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Executive summary This

1.1 Introduction Tourism is an activity done by an individual or a group of individuals, which leads to a motion from a place to another. From a country to another for performing a specific task or it is a visit to a place or several places in the purpose of entertaining which leads to an awareness of other civilizations and cultures, also increasing the knowledge of countries, cultures, and history Tourism has a direct impact on the national revenue for all touristic countries, it creates work opportunities, industries, and several investments to serve and raise nations performance and cultures, also distributes their history, civilization, and traditions. Tourism is an important industry that depends on culture and science Tourism industry in Alexandria is reviving an ingrained past where Alexandria was the hub of East !est commerce, achieving a present that possesses all tourism industry assets, and orienting a future where touristic development, environmental and urban development, and touristic investments are essential posts of Alexandria touristic future. Tourism has become a popular global leisure activity. Tourism can be domestic or international, and international tourism has both incoming and outgoing implications on a country"s balance of payments. Today, tourism is ma#or source of income for many countries, and affects the economy of both the source and host countries, in some cases it is of vital importance.

Art and culture of Karnataka The southern state of $arnataka, in %ndia, has a distinct art and culture. The diverse linguistic and religious ethnicities that are native to state of $arnataka combined with their long histories have contributed immensely to the varied cultural heritage of the state. Apart from $annadigas, $arnataka is home to Tuluvas, $odavas and $onkanis who also consider themselves as $annadigas. &inor populations of Tibetan 'uddhists and (iddhi tribes plus a few other ethnic groups also live in $arnataka. The traditional folk arts cover the entire gamut of music, dance, drama, storytelling by itinerant troupes, etc. )akshagana, a classical folk play, is one of the ma#or theatrical forms of coastal $arnataka. *ontemporary theatre culture in $arnataka is one of the most vibrant in %ndia with organizations like +inasam, ,anga (hankara and ,angayana active on foundations laid down by the -ubbi .eeranna +ataka *ompany. .eeragase, $amsale and /ollu $unitha are popular dance forms. 'haratanatya also en#oys wide patronage in $arnataka. 1.2 Meaning of culture? *ulture is a word for people"s "way of life", meaning the way groups do things. /ifferent groups of people may have different cultures. A culture is passed on to the next generation by learning, whereas genetics are passed on by heredity. *ulture is seen in people"s writing, religion, music, clothes, cooking, and in what they do.

The concept of culture is very complicated, and the word has many meanings. The word "culture" is most commonly used in three ways.

Excellence of taste in the fine arts and humanities, also known as high culture. An integrated pattern of human knowledge, belief, and behaviour. The outlook, attitudes, values, morals goals, and customs shared by a society.

&ost broadly, "culture" includes all human phenomena which are not purely results of human genetics. The discipline which investigates cultures is called anthropology, though many other disciplines play a part. *ultures are what make countries uni0ue. Each country has different cultural activities and cultural rituals. *ulture is more than #ust material goods, that is things the culture uses and produces. *ulture is also the beliefs and values of the people in that country. *ulture also includes the way people think about and understand the world and their own lives. *ulture can also vary within a region, society or sub group. Each society1s culture will defer from place to place. A region of a country may have a different culture than the rest of the country. For example2 'angalore1s dance forms defer from $erala1s dance forms such as $erala1s most famous dance form is $athakali and $arnataka1s most famous dance form is dollukunitha. *ulture is manifested in music, literature, painting and sculpture, theatre and film and other things. Although some people identify culture in terms of consumption and consumer goods 3as in high culture, low culture, folk culture, or popular culture4,

anthropologists understand 5culture5 to refer not only to consumption goods, but to the general processes which produce such goods and give them meaning, and to the social relationships and practices in which such ob#ects and processes become embedded. For them, culture thus includes technology, art, science, as well as moral systems. Anthropologists most commonly use the term 5culture5 to refer to the universal human capacity to classify codify and communicate their experiences symbolically. This capacity has long been taken as a defining feature of the humans. 6owever, primatologists have identified aspects of culture among humankind"s closest relatives in the animal kingdom. As a rule, archaeologists focus on material culture 3the material remains of human activity4, whereas social anthropologists focus on social interactions, statuses and institutions, and cultural anthropologists focus on norms and values. This division of labour reflects the different conditions under which different anthropologists have worked, and the practical need to focus research. %t does not necessarily reflect a theory of culture that conceptually distinguishes between the material, the social, and the normative, nor does it reflect three competing theories of culture. 1. Meaning of an organi!ation? An organization 3or organization4 is a social entity that has a collective goal and is linked to an external environment. The word is derived from the -reek word organon, itself derived from the better known word ergon which means 5organ5.

1." Meaning of cultural organi!ation? *ultural organization means the organizations which conserve and preserve the cultural activities of a region .these organizations also teach and showcase the arts such as dance, music, handicrafts etc. 7.# !ho are cultural tourists? *ultural tourists are those who are interested in know and to learn about the cultural activities of that particular region. They come and watch those activities such as dance, music, art and handicrafts etc. 1.$ %hat are cultural activities? *ultural activities are those activities such as dance of a particular region, music of a particular region, or art and handicrafts of a particular region etc.

1.& cultural organisations in 'angalore 'harathiya vidhya bhavan %ndiranagar sangeetha sabha %ndian &usic &alleswaram Abhinaya $ala .idaru $arnataka (angeetha +ritya Academy &inistry of *ulture

%ndian %nstitute of !orld *ulture $arnataka 8anapatha and )akshagana Academy 1.( cultural activities in these cultural organi!ations The cultural activities of a cultural organization are that conserving and preserving the cultural activities of a region. $arnataka is the only south %ndian state where both 6industani and *arnatic singers flourish. +orth $arnataka is predominantly famous for 6industani music and (outh $arnataka is well known for *arnatic music, and so most of the cultural organizations teach these music forms in their organization. (ome of the dances forms of that these organizations teach as well as perform at their organization are2 'eesu kamsale /ollu kunitha -oravara kunitha $amsale $olata 9aata kunitha 9uravanthike

$angilu kunitha 'olukat /appu kunitha (uggi kunitha :mmathat *hitmela -umatepong. etc, are performed there and they also perform these while they have any programs outside of their organization

1.) The role of cultural organisation in tourism industry. The roles of cultural organisations are is very important in order to promote the culture and the tradition of a particular region where it comes to 'angalore as destination it is a city which has enough of attractions for a tourist to visit but then a cultural tourist to visit this destination, cultural organisations play a very important role in order to promote their destination, like whenever there is an event takes place then they will come up with the folk dance forms such as kamsale, dollu kunitha etc, which catch the attention of the tourists and after watching them they will be more enthusiastic to know about the dance forms and they deeply know about it and finally they reaches any of the cultural organisation where they have these dance forms.

7.7; *eed for the study? To know more about all the cultural activities of 'angalore. To know about the cultural organizations in 'angalore. To know about their contribution to tourism of 'angalore. To analyze the impact of cultural organizations in tourism of 'angalore. To know the engagement of cultural organizations in increasing the tourism demand in 'angalore

1.11 +tatement of the ,ro-lem. title of the study %mpact of cultural organizations in tourism development2 'angalore 1.12 +co,e of the study Time < the study is based on the performance of the cultural organisations during the year =;7> =;7?. /egion .location 0 The study is mainly focused in 'angalore as a location.

1.1 1-2ectives of the study To know the the impact of cultural organisations in terms of tourism development.

To know the role of cultural organisations in the tourism market. To study the flow of cultural tourists in to 'angalore.

1.1" 3imitations of the study The pro#ect is sub#ect to limitations such as the use of secondary data will not allow us to find accurate reasons for the change during the years The results may also have different interpretation 9ast data will not help to accurately #udge the future performance of the organizations as the trend and interest may or may not continue in the future

4lindsay adomson5 3.261 75 This dissertation explores three distinct memorial sites that
are fre0uented by tourists and that shape cultural memory through performance in the :nited (tates of America2 Tombstone, Arizona@ *olonial !illiamsburg, .irginia@ and +auvoo, %llinois. Each of their sites, was contend, is representative of influential narratives of national remembrance@ each also, however, is simultaneously evidence of hidden and oppressed narratives that haunt the spaces of and performances featured at the site Finally, +auvoo, %llinois reproduces a time of religious fervor in the history of an 5American5 religion, the *hurch of 8esus *hrist of Aatter day (aints but the pristine faBade of sacred spatial encounters is disrupted by the doctrinal schisms that are revealed through spatialized performances of A/( history.

And also it contributes to mainly three formations2

All three of these sites contribute to the formation of a conservative :( identity which is based on revisionist national histories that whitewash the past@ they says that the study challenges that identity based on an examination of how performance is utilized by curators and also historians to 5make5 memorial spaces that, in turn, affect how historical events are recorded and remembered in the :nited (tates. They also argue within these pages that memorial places are characterized by their curators" creation and also use of 5per formative spaceC space which performs operations of remembrance for visitors to reinforce particular national narratives of belonging and historical meaning. This analysis of memorial places poses the following 0uestions such as 6ow is performance used to produce and circulate national memoryD, 6ow does embodied experience of historical places affect one"s understanding of the pastD, 6ow are memorial places created, maintained, and marketed through performanceD :ltimately, the analyst claim that, by analyzing how these three memorial places are produced and experienced through performance, one can discover history"s double, the :( past which has been lost, hidden, or occluded in the celebratory narratives that have long shaped what it means to be a :( American.

4ro-ert5 8.261 75 This dissertation examines how :nited (tates audiences experienced three world"s fairs in the late nineteenth century2 the *entennial Exhibition 39hiladelphia, 7EFG4, the !orld"s %ndustrial and *otton Exposition 3+ew Hrleans, 7EE? 7EEI4, and the !orld"s *olumbian Exposition 3*hicago, 7EJ>4. 'y comparing official discourse with audience response, this pro#ect considers how fairgoers can be said to have embodied, or performed, concepts such as 5America5

and 5*ivilization.5 !hile scholars have studied expositions as hegemonic spectacles, this dissertation examines how individuals wielded increasing agency throughout the -ilded Age. %n the first chapter, he surveyed guidebooks, publicity materials, and architecture to establish how fair officials attempted to frame the exposition experience as an educational duty. 'y acting as an orderly spectator, fairgoers were promised they would contribute to the continual evolution of :nited (tates society. %n the following two chapters, he highlights the tension between educational and entertaining displays in ma#or exposition halls. Even while officials strove to present uplifting exhibits, fairgoers were captivated by entertaining, performative displays. 6e looked at how expositions affected the theatre cultures of their host cities, even while they were being shaped by an increasingly pervasive theatrical sensibility. The final chapter provides an account of first person responses and experiences, paying particular attention to how tourists constructed their itineraries and engaged official rhetoric.

42ane5 9. 261 7, &usic study tourism is a form of cultural tourism where travelers have the opportunity to study and perform music and dance with local artists. This thesis focuses on two cultural centres1 in -hana that offer educational music and dance travel packages to foreign guests. :nlike most other venues for cultural tourism that separate performers from the audience, the sites featured in this work give visitors the opportunity to fully participate in music and dance productions. The study draws on theoretical ideas from ethnomusicology and anthropological work on tourism, exploring concepts such as the tourist borderzone, the 0uest for

authenticity, and cosmopolitanism. &usical devices and modes of transmission are examined to show how !est African music translates from local artists to visitors while simultaneous reinforcing a sense of community.

4matthe:5 T. 261 75 This dissertation investigates symbolic and political dimensions of the representation of &aya culture for global tourist consumption. After tracing the nineteenth century origins of a western fascination with &ayan culture, he demonstrates how three classic tropes remain prevalent in mainstream media representations of -uatemala"s thriving &aya tourism sector. 6e then compare representations of &aya culture in guidebooks, websites and other popular texts with a shift away from dominant representational logic in alternative tourist media. 'y combining critical discourse analysis with ethnographic field research in Kuetzaltenango, -uatemala, he offers a detailed picture of the shifting dynamics of tourist representation in developing communities.

4erie5 '. 261 75 This thesis presents a micro ethnographic investigation of 9eter Aloyd, a 8amaican reggae singer who performs regularly in several of 8amaica"s best known all inclusive hotels, and of the ways in which he navigates the opportunities and constraints that such performance contexts present him in his efforts to not merely entertain his non 8amaican tourist audiences, but also educate them about local life, music, and culture.

(he argue that we cannot fully understand the transformative impact that 9eter seeks to achieve unless we take into account not #ust the songs that he sings, but the didactic speech or 5stage talk5 that he employs to introduce and explain those songs, as well as the vast array of skills and bodies of knowledge which underlie both the musical and the verbal dimensions of his multifaceted touristic performances.

4lena.261 7.This study takes an interdisciplinary approach by examining these exhibitions as a process, where an interdependent relationship based on the knowledge of familiar folk narratives is formed between the latent performer 3seller4, the pitchman 3lecturer4, the performer 3display4, and the audience. The presentation, marketing, and reception of these entertaining and unusual exhibitions are analogous to various forms of folklore, and therefore function in the same manner as folklore.

4Ana ;aula5 <. 261 7.This dissertation analyzes capoeira"s choreographies of Afro 'razilian modernity and tradition throughout the twentieth century. From the 5national gymnastics5 proposals of the 7J=;s to the *apoeira AngolaL*apoeira ,egional split in the 7J>;s and ?;s from capoeira"s participation in 'ahia"s tourism industry in the 7JI;s to the adaptations of capoeira for the international stage in the 7JG;s and 7JF;s. 'y using movement analysis to revisit iterations of capoeira previously dismissed as cooptation, de Africanization, and 5loss of character,5 she identifies previously

overlooked processes through which capoeira"s Afro diasporic 5traditions5 were tactically re articulated through the hegemonic discourses of modernity.

4+hoshanah 'ar-ara 8iane5 =. 261 7.This dissertation is a comparative case study that investigates the increased presence of arts and culture in the economic development toolkits of Toronto and +ew )ork over the decade. Archival and historical data, in addition to interviews with elite actors provide a rich cache with which to answer the thesis 0uestion. Through the use of agenda setting theory, she also found ways that arts and culture have been integrated into policy making and urban planning for economic development in each city. (he have observed that Toronto and +ew )ork are building and facilitating cultural districts, attracting and also retaining creative workers, and articulating economic arguments for arts and culture in order to generate revenues and secure government and private support. Each city underwent a shock during the early part of the decade. For Toronto, it was the endogenous shock of amalgamation, and for +ew )ork the exogenous shock of JL77. %n both cities, arts and culture were employed as a part of the economic development toolkit to revitalize decaying areas, attract residents and tourists, and distinguish themselves from other cities. (he also found that each urban centre used arts and culture extensively to create a cultural city in the case of Toronto, and to recreate a cultural city in the case of +ew )ork.

9olicy recommendations include utilizing research and strategic planning, building relationships and stakeholder partnerships across policy domains and sectors, and focusing both on public good and economic benefit when integrating arts and culture into economic development interventions.

4 sarah51. 261 7This study examines transnational connections between art as advertising and the tourism industry. The development of railroads, and later airlines, played a crucial role in the growth of travel. Art posters supported this expansion. 'y the mid twentieth century, art posters gained wide acceptance for encouraging leisure travel. 9osters and paintings were constructed by artists to visualize destinations, underscoring the social status and modern convenience of tourism. This thesis describes how advertising, as an aspect of popular visual culture, offered compelling parallels to stylistic development in modern art.

4>ie5 ;hili, ?eifan 26617 *ultural tourism provides opportunities for ethnic minorities to showcase their cultures, customs and heritage. At the same time, it causes a series of tensions and issues of authenticity and commodification have been the sub#ects of lively debate among tourism researchers. This thesis develops a conceptual framework that is employed to enhance understanding of the authenticity of cultural tourism when ethnic Ai communities in 6ainan %sland, *hina, experience tourism development. Folk villages are used as a significant point of access for investigating the tensions which emerge in

authenticating cultural resources. Four key stakeholders are identified2 374 governments@ 3=4 tourism businesses@ 3>4 visitors@ and, 3?4 ethnic communities. Five pairs of yardsticks were developed based upon (wain"s 37JEJ4 work to examine the issue of authentification. The findings of them suggest that authenticity is relative rather than absolute and, like beauty, is in the eye of the beholder. Therefore, they says that it is necessary to shift from a previous focus on the nature and identification of authenticity to the more tractable 0uestion of authentification. The various stakeholders exhibit different positions with respect to the various paradoxes and the tensions that exist between their poles. For example, governments pay more attention on the control of ethnic autonomy whilst tourism businesses prioritize the economic development. 4Macy5 el!e-eth 26167 This dissertation investigates the place of local music in the process of tourism recovery in post disaster economies@ my two ma#or case studies are post $atrina +ew Hrleans, Aouisiana and 'ali, %ndonesia after the =;;= and =;;I bombings. Through their two case studies % seek to compare2 the role music has played in the development of tourism, the historical development of tourism in each location, how tourism commodifies culture and creates 5authenticity,5 the way in which youth culture and music collide in tourism locales, how man made disasters impact tourism and tourist locations, and post disaster tourism economies. This dependence upon commodified culture provides the necessary theoretical framework to address music tourism in recovery situations. % approach the commodification of culture in +ew Hrleans and 'ali as a means of reestablishing

each city"s economy in light of their diverse disasters and the impact they each had upon the tourism industry. &y research aims to address how music tourism has shaped, and will continue to shape, the rebuilding of +ew Hrleans and 'ali as marketable, and bankable, tourism locales

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*ultural organisations are those organizations which are the soul of particular regions cultural activities where these organizations preserve and conserve the cultural activities of a particular region or a particular place. .2 1,erational definitions 9ultural organi!ation

*ultural organizations means the organization which conserves and preserves the cultural activities of a region, these organizations also teach and showcase the arts such as dance, music@ handicrafts etc. These organizations also showcase the culture of a particular region or a place. 9ultural tourist

*ultural tourists are those who are interested in know and to learn about the cultural activities of that particular region. They come and watch those activities such as dance, music, art and handicrafts etc. 9ultural activities

*ultural activities are those activities such as dance of a particular region, music of a particular region, or art and handicrafts of a particular region etc. There are many musical programes that which take place in 'angalore everyday that bringe lot of

cultural tourists to the city and also the dance forms of $arnataka also gains lot of attractions in 'angalore tourism.

. +am,le si!e
The sample size used by me for this research was FI respondents.

." +am,le techniAues BKuestionnaire .# 8ata and sources of data collections


Kuestionnaires were prepared and some of the Kuestionnaires were send online and the rest of the Kuestionnaires were filled by going personally to the respondents.

.$ Methods of data collections


The method of data collection is personally distributing the 0uestioners and re0uesting them to fill it up.

.& Tools used


The tool which % used for the purpose of doing this research was 0uestionnaire method and targeted FI respondents who were having close relation with the cultural organisation.

.( The various techniAues used in the data analysis


The main techni0ue which is used in this research is the pie charts to show how many percentages of the respondent1s respondent answered accordingly. And also the tables are also shown the item, no of respondents and the M of respondents etc.

.( 9ha,teri!ation 9ha,ter 1
*hapter 7 talks about introduction to tourism in general and introduction to the study that is N%mpact of cultural organization in promoting tourism 2 'angalore . There are also some of the basic meanings of some necessary definitions and the chapter also throw lights own the need for the study , ob#ectives of the study , title of the problem , scope of the study and the limitations of the study.

9ha,ter 2 *hapter = shows the review of literature around 7= articles are been reviewed about the cultural organisations most of the articles rae of from outside %ndia. !hich talks about their involvement in the development of tourism and their cultural activities .

9ha,ter *hapter > talks about the research methodology and the research techni0ues. %n this chapter introduction to the title or the problem of the study is given and various other information1s about the operational

definitions and sampling size and the sampling techni0ues are given , and about the data and the sources of data collections, methods of data collections and the various techni0ues used in analysis of data are given . *hapter > also talks about each chapter in this research , chapter 7,=, >, ?, and I is is briefly explained . 9ha,ter " This chapter is data analysis and interpretation about the data collected .as the the tool used here to collect the source is 0uestionnaire method it consisted of 7> 0uestions and each 0uestions and the responds is been analysed and showed it in the form of a table and in the form of pie digram and the interpretations are also given. 9ha,ter # This is the last chapter which is the finding, suggestion and the conclusion , where in the findings of the study is been given and some of suggestion ar als given and finally ended it by giving a conclusion.

Tourist visiting the organisations Table no 2?.7

%tems

+o of respondents

M of responds

)es +o

IE 7F

FF.>> ==.GF

Fig2?.7

%nterpretation There was a very good responds fron the respondents, where in out of FI respondents IE3 FF.>>4 of them said that there are tourists visiting their organisations, and 7F3 ==.GG4 of them said that there are no tourists visiting there organisation.

9eriod of visiting the cultural organisation Table no 2?.= %tems &onthly !eekly Annually +o of respondents =I =E == M of respondents >>.>? >F.>> =J.>>

Fig2?.= %nterpretation

The period of visiting the cultural organisation as per the respondents there were out of FI , =I 3>>.>?4 of them said that monthly tourists visit there organisations and =E, 3>F.>>4 of them said that weekly they have tourist visiting there organisation, and ==, 3=J.>>4 of the said that they have annual visitors. *ultural activities Table no 2?.> %tems Traditional music Art and handicrafts Folk dances All of the above +o of respondents =F 7G 7? 7E M of respondents >G =7.>> 7E.GF =?

Fig2 ?.> %nterpretation Hut of FI respondents =F of the responded on traditional music and 7G of them said that art and handicrafts are carried down in cultural organisations and 7? of them said

that folk dances are mainly focused and remaining 7E of them said that all of the activities are carried down. 9urpose of the visit to the cultural organisations Table no2?.? %tems Aeisure purpose $nowledgeable purpose +o of respondents ?E =F M of respondents G? >G

Fig2 ?.? %nterpretation The purpose of visiting an cultural organisation from the respondents out of FI were ?E of them said it would be for leisure purpose and =F of them said that it would be for knowledgeable purpose.

Tourist1s involvement in cultural activities in cultural organisations Table no2 ?.I %tems )es +o +o of respondents ?7 >? M of respondents ?I I?.GF

Fig 2?.I %nterpretation *ultural tourists involvement in the activities showcased in the organisation also were asked to FI respondents and out which >? of them said that yes they do participate in the activities in the organisation and the remaining ?7 of the respondents said that they do not participate in any of the activities in the organisation.

&ode of promotional activities

Table no2?.G %tems +ews paper T. Hnline !ord of mouth +o of respondents 7I 7= I ?> M of respondents =; 7G G.GG IF.>?

Fig 2?.G %nterpretation The mode of promotional activities of the organisation that is in what all way they make an awareness of there cultural organisation and their cultural activities , out of FI respondents 7I of them said that they promote through news papers and 7= of them said that they promote through T. and only I of the respondents said that they are promoting through online and rest ?> and the ma#ority of them said that they have no mode promotional activities. Educational programme Table no 2?.F

%tems )es +o

+o of respondents I= =>

M of respondents GJ.>> >;.GF

Fig 2 ?.F %nterpretation The educational programmes provided by the cultural organisations, out of FI respondents ma#ority that is I= respnded that there is educational programmes provided by the cultural organisations and the rest that is => of the respondents said that there is no educational programmes provided by the cultural organisation.

/emand for educational programmes Table no 2?.E

%tems )es +o

+o of respondents >E >F

M of respondents

Fig 2?.E %nterpretation The demand for the educational programme carried out by the cultural organisation have good demand as out of FI respondents >E of them said that there is good demand , and res >Ft of them said that there is no demand for the educational programmes carried out by the cultural organisations.

Educational programmes provided

Table no 2 ?.J %tems &usic /ance Art and handicrafts +o of respondents >F => 7I M of respondents ?J.>> >;.GF =;

Fig 2?.J %nterpretation The educational programmes provided by the cultural organisations are out of FI respondents >F of them said that they offer music and => of them said that they offer dance cources and rest 7I of them said that they offer art and handicrafts.

-ains attraction of the foreigners Table no 2?.7; %tems Through fairs Exhibition +o of respondents 77 E M of respondents 7?.GG 7;.GG

Through programmes

cultural IG

F?.GG

Fig2 ?.7; %nterpretation &ost of the respondets said that they gain the attraction of the foreigners through there fairs which they conduct

*ontribution to the tourism industry Table no 2 ?.77 %tems +o of respondents M of respondents

)es +o

G? 77

EI.>> 7?.GF

Fig2 ?.77 %nterpretation 6ere the contributions of cultural organisations are analysed where in most of the cultural organisations contribute well for the promotion of the tourism in 'angalore that is EI.>>M of the responds says that they contribute well and rest that is 7?.GF of the responds says that they do not contribute well for the promotion of tourism of 'angalore

?indings Tourist visiting the cultural organisatios is very high in numbers

&ost of the tourist visit these organizations monthly as these organizations have their own cultural activities and cultural programs

&ost of

the cultural activities the cultural organizations showcase are

traditional music programs The purpose of a cultural tourist visiting the organizations are mainly for leisure purpose and Hther purpose of visiting these organizations are for the knowledgeable purpose &ost of the tourist coming to these organizations do not prticiate in the activities of the organizations

suggestions

9onclusion

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