buffalo Zoo

Once here, visitorswould be invited toexperience otherrelatedattractions...whichwould be coordinatedaround thecenterpiece to enrichand expand thevisitor’s experience.

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the region. And the region will never run out ofnew centerpieces as long as it continues toinvest in cultural facilities, exhibits and events.

As an iterative process, A Cultural TourismStrategy is designed to produce growingorganizational capacity, expand marketknowledge, widen cooperation, improve visitorexperiences, expand audiences and revenues,and build an increasingly more favorableregional image and stronger brand. As eachcycle of programming reinforces individualattractions and the critical infrastructure needsof the cultural tourism system, the industry’soverall base will deepen. Likewise, as eachtargeted marketing program highlights newassets and draws in new visitors, the overallregional brand will become increasinglyassociated with a top-tier tourism experience.

collaboration and coordination among theregion's cultural, arts, heritage and tourismorganizations, staged investments in featuredvenues and overall work on visitor readinessand tourism infrastructure. Each cycle wouldproduce data and generate research to assist inthe evaluation of attractions and theformulation of subsequent marketing strategiesto reach target audiences. This same informationwould be valuable in conveying to the regionthe value of arts and cultural institutions aseconomic development assets. Indeed, ongoingpromotional programming, venueimprovements and increased visitation wouldreinforce Buffalo Niagara's brand identity as aplace that offers quality cultural, artistic andheritage experiences.

Efforts should also focus on building capacity atthe organizational level through training andeducation, board development and strategiccapital improvements. In addition to thesespecific efforts, individual cultural organizationswould be expected to gain strength as thesystem for cultural tourism in the regionimproves. All venues benefit from increasedtraffic, a coordinated governance structure, andbetter transportation, signage and datacollection. Moreover, the strategy presented hereis sustainable. Experience cluster attractionsimprove as they strive to meet new demands.Past centerpieces become stronger resources for

Erie Canal? The Avant Garde?

Underground Railroad?

The Buffalo Niagara region hasmore potential world-class storiesand attractions than most places.But realizing that potentialrequires long-range planning,major investments and muchteamwork.

For instance, several Erie Canaldevelopments are in "the pipeline"but still several years fromcompletion. The story more thanmeets the test of being "worldclass." But to create such anattraction, other events in thecanal area need to take place. Forinstance, the canal’s historicCommercial Slip would need to becompleted, related interpretivefacilities constructed, and perhapsa new Buffalo & Erie CountyHistorical Society developednearby. Also, Bass Pro Shops hasmade official its plans to developby 2007 a $123 million retailcomplex in this area. Certainlythere is the potential for apowerful synergy of attractions.

But planning for programming andmarketing to showcase the entirecanal package of attractionsshould begin now. Also, its not tooearly for others to consider relatedexhibits, performances or eventsthat could accompany unveilingthe Erie Canal.

A less capital-intensivecenterpiece and experience clustermight celebrate Buffalo's historicinvolvement with avant garde art,highlighting the Albright-Knox ArtGallery's collection of modern art,celebrated artists who emerged atHallwalls Contemporary ArtsCenter, or a retrospective on thetenure of Lukas Foss at the BuffaloPhilharmonic Orchestra.

The scope of the experience clusterwould predictably extend beyondcultural, arts and heritage experiencesto include Niagara Falls, sportingevents, restaurants, clubs, amusementparks and shopping.

1 Seneca Niagara Casino© Buffalo Niagara Convention & Visitors Bureau

2 Niagara Falls© Buffalo Niagara Convention & Visitors Bureau

3 Buffalo Sabres© Buffalo Niagara Convention & Visitors Bureau


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VI . IMPLEMENTATIONBN

CTI

• Create a preliminary business plan thatdetails proposed membership/staffqualifications and responsibilities; annualexpenditures for personnel, supplies andservices; and conceptual design proposals forperformance measures;

• Develop an approach to long-term funding,including an estimate of total revenuerequired and a proposal for other dedicatedsources.

Based on these principles and the fundamentaltenets of A Cultural Tourism Strategy, a bilateralstructure that focuses on the two primarycomponents of the cultural tourism system –marketing and asset development – as well asthe infrastructure needs within each, has beenproposed as a three-year pilot forimplementation of the strategy. This modelrecognizes the different but complementarynatures of marketing and asset development(outlined in the table below), and that each mustbe improved if cultural tourism is to beeffective in Buffalo Niagara.

In this structure, asset development is seen as aseparate activity that works directly withmarketing to provide viable, fuller tourismpackages that can be marketed regionally andto key identified external markets. “First-tier"organizations which are more advanced as agroup in terms of visitor readiness will likelybe more prepared to work with immediatepriorities for cultural tourism marketing,although many could benefit from some degreeof capacity building. However, more critical isorganizational development of "second-tier"groups, which vary widely in their strengths

a. Organizing for Implementation:Performance-based leadership and collaboration

Following stakeholders’ development of thecultural tourism strategy, a small workinggroup of funders, government representativesand key cultural and tourism groups began aprocess of formulating a structure forimplementation of the plan. These focus groupshave concentrated on responding to the ideasand concerns of cultural tourism stakeholderswith a practical plan for the strategy’simplementation, working to ensure that thevision of the stakeholders is turned into reality,and that their plan does not join the ranks ofothers gathering dust on a shelf.

As determined by stakeholders, a prerequisitefor the success of the implementation structureis active leadership by professionals directlyresponsible for developing cultural tourism.Also critical is support from key partnershipsand new financial resources to commit towardadditional or improvedcapacity. Given the scarcityof new funding and theplethora of ongoing efforts,collaboration and improvedcoordination must be afocus of the implementationstructure. Moreover, anynew organizationalstructure for culturaltourism would be requiredto satisfy the following keyrequirements:

• Develop an approach thataddresses culturaltourism as a distinct focusrather than only as asubset of broader tourism developmentactivities;

• Form a structure of governance and anapproach to implementation that ensures fullinvolvement by relevant actors in both Erieand Niagara Counties, including the fullrange of cultural, arts and heritageorganizations; all segments of the tourismindustry (promotion, hospitality,transportation and others); businesses;government; philanthropy; and education;

Local governments and areafoundations continue to commitsubstantial resources to cultural,arts and heritage organizations inBuffalo Niagara.

Erie County provided about $20million in direct aid in 2003, 25percent of which was distributed toindividual organizations throughthe independent Erie CountyCultural Resources Advisory Board.The county’s public benefit fundwas the source of about $3.5million, mostly for promotionalactivities. The capital budgetprovided another $5 million tocultural tourism-related venues in2003. About half of the Erie Countyhotel bed tax – $2.9 million in2003 – went to fund operations ofthe Buffalo Niagara Convention &Visitors Bureau.

In Niagara County a hotel bed taxgenerates roughly $1 million a yearfor the Niagara Tourism andConvention Corporation. NiagaraCounty municipalities also providesome support.

The region’s private foundationsare among the strongestchampions of culture and tourismin Buffalo Niagara. In 2002, TheJohn R. Oishei Foundationdelivered $1 million to culturalorganizations and related projects,while The Margaret L. WendtFoundation pumped $5 million incultural funding into the region in2001, largely for the restoration ofthe Darwin D. Martin House.Independent Health, M&T Bank,the Community Foundation forGreater Buffalo, the StatlerFoundation and HSBC Bank arealso important financial backers forarts, culture and tourism.

For the most part these fundingstreams are directed either attourism promotion or theoperations and capital needs ofcultural groups, but not for culturaltourism per se.

As this strategy goes to print, Erieand Niagara Counties are facingextraordinarily difficult fiscaldilemmas. The ramifications oftheir budget deliberations willdoubtless significantly affect thefuture of cultural tourism funding.

Buffalo Niagara’sCommitment to

Culture and Tourism

Tourist-focused (out of area, likely to stay in hotel)

Marketing

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2

Asset Development

Data-driven – macro level, across organizations and genres (“mines data”)

3Top-level community infrastructure (street signs, languages, transport, etc.)

4High return, short period

5“Culture-plus” packages, ready now, including “other-than-cultural” assets

6Primarily concerned with high-ticket, high-draw, “first-tier” culturals already prepared to anchor

Visitor-focused (residents plus tourists, sustainable audiences)

Data-driven – micro level, specific to organization and genre (provides data to macro)

Internal organization infrastructure (systems and processes, management)

Incremental return, longer period

Art according to mission, offered in collaboration

Primarily focused on strengthening critical “second tier” organizations that provide full “cluster” experience

but are essential to development of a diversecultural tourism program.

Actual implementation will be monitored by aCultural Tourism Oversight and AdvisoryCouncil, composed of board- and leadership-level representatives from cultural, arts andtourism organizations, as well as governmentand funding entities from both Erie andNiagara Counties. The Advisory Council willprovide policy perspective and coordinate theresources for implementation of A CulturalTourism Strategy.

The structure is designed to facilitatecollaboration between Erie and NiagaraCounties and across the broader binationalregion, and to forge connections betweendifferent sectors related to cultural tourism,including economic development, government,philanthropy and education. Accordingly,suggestions for the Advisory Council’smembership are as follows:

• Cultural Tourism Committee, Chair – BuffaloNiagara Convention & Visitors Bureau

• Cultural Alliance ofNiagara, Chair

• Corporate Funders (e.g.,M&T Bank, IndependentHealth)

• Private Funders (e.g., TheJohn R. Oishei Foundation,The Margaret L. WendtFoundation)

• Public Funders (ErieCounty, Niagara County)

• Erie County CulturalResources Advisory Board,Chair

• New York State Councilon the Arts, Representative

• Board Chairs – BuffaloNiagara Convention &Visitors Bureau; NiagaraTourism & ConventionCorporation

Working with the AdvisoryCouncil will be the CulturalTourism Working Groupconsisting of professionalstaff from cultural, arts andtourism organizations inErie and Niagara Counties,and focusing on day-to-dayimplementation tasks.

Integral to the Working Group will be aRegional Asset Development Coordinator, anew position created solely to build the capacityof arts and cultural groups by assisting themwith organizational assessment, access toresources and materials, and appropriatetraining and consultation. The coordinator willreport directly to the Chair of the AdvisoryCouncil (see Appendix E for a more detailed jobdescription and references to a similar capacitybuilding model in the region). An administrativeassistant will provide support both to thecoordinator and the Advisory Council. Again,considering collaboration across geographic andsector boundaries, recommendations for theWorking Group’s membership include:

• Regional Asset Development Coordinator • Buffalo Niagara Convention & Visitors Bureau,

Niagara Tourism and Convention Corporation,Marketing Directors

• Binational Tourism Alliance, Representative • Arts Council in Buffalo & Erie County,

Representative• Cultural Alliance of Niagara, Representative

Marketing (BNCVB, NTCC)

• Filling the gaps (system-level infrastructure, signage, data, etc.)

• Big Picture (connection to tourism, hospitality)

• Promotion/Packaging/Branding

• Experience Clusters

• Cultural Tourism Committee

Asset Development(Regional Asset Development Coordinator – reports to Oversight and Advisory Council – in conjunction with umbrella arts groups, academic institutions, others.)

• Build Capacity, Visitor Readiness

• Organizational Infrastructure (data collection, etc.)

• Capital Needs

• Consulting to strengthen organizations, board development, budgeting, etc.

STRATEGIC PLAN STRATEGIC PLAN

CT Working Group(prof. staff)

CT Oversight and Advisory Council(board and executive level)

CULTURAL TOURISMGeographic Scope: Erie and Niagara Counties (in context of larger region)

Strategy: (1) Fill gaps; (2) Measurably move forward, meet potential for cultural venues, tourism, economic development, quality of life

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• Erie County Cultural Resources AdvisoryBoard, Staff Member

In terms of a marketing focus, the AdvisoryCouncil and Working Group will collaboratewith the region's promotional groups,primarily the Buffalo Niagara Convention &Visitors Bureau (BNCVB), especially itsCultural Tourism Committee, and the NiagaraTourism and Convention Corporation (NTCC),to build the Buffalo Niagara brand as a tourismdestination through the development,promotion and packaging of asset clusters. It isalso a goal to position these cultural tourismefforts within the bigger picture of tourism. Asa result, these promotional agencies are ideallypositioned to link cultural tourism clusterswith other tourism and hospitality resources.

The Advisory Council and Working Group willpartner with promotional and culturalorganizations to fill gaps in marketing datacollection and analysis and performancemeasurement. Improvement of system-wideinfrastructure, such as signage andtransportation, will also be a priority.

On the asset development side, the AdvisoryCouncil and Working Group will link withumbrella cultural groups academic institutionsand relevant marketing associations to buildthe capacity of individual cultural, arts andheritage groups through training andassistance with program development,financial stability and board strength.Infrastructure improvements at theorganizational level – including data collectionand capital improvements – will be animportant focus of asset development.

There is no question that continued planningand strategy development should be aperpetual part of the cultural tourism system inthe region, but as a part of practicalimplementation, not just continued planning. Itis anticipated that as a part of the transitionfrom planning to implementation the work ofthe Steering Committee of the Buffalo NiagaraCultural Tourism Initiative will conclude as thefocus shifts to the new organizationalapproach.

A Cultural Tourism Strategy proposes a widespectrum of goals to serve as the generalcontext for implementation of the strategy overthe long term. To assist with initial

implementation tasks, an initial set of prioritiesfollows as a specific example of the short-termvalue of the strategy and organizationalapproach. Of course, one of the first challengesof implementation will be to catch up withplanning for the first cycle of coordinatedprogramming already well under way.

b. Recommendations: from strategy to action

The following is an outline of the specificresponsibilities of the Advisory Council andWorking Group. Primarily, they are to worktogether to oversee and coordinate agovernance structure for cultural tourism, andto establish a forum for communication,coordination, collaboration and long-termplanning that engages all relevant andinterested parties.

A priority for implementation will becoordinating the development of programmingcycles, targeting marketing efforts andinfrastructure improvements related to eachthrough collaboration with the region'stourism, arts, culture, heritage, economicdevelopment and marketing organizations.These three components of the strategy areoutlined as follows:

• Organize multi-year, coordinatedprograms of cultural attractions linkingthe best cultural venues and events in ourregion ("centerpieces") with other relatedattractions of excellence ("experienceclusters") to draw visitors from our regionand beyond.

• Develop targeted marketing forcoordinated programming that isstrategically aimed and research-driven,coordinates promotional activities andreaches a broad market, includingidentifiable niche markets.

• Promote infrastructure improvements atthe systemic and organizational levels.For instance, capacity building forcultural, arts and tourism venues couldinclude capital improvements, boarddevelopment and financial/budgetarytraining. Enhancements to system-wideinfrastructure should work toward fillingcurrent gaps in research, data collection,education and training, transportation,information infrastructure, planning andcapital budgeting.


In its implementation of the strategy and eachcycle of coordinated programming, theAdvisory Council and Working Group are tomaintain both the perspective of the entirecultural tourism system as well as theindividual organizations within that system.Also, these groups must keep in mind their roleas the region's vehicle for long-term culturaltourism planning and development. Indeed,implementation activities should be seen inrelation to the broader mission of culturaltourism promotion in the region: generategreater strength and stability for culturalorganizations, expand opportunities forindividual artists, grow the regional economy,enhance community quality of life, andimprove the region's image and identity.

The initial specific responsibilities andrecommended actions of the Advisory Counciland Working Group are outlined according tothe three-pronged strategic approach:

Coordinated Programming

• Designate the Frank Lloyd Wright Darwin D.Martin complex as the "centerpiece" for thefirst cycle of coordinated programming,timed to coincide with the 2005-2006 openingof the restored complex;

• Coordinate with the cluster of people and groups already engaged in the Martin House initiative;

• Identify other venues and events to includein the related "experience cluster" by virtue ofthematic or geographic relation to the MartinHouse (e.g. other historic architecture, theBuffalo Zoo, Shakespeare in the Park, etc.);

• Identify other tourism attractions andsupport services to incorporate in thecoordinated program (professional sportingevents, wineries, Niagara Falls, musical clubs,hotels, restaurants, etc.);

• Develop a "template" for future coordinatedprogramming efforts that includes criteria forchoosing centerpiece attractions andexperience cluster venues and a process forexperience cluster development.

Targeted Marketing

• Identify specific target markets for the initialcenterpiece and its related attractions usingexisting research and new research asnecessary;

• Develop a marketing campaign aimed atidentified market segments and "niches"

using shared promotional messages to reachpotential visitors;

• Create a comprehensive media relationscampaign to generate national and regionalpublicity that reinforces targeted messages;

• Design promotional programs to allowcultural institutions – regardless of theirinclusion in the "experience cluster" – to linktheir own efforts to the coordinated program;

• Develop a long-term research program andthe capacity to support planning forsubsequent centerpiece/experience clusterprograms, including cooperativearrangements to collect, analyze and sharedata on a regional basis.

Systemic Improvement

• Identify and coordinate priority venue- andevent-capacity building and systemdevelopment investments; create a long-termworkplan for system development. Theseefforts should be placed in the context of thecurrent gaps in the Buffalo Niagara culturaltourism system:

1) Develop infrastructure for cultural tourism,working to create and maintain the systemsthat connect venues to one another anddeliver visitors to the doorsteps of theregion's attractions;

2) Coordinate education and training to ensureregional institutions can satisfy the emergingneeds of the cultural tourism system forqualified workers, managers and leaders;

3) Conduct research through a system forcollecting, analyzing and sharinginformation on a regional basis, coordinatingthe region's existing data collection effortsand developing new ones as needed (seeAppendix D, “Measuring Performance”);

4) Collect and share best practices from otherregions and our own on effective techniquesand strategies for developing culturaltourism;

5) Apply technology, including websites,databases, telecommunications and othersystems to help individual organizations andthe entire sector communicate with potentialmarkets, serve audiences, evaluateperformance and conduct research;

6) Provide shared services such as ticketing,payroll, insurance, purchasing and researchto save organizations money and time andimprove the efficiency of the culturaltourism system.


Performance Measurement

The Advisory Council and Working Group areto closely monitor their performance in termsof their effectiveness both as implementingentities of A Cultural Tourism Strategy and ascatalysts for the broader success of regionalasset development and marketing efforts. Suchassessments should take place regularly andsystematically throughout the entire three-yearpilot period.

Measures of success for asset developmentefforts in the implementation of A CulturalTourism Strategy are to be guided by the goalsof 1) strengthening and building culturalcapacity to sustain operations and serveaudiences, and 2) preparing cultural, arts andheritage organizations for tourismreceptiveness. The Advisory Council andWorking Group will assess targeted cultural,arts and heritage groups in terms of theirperformance in key indicators of financialstrength, strategic directions and visitor-readiness using clear benchmarks and newlydeveloped systems and sources of information.They will also need to determine priorities forkey capacity building investments andestablish programs and strategies for reachingthose benchmarks.

The region must also be able to measure itssuccess in the development of the culturaltourism market. The following goals shouldguide these efforts: 1) attract larger audiencesto the region and its cultural and tourismattractions, 2) reach new markets, 3) improvethe image of Buffalo Niagara as a tourismdestination and, 4) improve data collection andanalysis efforts, information sharing andmessage coordination. The Advisory Counciland Working Group should first determinemarketing priorities, including markets totarget, data to collect, infrastructureimprovements to make and technologyapplications to develop. Such prioritizationshould be based on an evaluation of theregion's current approach, and in considerationof asset development efforts for BuffaloNiagara's cultural organizations. Any new orreformed marketing initiatives shouldcoordinate with existing efforts to ensure theregion is moving toward its broader culturaltourism marketing goals. Benchmarks forsuccess, such as economic impact, the quantityand quality of visitation and related data and

the perceptions of the region as a touristdestination, should be clearly outlined andregularly monitored.

Following implementation of these programsand investments, participation and successshould be measured against quantifiablebenchmarks outlined at the outset (for moreinformation, see Appendix D, “MeasuringPerformance”).

c. Funding: Sustaining culturaltourism development

Of course ultimate success – and achieving thevision of Buffalo Niagara as a world-classtourism destination – requires the commitmentof resources to sustain this work over the long-term. While the region now commitssubstantial resources to both tourismpromotion and to the sustenance of arts,cultural and heritage organizations, there is aclear need for additional funding specificallyfor cultural tourism. Indeed, in light of thegreat potential of cultural tourism, it must besaid that the pursuit of this mission isuncoordinated and in many respectssignificantly underfunded.

Financial support for this strategy should comefrom both existing sources and from new andpreviously untapped sources. In any event,cultural institutions cannot be expected todivert current resources from basic operationsto fund the strategy. Success for A CulturalTourism Strategy must depend in large measureon a predictable and adequate source offunding. Sources might include a dedicatedportion of the bed tax and/or sales tax; amulti-year gift from a major foundation orgroup of philanthropies; discretionary fundsfrom local government; contributions fromcorporate sponsors; or perhaps a smallsurcharge on Niagara River bridge crossings. Itis likely that a combination of these sourceswill be used. Further support should comefrom the earned revenues of participatingcultural organizations.

It has been estimated that the AdvisoryCouncil and Working Group will operateunder an annual budget of about $210,000which would cover the salaries of the AssetDevelopment Coordinator and a part-timeadministrative assistant, and would include

$100,000 for training subsidies for capacitybuilding services and consultation. The budgetwould also cover supplies such as computersand telephones, Internet access, meeting andtraining support and travel. These fundsshould also subsidize preliminaryimplementation efforts, including thedevelopment of a short-term business plan,convening participants for the firstprogramming cycle, establishing specific staffperformance standards and drafting fundingproposals. It is certain that more funding willbe needed to support the Advisory Council andWorking Group in the specific development ofcoordinated programming, targeted marketingefforts and infrastructure improvements. Thesemust be funded separately, through specialjoint programs or initiatives, or through theexisting budgets of participating organizations.

Whatever source or sources are identified,funding should be pledged for the

A Cultural Tourism Strategy should be viewedas a beginning, not an ending. A clear andcompelling strategy is one of the firstprerequisites for fulfilling the potential ofcultural tourism for our region, as itrepresents significant agreement among theregion’s cultural tourism stakeholders aboutvision, goals and the practical steps to betaken. But the hard work of implementationremains before us and must be addressedaggressively and in unison.

Indeed, there are several other ingredients –perhaps intangible ones – required forsuccess. Foremost among these is courage.We need the courage of our convictions thatgreater investments in cultural tourism willbring significantly greater returns.Maintaining the current level of effort or

. . .MOVING FORWARDinvestment will not allow us to change thestatus quo.

We also need the courage to go beyond ourstudied habits of work and existingorganizational boundaries to engage a trulynew process of collaboration. The old ways willnot work. The new ways we have begun tocreate will.

The potential for cultural tourism development– to strengthen cultural institutions, to expandopportunities for expression, to grow oureconomy, to improve our image and toenhance our quality of life – is enormous,perhaps even greater than we understand. Wehave already begun working together to makethis potential real. It is time to continue.


implementation structure’s entire three-yearpilot to give the effort stability and time tomature.

It is important that the Advisory Council andWorking Group develop formal financialstatements, including operations pro formas,forecasted income statements, balance sheets,cash flow statements and capital expenditurebudgets (as appropriate). It may make sense todetail revenues and expenditures on a monthlyor quarterly basis for the first cycle beforeconverting to annual figures. Of course, theprojections should match the funding requestsand the categories detailed in theimplementation section; any inconsistenciesundermine credibility.

APPENDIX ACULTURAL TOURISM AND RELATED CAPITAL INITIATIVES

PROPOSAL COST STATUS

The H.H. Richardson-designed complex, the formerBuffalo State Hospital, will be restored. In addition toan expanded wing of the Burchfield-Penney Art Center,the complex could house schools, a Buffalo StateCollege teacher-training center, and art andperformance studios.

$100 MILLION Funds included in 2004 State of NewYork budget.

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The Buffalo Zoo has planned major facility and exhibitrenovations.

$64 MILLION Under construction; 2010-2012 completion expected

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The Aquarium of Niagara will either upgrade existingfacility or develop a new facility at the site of theproposed AquaFalls near the Rainbow Bridge in NiagaraFalls.

$52 MILLION Feasibility study ongoingAQUARIUMOF NIAGARA

The Western Erie Canal Heritage Corridor PlanningCommission has developed a $50 million tourism andeconomic development plan for the five western-mostcounties along the Erie Canal.

$50 MILLION Study completed, implementationto commence, pending approvalby New York State.

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The Olmsted Parks Conservancy has applied for aNational Park Service grant to study possibility ofcreating a 40-mile linear park – from Buffalo’s SouthPark along the Niagara River to Old Fort Niagara inPorter.

$50 MILLION(preliminary estimate)

Feasibility study ongoing

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A master plan for development of Erie Canal Harbor indowntown Buffalo was released in early 2004. Plansinclude development of a heritage tourism destination,with a rewatered Commercial Slip, a new Central Wharfand many cultural, recreational and retail attractions.

$46 MILLION (+ $10 to$12 million foradditional interpretiveelements)

Capital campaign ongoing; fall 2007 completion date expected

ERIE CANALHARBOR

Bass Pro Shops is considering building a more than$100 million retail complex on the Erie Canal Harbor.The project would convert the former MemorialAuditorium into a 150,000-square-foot sporting goodsstore, a Great Lakes-themed museum, restaurant andhotel. The project also would include a parking garageand other transportation infrastructure improvements.

$123 MILLION,$60 million ofwhich has beencommitted infederal, state andlocal dollars.

Expected completion of complexis 2007.

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USA Niagara Development Corp. is working withcommunity leaders to develop in Niagara Falls theNiagara Experience Center, an interactive tourism centerand museum.

$70-$80 MILLION(preliminaryestimate)

$10 million pledged by New YorkState. Additional feasibility studiesongoing.

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Construction of a new terminal and otherenhancements have been proposed for the NiagaraFalls International Airport.

$30 MILLION Capital campaign ongoing

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The development of an Intermodal TransportationCenter & International Railway Station has beenproposed in Niagara Falls. The project is centeredupon the relocation of the city’s Amtrak passengerstation to a site adjacent to the Whirlpool RapidsBridge between the U.S. and Canada as well as thecreation of a new Customs and Immigration facility.

$20 MILLION Capital campaign ongoingAMTRAKSTATION

Frank Lloyd Wright’s Darwin D. Martin House will becompletely restored, a new visitors center developedand the Martin House pergola, conservatory andcarriage house reconstructed.

$30 MILLION Renovation of complex andconstruction of new structuresongoing.

DARWIN D. MARTINHOUSE

The Burchfield-Penney Art Center at Buffalo StateCollege plans to build a new stand-alone museum atthe site of the H.H. Richardson Complex, adjacent tothe college campus.

$30 MILLION Capital campaign completed; $20million included in 2004 New YorkState budget.

BURCHFIELD-PENNEYART CENTER

Renovations planned for the Buffalo and Erie CountyBotanical Gardens include major exhibitenhancements and a new room for weddings andprivate parties.

$20 MILLION Capital campaign ongoing;construction slated for 2005-2015.

BOTANICALGARDENS

The Buffalo Transportation - Pierce-ArrowMuseum will be renovated and expanded.

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Construction of the museumaddition is expected to becompleted in time for the 100thanniversary of the Pierce-ArrowMotor Car Co. in 2006.

$7 MILLION

The Buffalo & Erie County Historical Society hasproposed a revitalization plan that includes thebuilding of an interpretive heritage center in theformer DL&W railroad station on Buffalo’s Erie CanalHarbor.

$40 MILLION Feasibilty studies ongoing

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Minneapolis-based Artspace has selected a vacantbuilding on Main Street in Buffalo to house as manyas 50 artists and their workspaces.

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$12 MILLION Feasibility study complete; nextstep is redevelopment andconstruction


The Buffalo and Erie County Naval & Military Park isundergoing major improvements, including therelocation of naval vessels, creation of a naval basinand construction of a naval museum.

$4 MILLION Under construction NAVAL ANDMILITARY PARK


1905 Frank Lloyd Wright boathouse underdevelopment on the Black Rock Channel near thePeace Bridge.

$5 MILLION Capital campaign ongoing;completion slated for 2006

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The Graycliff Conservancy is raising funds for therestoration of the summer home designed by FrankLloyd Wright.

$3 MILLION Capital campaign ongoing;completion slated for 2006-2007

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Parkside Lodge in Buffalo’s Delaware Park is beingrestored to serve as the administration headquartersof the National Association for Olmsted Parks.

$1.5 MILLION Under construction

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Work is underway to build a Frank Lloyd Wright-designed (but never built) filling station as part of thecampus of the Buffalo Transportation Pierce-ArrowMuseum. The non-working station will focus attentionon the impact of the automobile on modern America.

$1 MILLION Completion expected in 2005

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The Landmark Society of the Niagara Frontier isrestoring the Hull House in Lancaster, built in 1810and the area’s oldest stone residence. It will beconverted into an educational interpretive center.

$1 MILLION Completion expected in 2005

HULL HOUSE

Righteous Babe Records will renovate the 128-year-oldDelaware-Asbury church into its headquarters, aconcert facility as well as home to HallwallsContemporary Arts Center.

$5.8 MILLION Under construction RIGHTEOUSBABERECORDS


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Old Fort Niagara’s Gateway to History Campaignincludes the development of a visitors’ center,renovation of the officers’ club, and creation of anorientation theater in preparation for the 200thanniversary of the War of 1812.

$6 MILLION Funds raised; design phaseongoing

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The Albright-Knox Art Gallery plans to add a newwing or a new building.

Pending feasibility studyALBRIGHT-KNOXARTGALLERY

Significant investments have been made to developthe Michigan Street Preservation District. The districtincludes the historic Michigan Street Baptist Church,where the Niagara Movement, predecessor to theNAACP, began, the Colored Musicians’ Club, and theNash House, named for a civil rights pioneer.

Capital campaign ongoing; $2 millionin federal funding committed

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Photo Credits:

InstituteH.H. Richardson TowersBuffalo ZooAquarium of NiagaraErie Canal Heritage CorridorOlmsted Parks ConservancyErie Canal HarborBurchfield-Penney Art CenterNiagara Falls International AirportDarwin D. Martin HouseAmtrak StationArtspaceRighteous Babe RecordsGraycliffParkside LodgeAlbright-Knox Art GalleryWaterfront Access (Erie Canal Harbor area)Harbor Area Development (Erie Canal Harbor area)

Separate projects will increase waterfront access inthe area. A one-mile, $5 million park and trail will bebuilt along Buffalo’s harbor. Capital improvementson another section of the harbor will total $1 millionand include protected shoreline and a pedestriantrail. A sandy beach could be created at GallagherBeach, near the harbor area, and an adjacent 80-acreboat harbor will be turned into a New York Statepark.

Funding secured; projects to becompleted at different timesthroughout 2005.

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A 120-acre parcel of land along the harbor, owned bythe Niagara Frontier Transportation Authority, isslated for redevelopment. The NFTA expects tourism,recreational and/or housing and office projects forthe site. Work has already begun to creategreenspace at the site.

HARBOR AREADEVELOPMENT

Three proposals have been submitted;they include a waterfront park, a live-work-play lakefront community, and anature park. A preferred developer isexpected to be announced by mid-January.


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Buffalo Niagara Convention & Visitors BureauBuffalo & Erie County Historical SocietyBuffalo & Erie County Botanical GardensBuffalo Transportation Pierce-Arrow MuseumOld Fort NiagaraBuffalo and Erie County Naval & Military ParkSeneca Niagara CasinoMichigan Street Preservation Corporation(Michigan Street Baptist Church)

Bass Pro ShopsBass Pro Shops logo

BRC Imagination ArtsNiagara Experience Center

Tony Puttnam, Project Lead Architect; Hamilton,Houston and Lownie ArchitectsFrank Lloyd Wright Boathouse (rendering)

Lauer=Manguso & Associates ArchitectsBuffalo Filling Station by Frank Lloyd Wright(rendering)

Landmark Society of the Niagar a FrontierWarren and Polly Hull House


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APPENDIX BCULTURAL TOURISM AND RELATED FUNDING

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Erie CountyBed Tax

Approximately half of Erie County’s 5% bed tax goes to the Buffalo Niagara Convention & Visitors Bureau,which derives 85% of its budget from the bed tax and receives additional program-related revenue fromErie County’s Public Benefit Fund and the Regionalism and Economic Development Fund. The bed taxgenerates about $5 million annually.

City of Buffalo

Due to the economic effects of the September 11, 2001 terrorist attacks, the City of Buffalo froze all fundingto arts and cultural organizations in late 2001. This resulted in a total loss of approximately $1.3 millionannually to arts and cultural organizations. Buffalo does fund two public art programs:

Percent of Art Program (1% of city capital budget) – an annual city bond fund that the Buffalo ArtsCommission applies for the restoration of city-owned art pieces. Funding under this program was $80,000in 2001-02, $60,000 in 2003-04.

Art in Public Places – The City of Buffalo’s “Art in Public Places” ordinance requires 1% of the budget ofcapital improvement projects costing $1 million or more to be set aside for the design, construction, repairand maintenance of public works of art. In 2003 $70,000 was funded for art under this program.

Arts Council inBuffalo & Erie

County

In 2002 the Arts Council re-granted to local arts organizations more than $250,000 in funds primarily fromErie County and the New York State Council on the Arts.

Corporate andIndividualSponsors

Major corporate sponsors in the Buffalo Niagara region include M&T Bank, HSBC Bank, the law firms ofPhillips, Lytle, Hitchcock, Blaine & Huber, LLP, and Hodgson Russ LLP, The Buffalo News, Key Bank, TheWestern New York Public Broadcasting Association, Righteous Babe Records, Inc., JP Morgan Chase, BlueCross/Blue Shield of Western New York, WKBW TV/Channel 7 and many others.

New York StateCouncil on the

Arts(NYSCA)

In 2003 NYSCA provided $1.7 million in grant dollars to arts and cultural organizations in Erie County,including re-grant dollars to the Arts Council in Buffalo & Erie County. Approximately two-thirds of this totalwas for operational support; 10% went toward education; 10% was re-granted and the balance was forspecial initiatives.

NationalEndowmentfor the Arts

The NEA provided a total of $285,000 in grants to 10 various arts and cultural organizations in Erie Countyin 2003.

LocalMunicipalities

Town of West Seneca – in 2002 the Town provided $32,000 to the Burchfield Nature Center, personnel forthe West Seneca Youth Theatre (at a cost of $14,000), and $10,000 to its Historical Society. The Town of Aurora appropriated in 2003 $13,000 to arrange Celebrations, a town-sponsored specialevents program, $2,600 for arts/cultural/dance activities, and $500 for its Historical Society. The Village of East Aurora provides operational services to local museums.

SOURCE FUNDING DISTRIBUTION

NiagaraCountyBed Tax

The 4% bed tax in Niagara County generated about $1 million in 2003. The tax revenues are directed to theNiagara Tourism and Convention Corporation.

County ofNiagara

In 2002 most nonprofit cultural agencies that received funding from Niagara County were cut out of thebudget. Funding for these agencies was discontinued again in 2003.

The Niagara County Environmental Fund, which is funded with Love Canal settlement funds, has providedsupport to the Buffalo Audubon Society, primarily for capital expenditures.

New York StateCouncil on the

Arts(NYSCA)

In 2003 NYSCA granted a total of $279,490 to nine different arts and cultural organizations in NiagaraCounty, including $46,500 in re-grant dollars.

NationalEndowmentfor the Arts

No arts and cultural organizations in Niagara County received NEA grants in 2003.

LocalMunicipalities

In 2003 the Town of Lewiston provided $63,000 to the Council on the Arts.

SOURCE FUNDING DISTRIBUTION

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SUMMARY OF ERIE COUNTY ARTS & CULTURAL FUNDING

YEAR: 2003

Erie County Fund Operations Capital Promotion Total% Total

(By Source of Funding)

Cultural - (ECCRAB - Erie County Cultural Resources Advisory Board - Advises) $5,631,423 $0 $0 $5,631,423 28%

Public Benefit $173,450 $450,970 $2,844,580 $3,469,000 17%

Extraordinary Aid to Local Governments $1,625,000 $0 $0 $1,625,000 8%

Environment & Planning Department $0 $0 $60,000 $60,000 0%

Capital Projects $0 $5,000,000 $0 $5,000,000 25%

Regionalism/Economic Development Fund $101,310 $18,420 $340,770 $460,500 2%

Legislative Initiative $203,546 $0 $4,154 $207,700 1%

Tobacco Proceeds $270,000 $3,250,000 $0 $3,520,000 18%

TOTAL $8,004,729 $8,719,390 $3,249,504 $19,973,623 100%

% TOTAL (By Application of Funding) 40% 44% 16% 100%

YEAR: 2003Erie County Fund Operations Capital PromotionCultural (ECCRAB Advises) 100% 0% 0%

Public Benefit 5% 13% 82%

Extraordinary Aid to Local Governments 100% 0% 0%

Environment & Planning Department 0% 0% 100%

Capital Projects 0% 100% 0%

Regionalism/Economic Development Fund 22% 4% 74%

Legislative Initiative 98% 0% 2%

Tobacco Proceeds 8% 92% 0%

APPLICATION OF ERIE COUNTY CULTURAL FUNDING - Operations, Capital, Promotional Initaitives

40%

44%

16% Operations

Capital

Promotion

ERIE COUNTY FUNDING BY TYPE OF SUPPORT, 2003

ERIE COUNTY FUNDING BY SOURCE OF SUPPORT, 2003

SUMMARY OF ERIE COUNTY ARTS & CULTURE FUNDINGSUMMARY OF ERIE COUNTY ARTS & CULTURAL FUNDING

YEAR: 2003

Erie County Fund Operations Capital Promotion Total% Total

(By Source of Funding)

Cultural - (ECCRAB - Erie County Cultural Resources Advisory Board - Advises) $5,631,423 $0 $0 $5,631,423 28%

Public Benefit $173,450 $450,970 $2,844,580 $3,469,000 17%

Extraordinary Aid to Local Governments $1,625,000 $0 $0 $1,625,000 8%

Environment & Planning Department $0 $0 $60,000 $60,000 0%

Capital Projects $0 $5,000,000 $0 $5,000,000 25%

Regionalism/Economic Development Fund $101,310 $18,420 $340,770 $460,500 2%

Legislative Initiative $203,546 $0 $4,154 $207,700 1%

Tobacco Proceeds $270,000 $3,250,000 $0 $3,520,000 18%

TOTAL $8,004,729 $8,719,390 $3,249,504 $19,973,623 100%

% TOTAL (By Application of Funding) 40% 44% 16% 100%

YEAR: 2003Erie County Fund Operations Capital PromotionCultural (ECCRAB Advises) 100% 0% 0%

Public Benefit 5% 13% 82%

Extraordinary Aid to Local Governments 100% 0% 0%

Environment & Planning Department 0% 0% 100%

Capital Projects 0% 100% 0%

Regionalism/Economic Development Fund 22% 4% 74%

Legislative Initiative 98% 0% 2%

Tobacco Proceeds 8% 92% 0%

APPLICATION OF ERIE COUNTY CULTURAL FUNDING - Operations, Capital, Promotional InitaitivesAPPLICATION OF ERIE COUNTY ARTS & CULTURE FUNDING

29%

0%

25%

2%1%

18%

17%

8%

Cultural (ECCRAB - Erie County Cultural Resources Advisory Board - Advises)

Public Benefit

Extraordinary Aid toLocal Governments

Environment &Planning Department

Capital Projects

Regionalism/EconomicDevelopment Fund

Legislative Initiative

Tobacco Proceeds



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SNAPSHOT OF FOUNDATION ARTS & CULTURAL FUNDING

***Figures for each foundation are from their latest IRS Form 990, as available on www.guidestar.org, an online, nonprofit database. Figures represent awards madefor the referenced year; entire awards may be disbursed over several years. Also note, most foundations have committed to awards but have not yet disbursed them and thus they are not represented here.

FoundationOperations

Funding Capital

FundingEducation Funding

Special Initiative Funding

The John R. Oishei Foundation, 2002

The Margaret L. Wendt Foundation, 2003

M&T Bank, 2002

HSBC Bank Foundation, 2002

Community Foundation, Inc., 2002

Community Foundation for Greater Buffalo, 2002

Independent Health, 2003

Statler Foundation, 2002

TOTAL

% TOTAL

$231,300

$0

$0

$568,300

16%

$0

$0

$0

$0

$146,900

$0

$0

$0

$0

$0

$0

$696,900

20%

$10,000

$0

$0

$0

$0

$354,166

$435,321

12%

$143,250

$0

$0

$0

$0

$40,000

$0

$345,624

10%

$0

$0

$939, 175

$25,000

$249,622

$294,030

$0

$0

$1,507,827

42%

$531,450

$939,175

$25,000

$249,622

$294,030

$40,000

$354,166

$3,553,972

100%

$337,000 $550,000 $71,155 $162,374 $0 $1,120,529

Unspecified Total

FOUNDATION FUNDING BY TYPE OF SUPPORT

Foundation Funding for Cultural Tourism (by purpose of grant)

(Total Giving = $3.6 million)

16%

10%

42%

12%

20%

OperationsFunding

Capital Funding

EducationFunding

Special InitiativeFunding

Unspecified


APPENDIX CDEVELOPING A BUSINESS PLAN

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A business plan is needed to convince potentialinvestors – in this case public and philanthropicfunders – that the strategy is viable. Effectivebusiness plans provide a blueprint forimplementation, lend themselves to adaptationand remain useful through several activity cycles,essentially serving as a detailed work programfor the organization.

The following are hallmarks of effective tourismdevelopment business plans, and could serve asguidelines as the entity develops its own businessplan.

...help an entity plan activities, manage resources, assessprogress, attract support and guide staff decisions;

...describe the entity’s organization, governance structure andhuman resource plans;

...include an overview of the entity’s approach, keyimplementation strategies, assessment protocols and expectedresults;

...provide a request and explanation for funding, financialanalyses, pro forma estimates of expenses and anticipatedeconomic impacts.

Business plans...


APPENDIX DMEASURING PERFORMANCE

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One of the keys to A Cultural Tourism Strategy’ssuccess will be identifying, deploying andmaintaining tools to measure its effectivenessin expanding cultural tourism’s contribution tothe Buffalo Niagara economy. The entity willneed to work with the cultural tourismcommunity to design specific measures that:

• Rely on stable data that are easy to collect and remain consistent over time;• Account for known data problems inherent in measuring tourism activity,

particularly distinguishing between impacts attributable to residents and visitorswithin industries that serve both;

• Accommodate data differences across collection unit boundaries (e.g.,jurisdictional, industrial and census classifications, etc.);

• Meld quantitative and qualitative analysis, particularly for capacity building,communication and visitor experience satisfaction;

• Model such measures on efforts that track tourism activity on a larger scale, ineffect to facilitate comparisons to another index.

• Indices: A tool that observes quantifiable changes in business activity relative to abaseline measure. Indices can help measure and compare regional tourist activity,measure tourist spending in terms of a constant value and assist in settingstandards for planning.

• Annual surveys: Whether of visitors, venues or hospitality businesses, thesesurveys help to assess current activity and success. They should be repeatedregularly to facilitate comparisons over time.

• Economic impact evaluations: In measuring direct and indirect economic effects ofvisitor activity, these evaluations help quantify the economic leverage of culturaltourism.

While other countries - particularly Canada andScotland - have used standardized techniquesfor measuring tourism for years, and the WorldTourism Organization has long-establishedprotocols, the U.S. industry has relied on avariety of methodologies:

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APPENDIX DMEASURING PERFORMANCE

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Cultural Tourism Asset Development

Goals:Measures of success of these asset developmentefforts for the first three years ofimplementation of A Cultural Tourism Strategyare guided by the goals of:

1) strengthening and building cultural capacityto sustain operations and serve audiences,and

2) preparing cultural, arts and heritageorganizations for tourism receptiveness.

Three-Year Objectives and Outcomes: Throughout the three-year test phase of thecultural tourism implementation structure,specific objectives will guide the Oversight andAdvisory Council and the Tourism WorkingGroup toward meeting its two-pronged goals.

Year One:• Analyze key cultural, arts and heritage

groups' strengths and weaknesses accordingto characteristics of a healthy organization:

- Resilient to systemic change whilemaintaining focus on mission;

- Funded by multiple, diverse sources ofincome and revenues;

- Active, organized board;- Guided by strategic plan; - Visitor ready in terms of infrastructure,

services, experience;- Able to measure quality of experience;- Commitment to constant improvement;- Advances service, expands audience.

• Establish benchmarks for system-wide andorganizational asset development(attendance, budget, financial strength,membership, customer/audience experience,visitor readiness);

• Determine priorities in terms of keyorganizations and benchmarks;

• Establish programs and strategies forreaching benchmarks.

Year Two:• Implement program;• Measure participation;• Evaluate customer experiences, service

advances toward specific benchmarks asoutlined in Year One.

Year Three:• Continue work of Year Two;• Report back accomplishments (funders,

public, news media);• Determine new directions.

Cultural Tourism Marketing

Many in the region’s cultural, arts, heritage andtourism sectors have strong ideas about thecharacteristics of Buffalo Niagara’s culturaltourism market. But for the most part theregion lacks up-to-date and compelling dataand analysis on existing and potential markets.Certainly a market analysis needs to be one ofthe implementation structure’s first orders ofbusiness.

Such an analysis should generally review theregion’s overall tourism market as well asprovide detailed pictures of each marketsegment in terms of projected growth rates andmember characteristics such as demographicsand spending patterns. It should also define thesusceptibility of market segments to seasonalor cyclical trends, decision-influencers(publications, the Internet, radio/televisionbroadcasts) and decision-making patterns.

The analysis should also evaluate competitordestinations, especially those with offeringssimilar to those of Buffalo Niagara. Theexperience of other destinations can serve as asubstitute for concept and market testing.

Part of this work entails assessing currentmarket saturation for the concept of culturaltourism. Another aspect entails assessinginnovations such as web-based ticketing andcultural tourism websites that have beendeveloped in other regions.

Finally, the analysis should include anevaluation of organizations and institutionsdoing business in Buffalo Niagara withcomplementary or competing missions.

PERFORMANCE MEASUREMENT FOR CULTURAL TOURISM OVERSIGHT & ADVISORY COUNCIL& CULTURAL TOURISM WORKING GROUP

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Reports to:Chair, Cultural Tourism Oversight &

Advisory Council.

The coordinator position is envisioned as fullymobile. The coordinator would work out ofseveral locations throughout Erie and Niagaracounties.

Purpose and ScopeThe coordinator works with arts agenciesthroughout the Buffalo Niagara region to:

• Assist with the organizational assessmentprocess to identify strengths and weaknesses;

• Provide resource materials; • Evaluate need for external training and/or

consulting for both staff and board;• Assist organizations to engage an

appropriate trainer/consultant;• Convene agencies and plan collaborative/

cooperative activities in support of regionalaudience development and cultural tourism.

In addition to working directly with artsorganizations, the coordinator also:

• Works with existing associations of artsgroups to coordinate and supplementofferings;

• Works with local academic institutions(Niagara University, Buffalo State College,University at Buffalo, Canisius College, etc.)to identify areas of training need andcoordinate scheduling and access;

• Works with regional marketing organizations(Buffalo Niagara Convention & VisitorsBureau, Niagara Tourism and ConventionCorporation, Binational Tourism Alliance,Buffalo Niagara Enterprise, etc.) to identifyand develop coordinated packages ofcultural offerings;

• Works with emerging regional initiativessuch as the Niagara Experience Center.

In the initial phase of work, the coordinatorwill also convene executive directors ofregional arts agencies to explore the formationof a formal "Arts Agencies ExecutivesAssociation," modeled on the successful AEAof the United Way of Buffalo & Erie County.The AEA has initiated two other successful

Regional Asset Development Coordinator – Job Description

ventures that should be explored by artsagencies: the CEO Institute, which providesself-determined advanced support forexecutive directors, and Community Connect, acoalition of agencies focused on technologyadvancement, training, and support. Thecoordinator (and/or staff) would provideongoing support to any of these endeavors thatare undertaken.

This Asset Development model will be basedon the model of the Not-for-Profit ResourceCenter of the United Way of Buffalo & ErieCounty which assists such organizations inproviding programs and services by becominga stronger organization. Indeed, the centerasserts that the most effective programs in thenot-for-profit sector are sustained by strongorganizations, and strong organizations displaya willingness and ability to continuously learn,to improve and to adapt to change. It is thecenter’s mission to optimize the effectivenessof these not-for-profits by making themstronger organizations.

The center also acts as a resourceclearinghouse, identifying the needs of anagency in the target market and then matchingthe appropriate community resource best ableto meet those needs. The focus is placed onchanneling expert resources to human serviceagencies seeking to strengthen one or more ofthe following critical organizationalcapabilities:

• Business and strategic planning; • Leadership and performance enhancement; • Organizational and resource development; • Collaborative strategies.

See Appendix D for more information onspecific goals, objectives, expected outcomes,and duties as they relate to asset developmentfor cultural tourism.

acknowledgements - university at buffalo

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