ࡱ> MOHIJKLybjbj {{DDDDDLTDs0rrrrrrr$ux#sQ#sts ! ! !Rr !r ! !k-rGк}nLrs0snd8y8y-r8y-r !#s#sc s8y :Managing the cultural offering and guest spending in the hotel Marina Lakarin, MSc. Economics Faculty of Tourism and Hospitality Management, University of Rijeka, Primorska 42, p.p.97, Ika, 51410 Opatija, Croatia marinal@fthm.hr Abstract Recent data on the average daily spending of tourists in the Republic of Croatia reveal a minor share of spending in the sphere of culture (in 2010, out of the average daily spending amounting to 58 EUR, only 0.66 EUR were spent on culture), making it necessary to redefine the cultural offering in order to augment guest spending. The obvious inadequacy in the ability to strategically position certain attributes in the domain of the cultural offering of hotels determines the research subject of this paper, which focuses on the cultural offering in hotels. Although it is an illusion to expect that there can be any increase in guest spending in consuming the cultural offering without well-conceived marketing, this paper underscores the role of management that shoulders the greatest responsibility in designing a cultural offering and augmenting the spending of the offers consumers. The paper suggests potential areas in which the cultural offering could be introduced in a hotel, and it presents various forms of a special catering offer to match the cultural offering in the hotel. The scientific contribution of this paper is seen in the definition of a model encompassing the processes of planning, organizing, executing and controlling special catering within the context of the offering of a variety of cultural events suited to hotels of different types, sizes and categories. Ultimately, the application of the model will confirm the basic hypothesis of this paper: appropriate forms of the cultural offering in the hotel can create real preconditions to augmenting the occupancy rate of accommodation and consumption capacities, prolonging the tourist season, and increasing the basic and additional spending of hotel guests. Keywords: management, hotel, culture, guests, spending. Introduction It has become fashionable to consume culture while holiday-making. Sightseeing, visiting museums, and attending concerts, exhibitions and similar cultural events are among the activities available to this end. Although holiday-makers are increasingly looking for sports and recreational services and facilities, shopping opportunities, etc., no experience can enrich and improve a holiday in the same way that a cultural experience can. However, cultural tourism simply is not what it used to be, and the number of tourists who travel to a region with the exclusive intention of visiting a specific site is much less than before. That is why such a site must be offered to tourists. Croatia, however, lacks an integrated tourism offering within the framework of systematic tourism promotion. Cultural tourism today no longer means visiting a spot and sightseeing. Instead, it implies connecting with the everyday life of a place. As with many other social phenomena and constructs, there is no generally accepted definition of theory for the term culture. In its broadest possible sense, the term has change and developed through the history of human society. Many authors have tried, in one way or another, to give the term a singular definition. For example, [1] sees culture as the totality of material and spiritual goods, and ethical and social values created by humankind. While one group of authors [2] argues that culture is the sum of all spiritual, moral, social and production-related activities belonging to a society or an epoch, another group [3] considers culture as being the result of the specialisation of people in a specific area, leading to a distinction between literary, musical, visual arts and other types of culture. It is this approach to defining culture that is the most appropriate with regard to the research subject which aims to underline the importance of a cultural offering in hotels in helping to increase guest spending. The existing definition can further be broadened with the view that culture is vital in understanding and developing cultural identity as a fundamental determinant of people within a community [4]. The importance of culture in the tourism and hospitality industry is seen in its independence of the tourist season. In other words, culture is a product that can be offered to guests at any time of year. It is, however, dependent on the human factor. There are not many countries that can match the numerous cultural assets Croatia possesses. As a result of poor cooperation between workers in culture and tourism, cultural events and services are disorganized and are provided at the level of short-term projects instead of according to given criteria with the framework of a system. The cultural function of tourism has a dual role. It has an effect not only on tourists, but also on the residents of tourist towns. The contribution of culture is reflected in its [5]: direct aspect (acculturation) and indirect aspect (enculturation). While the term acculturation (from the Greek a no, and the Latin cultura cultivation) signifies a process in which tourists enrich their cultural awareness by absorbing new elements during their stay in a destination, enculturation refers to a process by which tourists learn what they can about a destination prior to arrival. However, the information they garner does not necessarily always provide them with an accurate picture of the destinations culture. The rule to apply is, If the tourist experience is authentic (regardless of the real truth) and if selling that type of culture does not conflict with the opinions of residents, then both sides will be satisfied, and that is what matters the most [6]. A hotels management plays a decisive role in accomplishing objectives that focus on augmenting tourist spending, that is, increasing the spending of the guests and visitors of a hotel facility. This role involves all managerial levels, ranging from the hotel manager across department managers to front line managers. Whether a hotel will be able to attract guests and persuade guests to buy hotel packages in which cultural events and services are included depends upon the creativity and ability of all its managers to design a variety of cultural services and facilities. This can have the following effects: It can help to increase the occupancy rates of accommodation facilities and create preconditions for prolonging the tourist season; in other words, increase occupancy rates in the pre-season and after-season [7]. It can lead to greater additional spending, thanks to cultural events that are attended not only by hotel guests (for whom the price of the package also includes hospitality services), but also by the guests of neighbouring hotels, as well as residents. It can improve the image of a hotel facility, which is now perceived as being focused on cultural events and on the cultural public. For cultural endeavours in a hotel to succeed, merely designing events is not enough. Instead, the hotels management must focus heavily on carrying out a variety of marketing activities and using the best possible promotion channels on the domestic and foreign tourist markets, as well as within the immediate and extended destination. CULTURE AS A MARKET COMPONENT OF THE HOTEL OFFERING In the face of globalization, which has made it possible to buy anything and everything over the Internet, the cultures of individual nations are the only trace left of diversity. Only these cultures can encourage tourists to stop following the money and travel instead for the purpose of discovering the national contributions of various civilizations. As D.A. Jelen i puts it,  The first letters of the alphabet of cultural tourism are A (Authenticity), B (Business) and C (Culture) , meaning an authentic cultural offering provided in well-designed business packages [8] The data of the World Tourism Organization (UNWTO) indicate that cultural tourism around the world is growing at a rapid rate. Relying mostly on better educated guests with special interests, cultural tourism is gaining in importance and, together with other high special-interest areas, it is shifting from the segmented market into the sphere of the primary market [9]. Statistics is an unyielding discipline, and it shows that not less than one-third of all tourist travels in the world involve one or another form of cultural consumption. This means as many as 300 million potential guests, a number that experts estimate will increase by one-fifth by 2020. WTO experts also predict that by 2020 cultural tourism will grow at an average annual rate of 15 per cent, while overall world tourism is expected to grow at an average annual rate of only four per cent. In this age of modern marketing, Croatias tourism and hotel industry need to develop brands that will make them distinctive on the foreign tourist market. In this context, culture is indispensable. Has the Croatian hotel industry succeeded in using culture to develop brands? The answer is no. Cultural and historical facilities, cultural heritage, and cultural achievements in the fields of music, painting, sculpture, drama, architecture, ethnography, folklore, gastronomy, etc. are poorly valorised for tourism purposes. The tourism offering has failed to encompass these elements of culture or has substituted them with second-rate forms of entertainment that are copied from abroad. This argument underlines the need for closely studying all potential types of cultural events, services and facilities in the immediate environment in which tourists are staying, as well as for seeking ways in which these cultural events and facilities could be effectively incorporated into the tourism and hotel offering. Hotels clearly fail to create and present cultural products within the context of their attributes in the overall tourism offering. Culture can be promoted within a hotel in a number of ways: The walls of hotel rooms can be decorated with original paintings that guests will associate with the region to which they have travelled (cheap Chinese pictorial reproductions decorate most hotel rooms). Social areas can be used to organize exhibitions featuring artists living and working in the areas in which the hotel operates. This is an excellent opportunity for promoting local artists who find it difficult to establish themselves within a broader cultural area. Musical entertainment promoting local folklore and musical customs can become part of the standard offering of a hotels dining and drinking areas. Generally acknowledged are the efforts of enthusiasts to promote culture through gastronomy. This trend has taken wing in Croatia as well, and is primarily focused on identifying the distinctive specialties of the countrys individual regions. However, it is one thing to develop a scenario to increase the number of beds and tables in a hotel, and completely another thing to offer guests bland international cuisine served in Italian tableware with German cutlery and Czech glassware on Slovene tables covered with tablecloths made from Chinese textiles. Food and wine experts cannot seem to agree whether Croatia has a dish that is in the league of the Italian pizza, the Spanish paella or the Greek mousaka. Does Croatia have a house wine of regular, decent quality at popular prices? Is there a Croatian way of setting a table or serving a meal? Does Croatia have its own catering folklore? Is there a range of Croatian souvenirs? Does Croatia have its own tourism architecture or style of interior decorating? Is there a Croatian design of hotel and restaurant textiles, cutlery, tableware or glasses? Culture is also promoted through national evenings, which should be organized more frequently, instead of only on the last day a group of visitors is staying at a hotel. National evenings are an opportunity to promote the national costume, music, gastronomy, customs and folklore of a region. They are an excellent occasion to present, in one place and at one time, a number of elements of a specific regions or peoples culture. While Croatian hotels do organize such evenings, these events usually lack a suitable host and promoter who could explain to guests foreign ones, in particular what is taking place. Almost never or very rarely, and only in very few hotels, do guests have the opportunity to watch a film about a hotels history (in hotels that have a historical background to show). Projected at an appropriate time (during afternoon tea), the film would help guests learn about the hotels past and the celebrities who stayed there. Unlike an exhibition of photographs of famous people, set up in a hallway, with a brief outline of the hotels history, this type of presentation would provide guests with a lasting memory. A hotel is not a secluded sanctuary; its role is to provide hospitality services. It should also provide culture to guests, who are, in this case, consumers of culture, just as they are consumers of food in the hotel restaurant. The cultural offering should be supported by a hospitality offering that will bring the hotel economic benefits. SEGMENTING THE CONSUMERS OF THE CULTURAL OFFERING Learning about cultural monuments and events is ranked eighth among the primary travel motivations of tourists travelling to Croatia. Nevertheless, this is the travel motivation of every ninth hotel guest. Where spending on cultural events is concerned, hotel guests spend more than guests staying in campsites, tourist resorts and private accommodation. Because hotel guests are willing to spend more on culture than other tourists, regardless of their travel motivation, this makes it necessary to take a closer look at the quality of cultural events in hotels. Namely, it can be assumed that hotels have failed to create well-designed cultural offerings, despite the fact that they possess the financial, tangible and intangible assets, as well as personnel, required to do so. Recent studies (TOMAS 2010.) concerning tourist satisfaction with the cultural offering in destinations show that the offering of cultural events is ranked 24th out of a possible 27 places. The results of numerous other studies also speak poorly in favour of the connection between tourism and culture. To reverse this situation calls for the close cooperation of all actors in tourism, in particular where organizing events at the destination level is concerned. It is also necessary to raise awareness of the influence of other aspects on spending. Namely, the consumption of culture is no longer limited to serious-minded, purposeful visits to cultural venues. Instead, it has become part of a destinations atmosphere that tourists and residents create together [8]. When it comes to promotion and marketing communication in culture and the arts, it is not enough to merely design and offer a good product and service and then wait until news of it reaches people [9]. It is necessary to develop a promotional plan and a marketing communication plan. Like any other organization, the hotel must build relationships with all stakeholders and it must communicate with target segments. It is the task of a hotels marketing department to successfully market a product/service and to communicate with sponsors, as well as with tourist to gain a win-win situation. A hotels cultural offering should be considered the same as any of its other daily service offerings (accommodation, food and beverages). The guests are consumers, with the cultural offering providing them with spiritual food for their souls [10]. The division of potential consumers of cultural services and facilities in hotels (Fig. 1) determines the tasks that a hotels marketing and sales department needs to carry out, while keeping in mind that each segment of potential consumers can, to a varying extent, help to increase consumption. POTENTIAL CONSUMERS OF A HOTELS CULTURAL OFFERING  Source: By the author Hotel guests, whose primary travel motivation is culture, are guests who expect cultural events to be organized at a highly professional level. These guests are willing to pay money for value. Unlike them, hotel guests who use a hotels accommodation services but whose primary travel motivation is not culture (but rather business, leisure, recreation, etc.) will be pleased to consume the hotels cultural offering (by visiting an exhibition, trying national gastronomic specialties, learning about local customs, etc. ) provided it is presented to them in a timely and appropriate manner. Inadvertently motivated guests are guests who are not intent on learning about the culture of a destination or hotel, but who come into contact with the hotel during their stay in a destination and decide to consume its cultural offering. Residents make up part of the audience that is attractive to hotels because of their potential numerosity, which will depend on the quality of cultural events and the type of promotion used. By being present, residents knowingly or unintentionally spend on cultural events. They also contribute by spreading information about a hotels cultural offering and through increased spending (as distinct from regular spending) on the occasion of a specific event. Honorary guests are people specially invited by the hotel to participate in a cultural event. Honorary guests are often well-known entertainers, politicians or other people, from whom the hotel can derive a direct, or indirect, benefit (media coverage, publicity). Contrary to honorary guests, random passers-by are people who find themselves in the vicinity of a hotel during a cultural event, such as an exhibition, and are instinctly drawn to it. To a hotel, experts in the field of culture (promoters of culture engaged in various segments of culture, journalists specializing in culture, critics) are its external evaluators, and the purpose of their participation is to propose changes in cultural events and put forward comments and suggestions that will ultimately have a positive impact on business and, in turn, on guest spending. MODERN CONCEPT OF DISTRIBUTING A CULTURAL OFFERING IN HOTELS In managing a hotels cultural offering, it is especially important to focus attention on the elements of the marketing mix, which should be seen as a practical starting-point for planning and carrying out all marketing activities that are connected to the cultural offering. Several factors influence the way a cultural offering can be designed, the most important being: the location of the hotel the size of the hotel the category of the hotel the type of hotel. Generally speaking, the temporal distribution of cultural events is also a very important factor in organizing a successful cultural offering. This means dividing cultural events according to the season in which they take place: cultural events in the summer season cultural events in the winter season Such a division of summer and winter events is based on the supposition that summer cultural events can be organized in the open air, weather permitting. Assuming that these events can be exhibited to the general public, it is realistic to expect a larger number of visitors to these cultural events. This will result in an increase in visitor spending. The success of the overall enterprise, whose main goal is to realize additional spending by guests, will depend on the capability of management, on the manner in which food and beverage services are organized, as well as on price of entrance fees for certain events. The manager responsible for planning the marketing and selling of hotel capacities needs to plan the hotels cultural offering at the level of: long-term plans of the cultural offering (plans for a few years in advance determining the dates of permanent exhibitions, exhibits, performances, annual and biannual cultural events; applying, in advance, for the right to organize various cultural events, etc.) middle-term plans of the cultural offering (several months in advance) short-term plans of the cultural offering (planning only a few weeks or even days ahead; one-time cultural events, such as evenings of culture, etc.) A well-designed offering and presentation (guides) of cultural events in a hotel is sure to result in raising the quality level of the entire cultural offering of a destination. Furthermore, when a substantial number of hotel facilities in a destination increasingly begin to make cultural events a part of their offering, this leads to defining and profiling the destination as a cultural destination. In the long run, this singles out the destination on the tourism market as attractive for further cultural projects. This will then definitely have a positive effect on overall guest spending and on increasing occupancy rates of hotels in the destination. The absence of a good marketing strategy and developed cultural tourism management results in a lack of information about a destinations cultural and historical wealth for both the domestic and the foreign cultural public. The objective of any marketing communication, regardless of whether it is made using the Internet, posters, short radio announcements, etc., is to inform, prompt and persuade the guest. When defining the shape and manner of organizing and presenting the cultural offering of a hotel, it is necessary to involve hotel managers. Their role can be seen in organizing cultural-offering presentations, monitoring marketing activities, as well as informing their employees about cultural events. Special emphasis is placed on the need for using a variety of methods and opportunities of informing hotel guests, the end users and consumers of the cultural offering. One of the methods is the use of conventional means of communication (propaganda pamphlets, brochures, bulletin boards, internal television), although modern methods, such as SMS text messaging, are being used more and more. SMS messaging applications can be used for various purposes, for example, organizing prize games, sending propaganda message to consumers, sending various announcements concerning cultural events and so on. In addition, they also enable consumer information to be gathered and consumer groups, defined. SMS messaging allows individual or group texting. Once the method of distribution (medium) has been chosen, it is necessary to motivate guests into using certain services and to make the consumption of these services as easy as possible. Facilitating the use of services refers to, among other things, keeping employees informed about cultural events. It should not happen that employees are unaware of the fact that the hotel is organizing a certain event. Regardless of whether an event is taking place or not, hotel employees must provide guests with information about the historical and cultural heritage of the destination. This means they must be educated and trained to provide such information. In this way, culture can represent one of the most effective means for building the general image of a hotel, a tourist destination and an entire country. Before defining diverse cultural services and facilities in the hotel offering, education must come first; education of not only management but also of the service staff that will now become an active participant in a different kind of hotel offering. One of the most significant methods that can give positive results is practical work alongside professional training, where knowledge, skills and motivation are the most important factors that determine the successful completion of any job [11]. The staff will come into contact with a different segment of people and guests, who will at a certain point need answers to specific questions; this means the staff will need to be familiar with the hotels cultural services and facilities. This modern marketing principle is known as internal marketing, that is, marketing focused on employees, and it is very important for the success of a cultural offering. Therefore, employees must be informed of all future events in the hotel, thus allowing them to provide better information and better service in general. Employees are seen as the internal public that, in contact with the external public, will be subjected to certain questions, comments and information. When it comes to providing quality services, the mechanism of the internal public is no less sensitive than is the mechanism of the external public. If employees do not make themselves clear, or if the goals of a hotel are not credibly explained to the staff, they will not understand their assignment, and even less understand their role in developing good relations with the external public and the public in general [12]. And what is also important, it is not possible to achieve a high level of guest satisfaction if the staff are unsatisfied [13]. Clearly, organizing a cultural offering in a hotel is a hotel managers secondary objective, while the primary objective is to bring about an increase in guest spending. When using such an approach, a distinction should be made between several categories of hospitality service consumers with regard to the cultural offering and to increasing guest spending: All hospitality services provided during the opening of a cultural event are paid for by a single partner (this is especially refers to formal openings of cultural events, where it is customary for a single sponsor to pay for the entire cost of hospitality services for all visitors, whose number is limited. On such occasions visits to the cultural event are by invitation only). Organized group visits to hotels arranged by travel agencies, with which a pre-agreed price has been set that includes visits to cultural events and covers the stay in the hotel. Visits by individual guests who stay at the hotel, their main motive being the hotels cultural offering. Their visit to cultural events is usually free-of-charge, but hospitality services, such as food and beverages, are not, which additionally increase hotel revenue. Visits by residents and other guests in the destination who have learned of the hotels cultural events through promotional channels. Their spending on food-and-beverage services represents additional revenue for the hotel and confirms that the hotel has designed a successful cultural offering. When planning an offering of specific cultural events, the following elements must be taken into consideration (Fig. 2): ELEMENTS OF A HOTELS CULTURAL-OFFERING PLAN  Source: By the author Target group (the guest segment which the cultural offering targets: domestic or foreign guests, children, young people, senior citizens, men, women, etc.) The timing of the events (during the day or the evening, during the weekend, all week or all month, during holidays, during various festivities, for anniversaries, etc.) The type of cultural event (visual arts, photography and sculpture exhibitions, fashion shows, poetry and film evenings, theatrical performances, concerts comprising a variety of musical genres, quiz game , scientific debates and round tables dealing with cultural events, various types of competitions dealing with culture, folklore performances, etc. The venues where these cultural events will be held (open or closed venues). The people who carry out the programmes (all employees, including animators for cultural activities in the hotel. Preconditions for the specialization of general practise animators must be created to help facilitate the development of knowledge about culture and the cultural offering in a professional manner). The animator for cultural activities, who looks after for guests, and their wishes and needs regarding active or passive participation [14] in cultural events, concurrently acts as an intermediary between the hotel and specialized cultural institutes and institutions with which the hotel will need to cooperate in order to plan and organize various cultural events (Fig. 3). Media coverage of the offering (conventional advertising, publicity, internal television and other in-house selling methods, whose aim is to increase hotel guest spending). POSITION OF THE CULTURAL-ACTIVITIES ANIMATOR  Source: By the author In conclusion, it is necessary to emphasize the importance of previous and current experiences of all segments of consumers of the cultural offering for they will convey their positive experience to others. This will play a very important role in the designing and programming of the services of a certain hospitality facility [15]. MODEL FOR ORGANIZING SPECIAL CATERING OFFERINGS AND CULTURAL OFFERINGS IN A HOTEL Developing a cultural-event production and staging plan is a precondition to successfully improving a hotels cultural offering and increasing guest spending. Once a plan has been devised, the potential consumers of such an event need to be informed about the event on time and a special catering offering should be organized to help generate more spending by the visitors to the event [16]. The following groups of participants can be distinguished within an events overall framework (Fig. 4): PARTICIPANTS IN A PROJECT TO STAGE A CULTURAL EVENT AND ORGANIZE A SPECIAL CATERING OFFERING IN A HOTEL  Source: By the author It is the task of the hotel management and staff to design a cultural offering and plan, organize, execute and control and event. Here the hotels animator of cultural activities plays an important role. Type of cultural event. Depending on its category, size and type, a hotel can provide all the forms of a cultural offering that can be organized within its framework (in interior and exterior areas). Cultural events of this kind may be free or not. In the case of free admission, spending on food and beverages can be expected to increase, because the attendants to the event will have greater purchasing power. The consumers of the cultural offering are listed in Figure 1 (hotel guests using accommodation services, external consumers and experts in the field of culture). The link between a hotels cultural offering and its catering offering, which is expected to generate financial effects, can be accomplished by organizing the following simple, as well as formal, special meals [17]. Late-night dinner (so-called souper) is served only in certain eating establishments in the late evening hours between 10 p.m. and midnight. Their guests stop by after the theatre, a show or a movie. In large cities that have a rich cultural and artistic life, souper is a traditional meal with a sophisticated menu.. A tea-dance is a catered event that can be organized either by a hotel or at the request of a larger group of guests. The rooms in which the tea-dance is held are decorated for the occasion. An orchestra is hired and attendants usually dance. Prices and refreshments are agreed upon in advance. When organized by a hotel facility, tickets include complementary refreshments. A picnic is a traditional group meal in the outdoors that involves cold dishes and beverages. This family event has become popular in the hospitality industry, especially in tourist resorts in which hotels organize excursions and picnics for their (full-board) guests. Today, warm meals are also served, in addition to cold meals. Picnics are usually self-served. This form of the hospitality offering provides an excellent opportunity for the hotel to select, as the picnic venue, a specific cultural facility that guests will enjoy sightseeing. Five oclock tea is a traditional English custom. It is a late afternoon meal taken after work to assuage hunger before the evening meal. Hotels can organize five oclock tea on their terraces to help guests fill their afternoons. Five oclock tea also provides a good opportunity to organize a variety of cultural presentations that require little preparation and equipment (writer and poet presentations, readings) A party is a modern form of providing hospitality services. A social gathering of invited guests, a party is the opposite of a formal evening because it has no established form. Parties can be of the open or closed variety. Guests are free to mingle and form groups at will because they have no designated tables and chairs. There are a variety of parties: a stand party (only men are invited), a damen party (sometimes also called a tea-party to which only women are invited in the late afternoon from 5 p.m. to 7 p.m.), a soiree or evening party (this is a self-serving event organized between 8 p.m. and 1 a.m. with men preparing and carrying drinks to women), a drinks party (held in the late afternoon or evening, it is usually named after the main drink being served). Such a division of parties also determines the type of cultural offering that can be included in each type of party, and calls for the segmentation of the cultural public (children, women, men, etc.) Because a formal reception with cocktail party is a social gathering to which a large number of people are invited, a hospitality facility does not need to provide seats for everyone. The duration of the reception is limited. There are two types of cocktail parties: one is organized between lunch and dinner, the other substitutes a daily meal (usually dinner) and is called an extended cocktail party. A garden party is a social gathering that is usually complemented with an entertainment programme, music and dancing, to which a large number of people can be invited. It has a seasonal character because it can be held only during the summer months (in gardens or on terraces). Garden parties can be organized by a variety of social organizations or by a hospitality facility for commercial purposes, in which case tickets and refreshments are sold separately. A formal reception with cold buffet is usually organized on the occasion of jubilees, anniversaries, cultural and sports events, etc., and when a large number of people need to be served in a short time. It can be organized in the premises of hotels, as well as in the premises of whoever has ordered, and is paying for, catering services. There are two basic types of cold buffet, depending on how they are prepared and paid for: a commercial cold buffet and an exhibitory cold buffet. A banquet is a ceremonial lunch or dinner organized to celebrate various occasions, such as jubilees, the visits of delegations, conferences, congresses, symposiums, the signing of important treaties, state and national holidays, the visits of foreign dignitaries, etc. Statespeople, politicians, social workers, public workers, scholars and cultural workers take part in banquets. Characteristic of a banquet is a so-called formal menu and so-called closed serving (serving to a specifically defined number of guests) Special meals are catered events organized and served at the special request and order of individuals, institutions, businesses or political organizations and parties to celebrate various occasions [18]. Special meals are organized under a variety of names, according to the occasion they celebrate. Special meals in hotels are often organized alongside a range of cultural events. According to the way in which catering services are provided and paid for, the ordering parties may be: promoters of culture (painters, writers, poets) who personally cover the costs involved in organizing a cultural event professional cultural institutes and institutions that cover the costs of catering services in behalf of an artist on the occasion of the official opening of a cultural event sponsors that cover the costs of catering services on the occasion of the official opening of a cultural event. The opening of a cultural event may take on one of three forms: An opening ceremony, usually a closed event, may be organized, in which case the catering offering is agreed upon in advance with a known ordering party who will later cover the costs of catering services. An opening ceremony may be organized without a catering offering. In this case, media coverage should be used to attract as many people as possible to the opening, considering that an opportunity to ensure the sales of catering services has been missed. A cultural event may be opened without an opening ceremony and without a catering offering. Once the cultural event has been opened in the hotel, it will available to all segments of potential consumers of culture, who will also consume some of the hotels hospitality services while visiting the event and in this way increase the consumption of hospitality services. Finally, mention should be made of the hotel library, another interesting though mostly neglected way of augmenting the level of the cultural offering in hotels. Some 20 years ago, it was customary for each hotel to have its own library to which hotel guests, in particular, loyal guests donated books. The library was usually located in the hotels common area (parlour) next to a hospitality facility (a coffee shop, restaurant or coffee bar), and guests were able to consume simple food and beverage services while spending time in the library. This meant increased guest spending. As a source of additional income, this neglected concept poses a challenge to hotel managers. If a hotel was to have a library, the library premises could be used to organize a variety of supplementary cultural events, such as: poetry and recital evenings reading competitions for hotel guests guest performances by well-known writers and poets literary evenings, literary and linguistic debates, etc. Such events regularly generate interest in the cultural public sphere and receive considerable media coverage, which is good publicity for the hotel. When organized on a regular basis (Literary Tuesdays, Wednesdays with a Poet, etc.), these cultural events can further help to increase the consumption of hospitality services. CONCLUSION The cultural function is one of tourisms non-economic functions. As such, it cannot be easily expressed in concrete indicators nor can its effects be stated in numbers. Despite being immeasurable, the cultural function of tourism is felt in all tourism activities, and it leaves a positive (or sometimes negative) effect on residents of outbound tourist areas and host areas. In a way, travelling means meeting new people with different educational backgrounds and different living standards, as well as encountering new things and buildings; scenery, landscape and natural phenomena; cultural and historical heritage; customs; museums, galleries, exhibitions, etc. At the international level, travelling is about coming into contact with other nations, national cultures, folklore, customs, economic achievements, social orders, etc. Clearly, the indigenousness of Croatias cultural heritage has great potential in satisfying the curiosity and wants of foreign tourists in Croatia. However, to tap into this potential the Croatian hotel industry needs to overcome certain weaknesses in its strategic positioning of some attributes of the tourism offering that are in the domain of cultural heritage. A hotels cultural offering provides it with an opportunity to attract culturally-minded intellectuals of greater purchasing power or at least fashionable trendsetters. The arrival of such guests would not be linked exclusively to the time of year when occupancy rates are generally high (July, August), but rather to the pre-season and post-season months with low occupancy rates. Their interest in culture would encourage the additional consumption of hospitality services, resulting in manifold secondary effects. The attitude towards historical and cultural heritage would gradually change for the better, as hoteliers at last begin to realize that they can profit more from this segment of consumers. Finally, redistributing cultural events to the pre-season and post-season periods would help to alleviate the excess burden to the infrastructure in the heart of the tourist season, which has begun to cause environmental, as well as cultural, disasters. What the culturally-minded public is looking for are cultural events and experiences, which fall into the category of cultural tourism that is characterized by the non-elasticity of tourism demand. This form of tourism is especially interesting, because it can take place all year round and its tourist season is longer than that of other forms of tourism. Hotels vary in their authentic and complementary offering. In some hotels, culture represents the primary offering (the Heritage hotel group), while in most other hotels it is part of the secondary offering. In the face of growing competition, the question is how to go about developing a new product in providing cultural services. This is a process that requires a combination of factors: inventiveness teamwork within the hotel the participation of hotel guests in creating a new hotel product. The activities involved in the process require hotel managers to know and understand not only their market and their guests, but also what their hotel is capable of doing. Developing a product in the cultural offering primarily means assessing what guests want and then developing a specific offering to meet that need. It also means taking into consideration what a hotel is best at doing, how the hotel designs and sells new services, and which paths these services must follow as they pass through the hotels infrastructure (staff, technology, equipment, organizational structures, etc.). Today, hotels can present their cultural offerings on their Websites; the Internet enables the public to quickly learn about the cultural events of a hotel offering provided in a variety of packages. All employees at every location in the hotel (front desk or catering facility) should be able to provide guests with information concerning the hotel, its history and its cultural heritage. Naturally, this implies that the staff have received training to provide such information and that they are knowledgeable of the topic. Each employee should know everything there is to know about the hotel in order to be an excellent source of information to guests. This is a call to hotel managers to become centres of activity and decision-making concerning a hotels cultural policy. They must ensure conditions that will make it possible to creatively revive culture and use its many facets in developing the hotel product, in which the components of culture can become one of the most effective promotional and media means for building the general image of a hotel, tourist destination and country as a whole. Where the contents of a cultural offering are concerned, a hotel can target two basic segments of the offering. It can provide: a universal cultural offering (cultural events with which the broader culturally-minded public domestic and foreign are already acquainted) or an indigenous cultural offering (events featuring local culture that is completely unknown to the foreign culturally-minded public, and partially or completely known to the domestic culturally-minded public). Either approach to the cultural offering has is strengths and weaknesses. How the offering will be promoted and the extent to which potential consumers will consume cultural events depends upon the resourcefulness of a hotels managers. The conclusion is that efforts need to be made in developing a variety of models coupling culture with the hotel industry. A well-thought out marketing strategy is also needed. While no ready-made recipe exists, there are examples that can show the way and indicate possible methods to approaching the issue. Hotels often rely on the programmes of local tourist boards, which is the wrong thing to do. Instead, the sum of individual hotel plans should serve as a guideline for the tourist board, which will then jointly promote the potential of the tourist destination, including the cultural offering of hotels. References V. Ani, Rje nik hrvatskog jezika, Novi Liber & Jutarnji list, Zagreb, 2002. R. Matasovi, et.al., Hrvatski enciklopedijski rje nik. Novi Liber & Jutarnji list, Zagreb, 2004. T. Ladan, et.al., Hrvatski obiteljski leksikon. Leksikografski zavod  Miroslav Krle~a i Jutarnji list, Zagreb, 2005. A. Vuji, Opa i nacionalna enciklopedija. Pro leksis & Ve ernji list, Zagreb. 2006. A. Sessa, Il turismo nei rapporti internazionali, Editrice Sarda Fossataro, Cagliari, 1968. J.R. Walker, Introduction to hospitality management. Prentice Hall, New Jersey, 2004. F. Pauko, A permanent cultural offer in hospitality industry, 16th Biennial International Congress Hotel & Tourism 2002, [Congress proceedings, Faculty of tourism and hospitality management Opatija, Opatija, p.384, 2002]. >?AP )0'()*+y{|}q躶}}}}uun h{h>XKhk3mH sH hP;hP;mH sH hP;mH sH h*h>XK6mH sH h*h>XKmH sH  hzhh>XKhhe hehehzh0J#5\h>XKh>XKCJh>XKheCJh>XKhzCJ h+hheh6hehe6+?@AaA & r < i $`a$gd>XKgde`gd>XK `gd>XKgd>XKgd>XK!!"[#$$$!(+7.~/?0 122$ & Fd@&a$gd>XK $@&`a$gd>XKgd>XK$$ & F da$gd>XK $ & F&a$gd{ $`a$gd>XK!!K!!!!!""#[#$$8'P'\'l'~''(®ž®®{f{f{f{)h>XKh>XK6PJ\]mH nHsH tH&h>XKh>XKPJ\]mH nHsH tHh>XKh>XKmHnHsH tHhP;CJOJQJaJmH sH 'h*h>XK5CJOJQJaJmH sH $h*h>XKCJOJQJaJmH sH hP;mH sH hP;hP;mH sH h*h>XKmH sH h*h>XK6mH sH  ((( (!()))))>0?0L0W0 11223 3334<Ƕnnnn]I&hh>XKPJ\]mH nHsH tH hPJ\]mH nHsH tH)h>XKh>XK5PJ\]mH nHsH tH&h>XKh>XK56PJmH nHsH tH h h PJmH nHsH tHh PJmH nHsH tH h>XKh>XKPJmH nHsH tH&h>XKh>XKPJ\]mH nHsH tH h PJ\]mH nHsH tH&hP;hP;PJ\]mH nHsH tH234 7t9< =@!CkFGGGGGGH7J&Kgd% & Fgd_$a$gd% $`a$gd%gd $@&`a$gdz $@&`a$gd>XK$d@&`a$gd$ & Fd@&a$gd<< = =6@7@@@CCCC CCCCCCFFeFgFhFiFjFFFGGGGGGGGǿdzǨǨǿǘǐu\u0jh%h%CJUaJmHnHsHtHuh%h%CJaJmH sH h_CJaJmH sH h%mH sH hmH sH h=umH sH h h mH sH h*h%H*mH sH h mH sH h*h%mH sH hh%mHnHsH h*h%mHnHsH &hzh%PJ\]mH nHsH tH!GGHI7JUJ&K0KLLN'NNN;P=PzP{PQPR5SSVVWWWWlXmXeeeee$jCjEjFjGjIjjjjjj0lllllmm觟藧觟脲$h*h%CJOJQJaJmH sH h mH sH h=umH sH h h mH sH 'h*h%5CJOJQJaJmH sH hh%mHnHsH h*h%mHnHsH h%mH sH h*h%mH sH h*h%5mH sH 4&KLMNq $ & Fa$gd_gd% $`a$gd%$$ & Fda$gd%$$hd^ha$gd% $`a$gd% $ & Fa$gd%mjn{nxoop q qqq>q?q@qVqXqdqq rrrs tLtst vvvvvwwwwwwwκΫΆΆΆΆΆ{ΆsΫZ0j h%h%CJUaJmHnHsHtHuh%mH sH hZhZmH sH h*h%5mH sH 0jc"h%h%CJUaJmHnHsHtHuh%h%CJaJmH sH h%CJaJmH sH h|mH sH h*h%mH sH 'h*h%5CJOJQJaJmH sH $h*h%CJOJQJaJmH sH #>q@qVqWqXqqrsLtvwwwwwwwwwwww $^a$gd% & Fgd_$ & Fe^e`a$gd% $`a$gd%gd%$a$gd%ww"yAyCyDyEyFyGyy{{{ {!{{{{{{{{ ||$|>|||{~~2=̈́ƻӻƃƃƃylylyƃƃƃhZhZmHnHsH hZmHnHsH h`V_h`V_5mHnHsH %j+h`V_h`V_CJUaJmHsHh`V_h`V_CJaJmH sH h{mH sH h`V_h`V_mH sH h`V_h`V_mHnHsH hZhZmH sH hZmH sH h*h%mH sH h%h%CJaJmH sH *wGyyy{{{{{ |||w~1̈́o>Ӌgd{gdZ$a$gd{`gd`V_ & F#gd{$a$gd`V_ $`a$gd`V_gd`V_ $`a$gdW<~݄̈́qvHlՋōY[\]^_y#p|D_;y؝ٰOost~BL ٺٺٺٺٺٺٺٯٺٺ١ hU4hG8hG8hLh h+h hzhhh`V_56mH sH h`V_h{mH sH h`V_h`V_5mH sH hZmH sH hZhZmH sH h`V_h`V_mH sH h`V_h`V_mHnHsH h`V_h`V_5mHnHsH 2yQښۛ4ngd`V_ $`a$gdW<~ $ & Fa$gd`V_ $ & Fa$gd`V_ $ & Fa$gd`V_ $`a$gd`V_gd{<x<)8S;O t^gdG8gdL  & Fh^hgdG8gdW<~ $`a$gd $ & Fa$gd`V_ $ & Fa$gd`V_ $`a$gd`V_^J.lH6gdz & Fh^h`gdU4  & Fh^hgdG8gdG8gd=uD.A. Jelin i, Abeceda kulturnog turizma. MEANDARMEDIA, Zagreb, 2008. J. Pavi i, N. Alfirevi, i Lj. Aleksi, Marketing i menad~ment u kulturi i umjetnosti. MASMEDIA, Zagreb, 2006. V. Gali i, Izmeu ugostiteljstva i turizma. Fakultet za menad~ment u turizmu i ugostiteljstvu, Opatija,2009. W.L. Rue, & L.L. Byars, Supervision  Key Link to Productivity. Irwin Homewood, Boston, 1993. E. Osrede ki,Odnosi s javnoau, Naklada  Edo , Samobor  Zagreb, 1995. E. Bordas, Najnovije tendencije u hotelskom marketingu,  HUH INFO  stru no informativno glasilo Hrvatske udruge hotelijera i restoratera, kongresni materijal sa IX. kongresa hrvatskih hotelijera i restoratera, Sheraton Hotel Zagreb, studeni 2005. I. Maroaevi, Organizacija poslovanja poduzea u ugostiteljstvu. Ho-Re-Ba, Pula, 2003. I. Maroaevi, Ekonomska propaganda u ugostiteljstvu. Vlastito izdanje, Pula, 1988. I. Maroaevi, Prodaja ugostiteljskih usluga hrane, pia i napitaka, HoReBa, Pula, 2007. S. Ratkajec, Ugostiteljstvo. `kolska knjiga, Zagreb, 2007. J. Ker mar, Tehnika poslovanja u ugostiteljstvu  poslu~ivanje. Vlastito izdanje, Rijeka, 1990. lFHhhU4h=uhhE h[#hG8UhG8:P&P 1h. A!"#8$ % Dp= 0P&P 1h. A!"#8$ % DpD 0P&P 1h. A!"#8$ % P h*2Dp= 0P&P 1h. 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