1

UNIVERSITY OF ANTANANARIVO

FACULTY OF ARTS AND HUMANITIES

MENTION SCIENCE OF TOURISM

Parcours Ingénierie Touristique, Culturelle et de Loisirs (ITCL)

Dissertation : Master II

PROMOTING CULTURAL TOURISM IN ANTANANARIVO CITY THROUGH

MALAGASY PAINTING

Presented by: Jessica HANTALALAINA

Chairman: Professor Andrianaivoarivony RAFOLO

Examiner: Doctor Elysette RANDRIAMAHENINTSOA

Academic supervisor: Doctor Harilala Miaratiana ANDRIANARIVELO

Professional supervisor: Mister Marcel RAKOTOSEHENO

Date of the defense: O7 March 2018

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UNIVERSITY OF ANTANANARIVO

DOMAIN ARTS, LETTERS AND HUMANITIES

MENTION SCIENCE OF TOURISM

Parcours Ingénierie Touristique Culturelle et de Loisirs (ITCL)

Dissertation : Master II

PROMOTING CULTURAL TOURISM IN ANTANANARIVO CITY THROUGH

MALAGASY PAINTING

Presented by: Jessica HANTALALAINA

Chairman: Professor Andrianaivoarivony RAFOLO

Examiner: Doctor Elysette RANDRIAMAHENINTSOA

Academic supervisor: Doctor Harilala Miaratiana ANDRIANARIVELO

Professional supervisor: Mister Marcel RAKOTOSEHENO

Date of the defense: 07 March 2018

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AKNOWLEDGMENTS

This work has been carried out thanks to the help and contribution of some people

whom I would like to express my sincere gratitude.

First of all, I would like to acknowledge the President of the University of

Antananarivo, Professor Panja RAMANOELINA and the Dean of the Faculty of arts and

humanities Professor Baholiarisoa Simone RALALAOHERIVONY.

Then, I wish to give thanks to the Head of the Mention Science of Tourism, Doctor

Harimanana RANIRIHARINOSY for his contribution and support that allow us to

accomplish this research work.

I also express my deepest gratitude to my academic supervisor, Doctor Harilala

Miaratiana ANDRIANARIVELO for her help and supervision in the accomplishment of this

work. Her guidance and encouragement have been helpful for me so as to carry on this

research work.

In addition, I extend my acknowledgments to my Professional supervisor Mister

Marcel RAKOTOSEHENO for his crucial guidance and advice that have contributed to the

realization of this present work namely the professional project.

I also want to thank the teaching staff of the Tourism Science Mention for their

guidance during our study at the Mention.

Great thanks also for everyone who had accepted to be surveyed and interviewed like

some of the painters’ artists and drawers.

Last but not least; I would like to thank my family and friends for their moral or

material support before and during the realization of this work.

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TABLE OF CONTENTS

RESUME …………………………………………………………………………………………………..8

FINTINA…………………………………………………………………………………………………………..9

LIST OF ABBREVIATIONS………………………………………………………………………..10

GLOSSARY……………………………………………………………………………………………………...11

INTRODUCTION……………………………………………………………………………………………….12

1. GENERAL BACKGROUND OF THE RESEARCH STUDY AND METHODOLOGY…..15

1.1. Delimitation of the topic ……………………………………………………………...15

1.1.1. Justification of the research topic………………………………………………….15

1.1.2. Interest of the subject research…………………………………………………….16

1.1.3. Global approach on tourism………………………………………………………17

1.1.3.1. Tourism……………………………………………………………………...17

1.1.3.2. Cultural Tourism…………………………………………………………….18

1.1.3.3. Cultural Tourism in Madagascar…………………………………………...20

1.2. Conceptual framework…………………………………………………………………21

1.2.1. Tourism……………………………………………………………………………21

1.2.2. Promotion…………………………………………………………………………..21

1.2.3. Culture……………………………………………………………………………..21

1.2.4. Cultural tourism……………………………………………………………………22

1.2.5. Painting arts………………………………………………………………………..23

1.2.5.1. History of Malagasy painting………………………………………24

1.2.5.2. Examples of Malagasy art…………………………………………24

1.3. Presentation of the study area…………………………………………………………25

1.3.1. Localization……………………………………………………………………….25

1.3.2. History……………………………………………………………………………..26

1.3.3. The different stakeholders in tourism in Antananarivo………………………........27

1.4. Theoretical framework…………………………………………………………...........30

1.4.1. Presentation of the theory…………………………………………………………30

1.4.2. Conceptual framework of the theory………………………………………………32

1.4.2.1. Need…………………………………………………………………32

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1.4.2.2. Function………………………………………………………….....32

1.4.2.3. Culture………………………………………………………………33

1.4.2.4. Institutions………………………………………………………….33

1.4.3. Relation between the chosen theory and the research topic………………………...34

1.4.4. Synthesis of the chosen book………………………………………………………...35

1.5. Methodological framework……………………………………………………………………..35

1.5.1. Primary sources………………………………………………………………………36

1.5.1.1. Target population……………………………………………………36

1.5.1.2. Direct observation…………………………………………………..37

1.5.1.3. Interviews…………………………………………………………..37

1.5.1.4. Questionnaires………………………………………………………38

1.5.2. Secondary sources……………………………………………………………………..39

1.5.2.1. Documentation………………………………………………………39

1.5.2.2. Literature review……………………………………………………39

1.5.3. Presentation of the tools used………………………………………………………….40

1.5.3.1. Sphinx software…………………………………………………….40

1.5.3.2. Gantt chart…………………………………………………………40

1.5.3.3. SWOT analysis……………………………………………………40

1.5.3.4. Problems and objective tree………………………………………41

2. THE PLACE OF PAINTING ART IN CULTURAL TOURISM…………………………...........43

2.1. Results of the research related to Malagasy painting……………………………..............43

2.1.1. Results from primary data collection………………………………………………….43

2.1.1.1. The different places of arts to visit in Antananarivo city………….44

2.1.1.2. The different actors of arts………………………………………...47

2.1.1.3. Exhibitions of Malagasy painting…………………………………48

2.1.1.4. The different kinds of Malagasy painting…………………………49

2.1.1.5. Specificities of Malagasy painting………………………………...54

2.1.2. Results from secondary data collection………………………………………………55

2.1.2.1. The different circuits in Antananarivo City………………………..55

2.1.2.2. The different kinds of Malagasy painting…………………………56

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2.2. Analysis data collection……………………………………………………………………...58

2.2.1. Analysis of Malagasy painting and Cultural Tourism…………………………58

2.2.1.1. The problems of Malagasy painting…………………………………58

2.2.1.2. The main problems of Antananarivo destination…………………....60

2.2.1.3. The interests of tourists in Malagasy arts……………………………61

2.2.1.4. The interest of national tourists on Malagasy painting……………...62

2.2.1.5. The interest of local people on Malagasy painting………………….62

2.2.1.6. The different kinds of visitors during an exhibition…………………63

2.2.1.7. The objects of tourists’ interest in painting…………………………63

2.2.2. SWOT analysis………………………………………………………………...65

2.2.3. Statement of the main problems………………………………………………66

2.3. Hypotheses testing and discussions……………………………………………………72

2.3.1. Hypotheses testing…………………………………………………………….72

2.3.1.1. Key research question………………………………………………72

2.3.1.2. Hypothesis 1………………………………………………………...72

2.3.1.3. Hypothesis 2………………………………………………………...73

2.3.2. Discussions……………………………………………………………………73

3. ORGANIZING A FESTIVAL OF ARTS IN ANTANANARIVO CITY…………………………76

3.1. Identification of the project……………………………………………………………76

3.1.1. Context and justification of the chosen project………………………………76

3.1.2. Localization of the project……………………………………………………79

3.1.3. PESTEL analysis……………………………………………………………79

3.2. Description of the arts festival………………………………………………………..81

3.2.1. The field of activities…………………………………………………………82

3.2.2. The project promoters and stakeholders………………………………………82

3.2.3. Related product………………………………………………………………83

3.2.4. Conduct of the event…………………………………………………………84

3.2.5. Relevance of the project………………………………………………………84

3.3. Project planning…………………………………………………………………………85

3.3.3. Objectives tree…………………………………………………………………87

3.3.4. Logical framework of the project……………………………………………..88

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3.3.5. Gantt diagram of the activities………………………………………………...90

3.4. Feasibility study…………………………………………………………………………93

3.4.1. Commercial feasibility………………………………………………………...93

3.4.1.1. Marketing mix……………………………………………………...93

3.4.1.2. Marketing analysis………………………………………………….96

3.4.2. Technical feasibility……………………………………………………………98

3.4.2.1. Materials and equipment…………………………………………..99

3.4.2.2. Human resources………………………………………………….100

3.4.3. Financial feasibility…………………………………………………………..101

3.4.3.1. Forecast income of the project……………………………………102

3.4.3.2. Investment cost……………………………………………………104

3.5. Analysis of the project…………………………………………………………………108

3.5.1. SWOT analysis of the project………………………………………………..108

3.5.1.1. Strengths…………………………………………………………....108

3.5.1.2. Weaknesses…………………………………………………….......108

3.5.1.3. Opportunities……………………………………………………....109

3.5.1.4. Threats……………………………………………………………...109

3.5.2. Impacts of the project………………………………………………………..110

3.5.2.1. Impacts on the economy……………………………………………110

3.5.2.2. Impacts on society and culture…………………………………….110

3.5.2.3. Impacts on the environment……………………………………….110

3.5.2.4. Impacts on the Tourism sector…………………………………….111

CONCLUSION………………………………………………………………………………………………...112

BIBLIOGRAPHY……………………………………………………………………………………………...115

LIST OF ILLUSTRATIONS……………………………………………………………………………….....119

LIST OF APPENDICES………………………………………………………………………………………121

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RESUME

De nos jours, le tourisme culturel est en plein essor. Pourtant, pour le cas de Madagascar, il

reste encore peu exploité. C’est pourquoi, nous avons choisi le thème de tourisme culturel

dans cette recherche. Antananarivo regorge des atouts sur le tourisme et la culture. Ainsi,

notre sujet de recherche se focalise sur « La promotion du tourisme culturel dans la ville

d’Antananarivo : cas des tableaux de peinture malgache ». L’objectif de cette recherche

consiste à analyser l’offre de l’art pictural de la Capitale pour en faire un atout du Tourisme

Culturel et développer ce Tourisme Culturel. Comme démarche, l’approche qualitative et

quantitative ont été adoptées. En un mot, la ville d’Antananarivo est riche en termes de

produits touristiques liés à la culture à savoir la peinture malgache pouvant contribuer à la

promotion de cette forme de tourisme dans la Capitale. Parmi tant d’autres, les tableaux de

peinture malgache sont des produits touristiques qui renforcent les autres offres touristiques

existants. Le projet touristique consiste à promouvoir la destination Antananarivo à travers un

festival de peinture malgache. Ainsi notre projet vise à augmenter le nombre des touristes

internationaux d’autant plus que les nationaux.

Mots clés : Madagascar, Antananarivo, science du tourisme, tourisme culturel, peinture

malgache

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FINTINA

Hita taratra maneran-tany ny firoboroboan’ny fizahantany miompana amin’ny

kolontsaina.Kanefa raha ho an’i Madagasikara manokana dia mbola tsy tena voatrandraka ity

farany ka izany no antony nisafidianana ny lohahevitra. Manana tombontsoa eo amin’ny

lafiny fizahantany sy kolontsaina tokoa ny renivohitra Antananarivo. Izany indrindra no

anton’ny lohahevitra hoe « Fampiroboroboana ny fizahantany miompana amin’ny kolontsaina

eto Antananarivo amin’ny alalan’ny hosodoko Malagasy». Ny tanjon’ny fikarohana dia

miompana amin’ny fandinihana ireo tolotra mifandray amin’ny hosodoko eto an-drenivohitra

mba hampandrosoana ny fizahantany miompana amin’ny kolontsaina. Ho an’Antananarivo

dia manana tombony eo amin’ny sehatry ny fizahantany miompana amin’ny kolontsaina izy

izay mifandray amin’ny hosodoko. Raha fintinina dia manan-karena amin’ny vokatra amin’ny

fizahantany mifandray amin’ny kolontsaina tokoa Antananarivo. Anisan’izany ny hosodoko

malagasy izay mandray anjara amin’ny fampiroboroboana io endrika fizahantany io. Tahaka

ireo maro hafa dia voasokajy ao anatin’ny vokatra ho an’ny mpizaha tany ny hosodoko

malagasy ary manamafy ireo tolotra efa misy. Araka izany ny tetikasa dia miompana amin’ny

fikarakarana fampirantiana eto amin’ny renivohitra ho an’ny mpizaha tany vahiny sy eto an-

toerana.

Teny manan-danja: Madagasikara, Antananarivo, siansa zahantany, fizahantany miompana

amin’ny kolontsaina, hosodoko malagasy.

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LIST OF ABBREVIATIONS

CEMDLAC: Centre Malgache pour le Développement de la Lecture et de l’Animation

Culturelle

CGM: Centre Germano Malgache

CRAAM: Centre de Ressources des Arts Actuels de Madagascar

FTM : Foibe Taosaritanin’i Madagasikara

ICOMOS: International Council of Monuments and Sites

IKM: Ivon-toeran’ny kolontsaina malagasy

IMRAD: Introduction Methods Results Analysis Discussion

IS’ART: Innovation et Synergie pour l’Art

ITCL: Ingénierie Touristique, Culturelle et de loisirs

ONTM: Office National du Tourisme à Madagascar

ORTANA: Office Régional du Tourisme d’Analamanga

SWOT: Strengths Weaknesses Opportunities Threats

UNESCO: United Nations Educational Scientific and Cultural Organization

WTO: World Tourism Organization

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GLOSSARY

ENGLISH

FRENCH MALAGASY

Cultural tourism

Form of tourism which

consists on visiting a site

or place which has a

cultural and historical

value.

Tourisme culturel

Fizahantany miompana amin’ny

kolontsaina.

Culture :

Customs, belief and art

in a society

Culture

Kolontsaina

Function

Attribution or task

Fonction Andraikitra, asa

Local population: those

who lives in the locality

or region

Population locale

Mponina eo an-toerana

Needs

Besoins

Filana

Painting

Peinture

Hosodoko

Promotion:

Action of making

something known or

developed

Promotion

Fampahafantarana,fampiroboroboana

Tourism: the action of

travelling and visiting a

place for pleasure and

relaxation

Tourisme Fizahantany

Tourist

Someone who leave his

place of residence more

than 24 hours and go to

another place

Touriste

Mpizaha tany

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INTRODUCTION

For several years, tourism has become one of the main industries all over the world

due to the development of technology of communication as well as globalization. Tourism

sector is beneficial for Countries where this sector is developed because it essentially assures

the growth of the economy, contributes to the development of society and the protection of

the environment. It has been reported that the activities linked to tourism and the travel sector

have contributed to 9,2% of the Worldwide Gross Domestic Product (GDP)1.

Attributed to its riches in terms of biodiversity, beaches and coasts, Madagascar has

become a touristic destination known for ecotourism and seaside tourism. However,

Madagascar is also very rich in terms of culture if we only talk about its museums, palaces,

monuments, traditional practices and customs that can be exploited to develop cultural

tourism. Cultural tourism constitutes another aspect to discover the specificity and

authenticity of a place and also the population including its behavior, language and

distinctive features. During their travel to a destination, tourists are particularly interested in

discovery, adventure and authenticity. In general, they travel for health, leisure and business.

Apart from the touristic sites, transportation and accommodation, arts including handcrafts,

music, culinary arts also holds an important place in tourism industry.

Culture tourism includes 'the movement of persons for essentially cultural motivations

such as study tours, performing arts and other cultural tours, travel to festivals and other

cultural events, visit to sites and monuments, travel to study nature folklore or art or

pilgrimages.” 2This form of tourism concerns both urban and rural areas but most of the time

urban areas are considered as the most cultural destination since they are gathered with

cultural and historical sites.

Nowadays, cultural tourism is becoming popular and is developing throughout the

world. It is also one of the forms of tourism that most policy makers seem to be betting on for

the future. In other words, cultural tourism is a form of sustainable development. The World

Tourism Organization asserted that cultural tourism accounted for 37% of global tourism, and

1World Travel and Tourism Council (WTTC, 2010)

2 United Nations World Tourism Organization (UNWTO, 1985)

13

forecast that it would grow at a rate of 15% per year. Cultural tourism has been recognized

in1963. In 1966, the UNESCO attested that cultural tourism contributes to the peace

reinforcement.

This form of tourism can be practiced and should be promoted in Madagascar

especially in Antananarivo because cultural tourism is not yet developed in our country

whereas, Antananarivo City has different kinds of historical and cultural sites. Even though

Antananarivo has in its disposal several products in terms tourism, they should be promoted

and exploited. Consequently we find necessary to promote Antananarivo, the capital City as a

cultural destination. In fact, as far as culture is concerned, the Capital has in its disposal

different tourism segments for local and international tourists such as historical sites,

gastronomy, and craft industry. That is the reason why this research has been based on

cultural tourism. Despite the existence of several forms of tourism in Madagascar, we have

limited our research on cultural tourism in Antananarivo.

Among several segments of cultural tourism, we have chosen to talk about Malagasy

art especially painting art because on the one hand it is a tourist product that serves as a

memory for international tourists. On the other hand, Malagasy painting has a cultural value

as it represents Malagasy landscape and culture; however it lacks promotion according to our

observation and interviews carried out to the artists. Our research aims to promote cultural

tourism in Antananarivo at the international level and to make its value known by national

ones as well as. In so doing, our topic focuses on “Promoting cultural tourism in Antananarivo

City through Malagasy painting”.

The main objective of this research is to analyze the supply of painting art in the

Capital so as to make it an asset of Cultural Tourism and to promote this form of tourism.

Two specific goals are related to this main objective. The first one is to encourage

international and national tourists to the practice of cultural tourism in Antananarivo. The

second one is to value Malagasy painting.

Thereby, the main research question is “How to promote cultural tourism in Antananarivo

City through Malagasy painting?”

14

Throughout our investigation, we are going to demonstrate and test the two following

hypotheses:

❖ Hypothesis 1: Antananarivo destination is overflowing with assets in cultural tourism

liked to painting art.

❖ Hypothesis 2: Tourists supplies in Antananarivo are reinforced by the presence of

Malagasy painting.

In order to conduct the study, both qualitative and quantitative approaches were

combined. This dissertation is the fruit of observation, documentation study, interview and

interrogative methods. The functionalism theory of Bronislaw Malinowski has been chosen in

order to support the research. This theory is based on function, need and institutions.

As materials, we have used some documents like tourism code, International Chart of Cultural

Tourism, some flyers, magazines, brochures, maps on the destination Madagascar and

Antananarivo.

Based on the IMRAD model, this work will be divided into three parts. The first one

will deal with the general background of the research study and the methodology. The second

part will present the obtained results and its analyses as well as the evaluation of the

hypothesis. The last part will focus on the tourist project which mainly consists in organizing

an art festival of Malagasy painting.

14

PART I: GENERAL BACKGROUND OF THE RESEARCH STUDY

AND METHODOLOGY

15

1. GENERAL BACKGROUND OF THE RESEARCH STUDY AND

METHODOLOGY

Cultural tourism is a part of sustainable tourism because it contributes to the protection of

natural riches and monuments. Therefore, we have chosen to deal with this form of tourism in

this research study. In general, this first part is a description of the research object and its

background including the delimitation of the topic, the conceptual framework, the localization

of the research area as well as the theoretical framework and methodology. The main concepts

in this research are cultural tourism and painting art. A general approach on tourism

worldwide, in Madagascar and in Antananarivo is also presented in order to understand better

the concept of tourism and cultural tourism. About the theoretical framework, we are to

present the literature review as well as the basic theory. As far as methodology is concerned,

we will develop the chosen approaches, the methodology of data collection and the tools used

for this research. This first part is a descriptive one and its main purpose is accordingly to help

us understand the background of the research and the methodology used, so as to better

analyze the obtained results in the second part.

1.1. Delimitation of the topic

Our research topic deals with “Promoting cultural tourism in Antananarivo City through

the art of Malagasy painting “. Even though there are many forms of tourism in Antananarivo

City, we are going to focus more on cultural tourism throughout our study. Several aspects of

cultural tourism can be found but the research will deal with the art of Malagasy painting.

1.1.1. Justification of the research topic

Tourism is closely linked to culture. Tourists and local population should adapt themselves

to the differences in their cultures in order to avoid culture shock or acculturation. Thus,

culture should not be neglected in tourism because not only does hold a big importance in

tourism but it is also among the motivation of tourists. As we know tourists are looking for

authenticity and discovery. Most of them are expecting exchange and sharing experience with

the local population.

Promoting cultural tourism in Antananarivo has been chosen because on the one hand the

capital city has different kinds of touristic products which can be exploited for the

development of this form of tourism. Besides being the capital of Madagascar, Antananarivo

16

is the image of the island. On the other hand, according to the surveys and interviews carried

out we have noticed that most of the tourists visiting Madagascar have already planned their

schedule and destination to the seaside and the coastal area without thinking of stay for a long

time in the capital city. Therefore, it is necessary to exploit and increase the value of the

existing touristic sites and products and to create original touristic products in Antananarivo in

order to attract as much as tourists as possible. Also, as far as Madagascar is concerned,

cultural tourism is not yet well exploited however it is a form of tourism that promotes the

destination. We have chosen to exploit Malagasy painting because, not only it is interesting

and fascinating but it also reflects Malagasy culture. Besides, it is not well exploited to

develop the tourism sector. Moreover, through the project of organizing a cultural event on

Malagasy painting we could promote cultural tourism in Madagascar, bring more income to

the economy and value Malagasy culture; we are not only aiming at international tourists but

also local tourists.

1.1.2. Interest of the subject research

The main interest of this topic relies on the fact that it talks about cultural tourism

which is a form of tourism that all tourists could not avoid during their travel to a country.

Moreover, discovering the culture of a country is among tourists needs as they are in search of

experience exchange and authenticity. Thus, we have always to take into account the culture

whenever we talk about tourism because travelling or doing tourism means discovering the

others, especially the local population.

Making research on cultural tourism in Antananarivo is thereby relevant because of its

potentialities in terms of tourism, especially as cultural tourism is concerned. On condition

that all these potentialities are exploited, it is for sure that the sector of tourism in

Antananarivo will be developed.

As far as Malagasy painting is concerned, it is another aspect of Malagasy culture and

an opportunity to promote cultural tourism in the destination. Besides its interest relies on the

fact that it provides the valorization of painters’ skills and talents.

17

1.1.3. Global approach on tourism

This study mainly focuses on tourism. As said before, we are going to talk about

cultural tourism in Antananarivo. Therefore, it is necessary to give a context of tourism

worldwide as well as on cultural tourism.

1.1.3.1. Tourism

Tourism appeared in England in the eighteenth century. Current tourist practices

particularly cultural tourism, thermal and seaside tourism are from “British aristocrats who

after madding the Grand tour and discovered the sea, the beach and the mountain noticed that

these lasts can offer them a great pleasure”3. Four centuries after, tourism becomes leisure of

mass leading to important migration worldwide. Tourism is an international system of

exchange that displays particular tension around the interface between space and experience.

Each nation, promotes tourism as an actual and potential source of external revenue.

Tourism is the fourth sector in the world economy after finance, armaments and oil

industry.4This is one of the sectors which create more jobs because it is an industry gathering

several fields such as transportation, accommodation, catering, leisure and others. Thus, the

tourism sector contributes to economic development to a country and even all around the

world not only by job creation but also by the income that this sector generates to a region or

a country.

Apart from economic development, tourism also contributes to social, cultural and

ecological development. By the way, tourism especially sustainable one tends to develop the

society, the culture and the environment of a receiver country. This sector aims to improve the

social life in a society by the creation of different infrastructure, the sensitization to the

protection and enhancement of the environment, the experience and cultural exchange

between tourists and local population.

That is why tourism is an economic, social and cultural phenomenon all around the world.

This is a sector which is increasingly developing.

3 http://hal.archives-ouvertes.fr/halshs-00006836/document

4 Conférence sur l’Avenir du tourisme à Madagascar (September 2017, p 14) by Dr Hans-Joachim Bopst

18

In 2016 for instance, 1, 2 billions of tourists have been recorded all around the world.5 Either

developed or developing countries is acting so as to promote this kind of sector.

Figure 1: UNWTO Tourism towards 2030

Source Trip Advisor(August 2017)

According to this graph, international tourist arrival to reach in 2030 is 1,8 billion6.

The graph above shows that tourist arrival all around the world is increasing since 1950 to

2016. Therefore, a forecast of 1,8 billion is by 2030.

1.1.3.2 Cultural tourism

Cultural tourism is among the most important forms of tourism because it is a good alternative

to mass tourism. Nowadays, cultural tourism holds an important place in tourism. According to

the WTO and UNESCO meeting in Cambogde (2005) concerning tourism and culture:

5 Worldwide Banque data : http// :donnéesbanquemondiale.org/

6World Tourism Organization

19

“Every year, more than one billion persons move all around the world to do tourism. The

tourism sector offers an opportunity to the social and economic development of each

destination. Worldwide, cultural tourism has known a development; it has shown

competitively, has decreased rural depopulation and has created a great number of jobs. “

In the following figure, the top 5 of the reasons of tourists’ destination is shown through the

graph:

Figure 2: The reasons of destination’s choice top 5

Source: Trip advisor (September 2017)

According to the trip advisor, the most reasons for destination’s choice include culture

and society, friend’s or family’s recommendation, affordable flight, social offer or package

suggested as well as activity suggested anywhere else. Among that, the rate of culture and

society is higher than the others reasons. It shows the importance of cultural tourism

worldwide.

20

1.1.3.3. Cultural tourism in Madagascar

The objective of Madagascar is to reach 1.000.000 tourists in 2020 and in 2016,

Madagascar has received 293 185 visitors, the number has increased compared to 244 321

visitors in 2015.7 The tourism sector is increasing and developing in our country, however

Madagascar has still to make effort to reach the objective of 2020.

According to the survey in 20008 financed by the European Union and conducted among

visitors, the percentages of tourists who came to Madagascar according to the activities that

they have achieved are as follows:

Figure 3: Percentages of tourists in Madagascar per activities

• Ecotourism 55% ;

• sea, sun and sand tourism 19% ;

• cultural tourism : 15% ;

• sport/adventure : 8%

Apart from the good landscape, beach, fauna and flora; the big island is also a cultural

destination because of the diversity of its culture. As it is presented, only 15% of visitors

come to Madagascar for the cultural tourism.

Malagasy culture is shown in different aspects including material cultural heritage and

immaterial cultural heritage. Material cultural heritage gathers all tangible and visible

7Ministry of Tourism Statistic 2015-2016

8 Ministry of tourism

Percentages of tourists

Percentages of tourists

21

heritages like monuments whereas immaterial cultural heritage concerns all intangible

heritages like

1.2. Conceptual framework

In this part, the basic concepts of the research object including tourism, promotion, culture,

cultural tourism and painting art will be presented with some authors’definitions.

1.2.1. Tourism

The World Tourism Organization (WTO, 1991), defines tourism as “the activities

of persons travelling to and staying in places outside their usual environment for

not more than one consecutive year for leisure, business and other purposes not

related to exercise of any activity remunerated from within the place visited “.

Through that definition we can draw that tourism implies mobility in a place to another and a

time which is more than one consecutive year for the WTO. However, a movement to another

place for more than 24 hours can also be considered as tourism. This last also involves leisure

activities, culture and discovery. When we talk about tourism, accommodation, transport,

gastronomy, and leisure come straightaway to the mind.

1.2.2. Promotion

According to the Harrap’s Essential English Dictionary (1995, 761) Promotion is” the action

taken to try to make a product or a place more successful or popular.” In other words, the act

of promoting includes all actions which allow a place or a product to be known by everyone.

In so doing, it should be done by the means of advertisement. Most of the time when we

promote something, we also take part of increasing its value.

1.2.3. Culture

According to the Webmaster’s New Encyclopaedic Dictionary (2010, 244) “Culture is the

characteristic of civilization including its beliefs, its artistic and material products, and its

social institutions. “

Furthermore, Bronislaw Malinowski in his book Scientific theory of culture and other essays

(1944, 26) emphasizes that culture is “a solution to human beings needs. It is among man’s

second milieu created to satisfy his basic needs. “

22

Thus, through all these definitions, we can summarize that culture includes all ways of life

including language, belief, artistic or material production and social activities. In these ways

of life we can draw the values and characteristics of a society. Last, a culture is specific in a

country to others, thereby; it includes everything that makes a society different and unique

from another.

1.2.4. Cultural tourism

According to WTO (1985) cultural tourism includes

“ The movement of persons for essentially cultural motivations such as study tours,

performing arts and cultural tours, travel to festivals and other cultural events, visits to sites

and monuments, travel to study nature, folklore or art, and pilgrimages.”

Moreover, ICOMOS or (International Council of Monuments and Sites) defines cultural

tourism in 1990 as:

“activities which enable people to experience the different ways of life of other people,

thereby gaining at first hand an understanding of their customs, traditions, the physical

environment, the intellectual ideas and those places of architectural, historic, archaeological or

other culture significance which remain from earlier times. Cultural tourism differs from

recreational tourism in that it seeks to get an understanding or appreciation of the nature of the

place being visited” (ICOMOS Charter for Cultural Tourism, Draft April 1997).

In addition, Richards (1996, 23), in his book Cultural Tourism in Europe asserted that:

“The term cultural tourism has been used to describe the consumption of art, heritage, folklore,

and a whole range of cultural manifestations by tourists.”

Therefore, cultural tourism is a segment of tourism which deals with a country or

region's culture, the history of the people within it, their art, architecture, religions, and other

elements that helped shape their way of life. Cultural tourism includes tourism in urban areas

as well as rural areas. It is particularly linked to the history or large cities and their cultural

facilities such as museums and theatres, traditions of indigenous cultural communities (i.e.

festivals, and rituals), and their values and lifestyle.

All in all cultural tourism is a way for tourists to discover as much as possible the culture

of the country or destination that they chose through cultural sites, place and ways of life of

the local population as well. Thus, cultural tourists learn about the products or processes of

other culture especially the local population culture.

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❖ Relation between culture and tourism

Culture cannot be separated from tourism. Culture and tourism reinforce the attractiveness

of a place, a region and a country. Culture is an important element on tourist products.

Likewise, tourism has a crucial role in the valorization of culture; it increases the income

which may contribute to the conservation of cultural heritage, cultural production and

creativity.

Therefore, when we talk about tourism, we have to take into account the importance of culture

because there is close contact between tourists’ culture and local population’s during the

journey of tourists in a region or a country. That is tourist experience which includes cultural

manifestation, festival, and historical events and so on.

Cultural tourism allows understanding of other places, peoples and pasts, not only through

selective cultural sites and activities but mainly through a good approach to cultures like the

menu and the foods in a restaurant for example.

1.2.5. Painting art

According to Andrianetrazafy Hemerson in his book La peinture des origines à 1940

(1991:25)

“La peinture malgache est une expression artistique définissant un aspect culturel.

C’est aussi une expression d’un art importé due au contact entre le Royaume de

Madagascar et l’Europe”.9

Indeed, Malagasy painting has been introduced in Madagascar more precisely at the colonial

period. Therefore the paintings produced by Malagasy painters depend essentially on

European techniques and norm.

Painting is categorized in plastic arts but compared to handcrafts that are among minor arts,

painting is among major art with potteries. In fact, according to the painters that we have

interviewed, painting is unique and professional artists generally make only one work of art

and rarely produce the same paintings.

9 Malagasy painting is an artistic expression defining a cultural aspect and it is an expression

of imported art due to the cultural contact between Madagascar Kingdom and Europe.”

24

1.2.5.1. History of Malagasy painting

Malagasy painting was introduced in Madagascar through the contact with European

people especially during the colonial period. This period was marked by the intensification of

cultural exchanges between colonies and the metropolitan. Historically, the introduction of

painting in the country was due to some facts starting with the time of the King Radama the

first in nineteenth century. During his reign more precisely in 181610, he sent his twin brothers

Ratafika and Rahovy to the British governor in Mauritius. During their stays there, a painter

called Colombet drew their portrait wearing European clothes. These paintings had been

brought to Antananarivo and had pleased the King who, in his turn, asked for a painter who

was able to draw his own portrait.

André Copalle was the first foreign painter who came to Antananarivo in 1825 and tried to

make the King’s portrait after travelling to Foulpointe. Unfortunately the King did not

appreciate his work of art. He was not satisfied because he thought that the portrait did not

look like him at all, therefore the king asked his servant Hastie to fire that painter and to send

him back to his country as soon as possible. During Radama I’s reign, figurative art11 has also

known its development. There was a kind of modification and transformation in the

perception of Merina art because Malagasy people focused more on realist representation than

traditional decoration.

1.2.5.2. Examples of Malagasy arts

Here are some examples of Malagasy arts.

❖ First of all, bed frame12 which marked Malagasy traditional art, it is a support of

Merina graphic art. At the second decades of the nineteenth century, these bed frames

which had traditional patterns had been decorated by figurative ones like the ways of

dressing of militaries in uniforms, animals and so on. This figurative pattern shows

Malagasy interest for drawing which will be a starting point of the integration of

painting.

10H Andrianetrazafy, la peinture malgache, 1991, p 17-18

11 An art which is similarly linked to the reality and allowed an artist and a painter to show the lived or

perceived reality .

12Known as bois de lit : H Andrianetrazafy, op cit, p 19

25

❖ The fresco of Tranovola was the first manifestation of Malagasy painting. Tranovola

was the palace of Radama I, built in 1819 and achieved in 1820. In 1825, the internal

wall of this palace had been painted by paper painting13 which showed the daily life at

that time such as people’s way of dressing and living. The fresco of Tranovola was the

first manifestation of Malagasy painting.

At the death of Radama I, painting art disappears during the reign of the Queen

Ranavalona I due to her tension with Europeans. It was in the last quarter of the nineteenth

century that painting reappears thanks to the passage of some European painters in

Antananarivo. However, painting art was limited to the Capital of Madagascar and was only

for rich people because the Capital was promoted as the center of cultural rotation and the

political center of decision apart from being the Capital of Madagascar Kingdom.

1.3. Presentation of the study area

It is important to describe the study area, and this chapter allows us to situate it as well as to

know more about its history. In so doing, the localization of Antananarivo, its history and the

different stakeholders in tourism sector in the city will be developed.

1.3.1. Localization

Situated in the Highlands region of Madagascar, Antananarivo is the Capital city and the

largest city in Madagascar. The larger urban area surrounding the City, known as

Antananarivo-Renivohitra or “Antananarivo- the Capital City”, is the capital of Analamanga

region. The Urban Commune of Antananarivo is divided into six administrative sub-districts

led by the elected mayor and her associated staff.

Antananarivo is an urbanized area spreading beyond the city's official boundaries for

nine kilometers north to south between Ambohimanarina and Ankadimbahoaka, and

six kilometers west to east between the Ikopa River dike and Tsiadana. In general, the

population of the greater Antananarivo area was estimated at 3 million people in 2012.

13FONTOYNANT, « De quelques manifestations artistiques malgaches anciennes » Bulletin de l’Académie

Malagasy, (BAM), Tome XIV, 1931, p 33-36

26

Concerning the climate, Antananarivo has a subtropical highland climate which is

characterized by mild, dry winters and warm, rainy summers. The city receives nearly all of

its average annual rainfall between November and April. Mean temperatures range from

20.8 °C to 14.3 °C.

1.3.2. History

In the past, Antananarivo was historically a defensive site inhabited by Vazimba.

At that time it was called the Hill of Anjalamanga. It was founded from about 1610 to 1625,

when the Merina King Andrianjaka (1612–1630) expelled the Vazimba inhabitants of the

village of Analamanga at the highest meeting point of two forested ridges rising above the

surrounding highland plains.

Antananarivo was the Capital of Merina kingdom at the time of Andrianjaka at the

end of sixteenth century as well as the reign of Andrianampoinimerina at the end of the

eighteenth century. The King Andrianjaka changed the name of the Hill as Antaninarivo (in

the land of people or à la terre du peuple) in order to mark his presence and put the vazimba

under his authority. This was the first step of the transformation of the city as a Capital. At the

death of Andrianjaka, the hills become a city and the forest has disappeared little by little.14

Antaninarivo becomes later Antananarivo.

At that time till nowadays, Antananarivo remains the center of space organization,

a political, and economic center, an administrative place and the center of decision where the

leader or the Presidency, The National Assembly, the Senate and the Supreme Court are

located. In fact, almost all the offices of the States are gathered in the Capital as the example

of some Ministries, the town hall situated in Analakely, the Regional Office of Tourism in

Analamanga located in Antaninarenina, the National Office of Tourism in Madagascar

situated in Antsahavola .

14 La Cité des mille : De la colline d’Anjalamanga à la cité des mille : Naissance de la Cité des mille written by

RafoloAndrianaivoarivony et al (p 11)

27

Source: Open street map September

2015, FTM but modified by the author

THE REGION OF

ANALAMANGA THE DISTRICT OF ANTANANARIVO CITY

Administrative subdivision

Principal

Secondary

FIGURE 4: MAP OF ANTANANARIVO URBAN COMMUNE

28

1.3.3. The different stakeholders in tourism in Antananarivo City

Different stakeholders work together in order to develop the tourism sector in the

capital, in the Analamanga Region and even in Madagascar. They include the different

institutions in tourism, and the cultural centers that also contribute to the development of

cultural tourism as well as tourists. The table below presents the main actors in tourism in the

capital.

Table 1: The different actors in Tourism in the city

Actors

Responsibilities

Ministry of Tourism

The Ministry of Tourism is responsible for the

conception, the coordination and the evaluation of

the State Policies in terms of tourism development.

Its main mission is to develop the tourism sector in

Madagascar by improving the supplies and giving a

positive image of Madagascar to the external

markets. Currently it is situated in Tsimbazaza.

Tourism National Office of Madagascar

or ONTM

Situated in Antsahavola, this organization has been

created in 2003. It gathers the whole of professions,

tourist regions and operators of tourism. It aims to

promote the destination Madagascar as well as to

look for financial support for the development

projects of this sector.

29

Tourism Regional Office of Analamanga

or ORTANA

The Ministry of Culture, Promotion of

Arts and Heritage safeguard

Local population

ORTANA is situated in Antaninarenina, it involves

the kiosk (just in the park) which is a place to receive

tourists and the office (in the staircase). It is in charge

of the promotion of the Analamanga Region by

creating several activities and valorizing the tourist

potentialities in the Region. Besides it tries to make

the Region a tourist stay. In so doing it collaborates

with tour operators or Cultural Center like IKM,

CGM, CEMDLAC, IFT, Rarihasina.

The Ministry of Culture or more precisely the

Direction of Culture is in charge of all activities

related to the promotion and valorization of

Malagasy Culture. In so doing it applies the National

Cultural Policy, the Convention of 2003 on

Immaterial Cultural Heritage as well as the

Convention of 2005 on cultural diversity.

In that way, the Direction of Culture provides a

development of cultural tourism in Madagascar.

Apart from these Institutions, local population is also

among the actors in Tourism. It contains 2,2 million

inhabitants namely 25 287 inhabitants per km2 in

201715.

Source author (December 2017)

15 Source : Antananarivo City Guide Magazine (June-July 2017)

30

1.4. THEORETICAL FRAMEWORK

In this second chapter the chosen theory that is the basis of the research will be

developed with its importance and relation with cultural tourism and Malagasy painting. By

the way Functionalism theory has been chosen.

1.4.1. Presentation of the theory

As a basis theory, we have adopted functionalism theory of Bronislaw Malinowski

developed in his book entitled Scientific theory and other essays (1944:90-111).

In general, functionalism is as a school of thought in anthropology emerged in the early

twentieth century. It interprets each part of society in terms of how it contributes to the

stability of the whole society. This last is more than the sum of its parts; rather, each part of

society is functional for the stability of the whole. Functionalism is the theoretical orientation

that looks for the function that a certain aspect of culture or social life plays in maintaining a

cultural system. It is the idea that the function of everything we do is to support ourselves or

our society.

This theory tends to describe the different parts or functions of a society by linking it

to the organic analogy. Indeed, the organism has its own needs so that it could be able to live,

reproduce and function correctly through the organized system of its several parts and organs.

So, like a biological organism, a society was able to maintain its essential processes through

the way that the different parts interacted together. Institutions such as religion, kinship and

the economy were the organs and individuals were the cells in this social organism.

Functionalist analyses examine the social significance of phenomena, that is, the function they

serve a particular society in maintaining the whole.

Functionalism theory emphasizes the concepts of needs, function and institutions.

There are different forms of functionalism including functionalism in physiology,

functionalism in anthropology without saying functionalism in sociology and others.

The diagram below shows the difference between functionalism in physiology and

functionalism in anthropology. The first one includes need, function and organ and the second

involves need, function and culture.

31

Interaction and relation in functionalism theory

• Figure 5: Functionalism in physiology

Source: author (April 2018)

The first figure is the functionalism in physiology showing the interrelation between

need, function and organ. By the way, if there is any need of the organism, an appropriate

organ will work for satisfying this need. For instance, the organism needs to breathe; the

breathing system will work in order to satisfy that need.

• Figure 6 : Functionalism in anthropology

Source: author (April 2018)

Functionalism in physiology

Need

FunctionOrgan

Functionalism in

anthropology

Need

Function

Culture or

Institutions

32

The second represents the functionalism in anthropology emphasizing the dependence

between need, function and culture. It means that human or society’s needs will be fulfilled

through culture or institutions. As a result both have a function to satisfy human and society’s

need.

According to the functionalist perspective of sociology, each aspect of society is

interdependent and contributes to society's stability and functioning as a whole.

In this research we are going to adapt the second that is functionalism in anthropology

because our topic on cultural tourism is linked to culture. The justification of this choice will

be more developed below.

1.4.2. Conceptual framework of the theory

Functionalism theory contains several concepts but we will develop four of them that

are linked to our research work namely needs, function, culture, and institution.

1.4.2.1. Need

A human being has two different kinds of needs and should satisfy both of them; the

first one is elementary needs and the second one is derivational needs. The first includes

foods, corporal well-being, growth, security and reproduction, whereas the second involves

education, activities, shelter, and production of wealth.

Essentially, the theory of needs 16describes both how and why certain functions are

carried out within societies. The pattern also becomes clear that basic needs are often the

leading factor to cultural responses. Furthermore, this theory is important to understand the

reasoning for these cultural responses within our cultures. For example, the basic need of

bodily comforts and safety is supported through our kinship structure.

1.4.2.2. Function

Function is one of the key concepts in functionalism theory. The word function is

linked to the concept of role, task, utility and usefulness. The function is defined as a role

related to a need. According to Malinowski, a function always means the satisfaction of

need.17

16Bronislaw Malinowski, Scientific theory and other essays, (1944,P107-109 )

17Bronislaw Malinowski, op cit, P 99

33

Thereby, it is related to the role of a culture in the society or the role of institutions to

the satisfaction of human needs. This author emphasizes that all aspects of culture work to

support a society.

1.4.2.3. Culture

Culture is essentially an instrumental apparatus by which man is put in a position to

better cope with the concrete, specific problems that face him in his environment in the course

of the satisfaction of his needs. It is a system of objects, activities, and attitudes in which

every part exists as a means to an end.

Such activities, attitudes and objects are organized around important and vital tasks

into institutions such as family, the clan, the local community, the tribe, and the organized

teams of economic cooperation, political, legal, and educational activity.

From the dynamic point of view, “culture can be analyzed into a number of aspects

such as education, social control, economics, systems of knowledge, belief, morality, and also

modes of creative and artistic expression “18.

Furthermore, culture came about because individuals had needs. He asserted that all

aspects of culture originated in order to meet the need of the individual. As all individual

needs are met, the individual is then free to support society. Bronislaw Malinowski develops

that culture functioned to take care of the need of the individual. To him, the individual

trumped society.

1.4.2.4. Institutions

An institution serves a vital role in the functioning of society. Among others,

institutions can be a family, religion and kinship. If institutions no longer serve a role, it will

die away. When new needs evolve or emerge, new institutions will be created to meet them.

From the functionalist perspective, if all goes well, the parts of society produce order,

stability, and productivity. If all does not go well, the parts of society then must adapt to

produce new forms of order, stability, and productivity.

18Bronislaw Malinowski, op cit, P 93

34

1.4.3. Relation between the chosen theory and the research topic

It is essential to make the relation between the basic theory and the research topic.

1.4.3.1. Relationship between functionalism theory and cultural tourism

Tourists travel because of the research for health, discovery and/or pleasure. Though

travelling is not among elementary needs, it can be part of needs. Therefore, it is necessary to

identify tourists’ needs in order to make an appropriate product for them and to give them

satisfaction. Through the functionalism theory, we are to demonstrate on the other hand the

function of cultural tourism in the promotion of the destination as well as the function of the

society including the actors of tourism (tourism operator, institutions, and local population) on

the valorization and promotion of cultural tourism through painting art. However, it is not

only the tourists who are satisfied but even the actors in the tourism field too.

1.4.3.2. Relationship between functionalism theory and painting art

Functionalism theory allows us to analyze the function of Malagasy painting in the promotion

of cultural tourism.

The reason why painters and artists develop their creativity in painting arts is on the one hand

to give satisfaction to themselves by showing their emotion and talents and ,on the other hand

to give satisfaction and to entertain the public. Even though painting is essentially from

Western countries, Madagascar has also adapted it among Malagasy arts by representing

Malagasy landscape, people and culture. As a result, painting art is integrated in Malagasy

culture because not only does it show the beauty of Madagascar but also its originality can be

seen through the material used such as the use of canvas. Besides, most of Malagasy painters

represent the country and its specificity through their arts. As illustration, we can take the

example of the famous Roland Raparivo and his son Andry Raparivo. Painting art is thereby

served as memory products for tourists as well as an element reflecting Malagasy culture.

That is the function of painting in tourism. The needs that it may satisfy include tourists’

needs in the research of authenticity, cultural discovery as well as the research for product

memory.

35

1.4.4. Synthesis of the chosen book

In his book Scientific theory and other essays, Malinowski develops first the definition

and origins of culture and then explains the functional analyses. Through that, he talks about

individual physiological needs including reproduction, food, shelter and that society exists to

meet these needs. Culture is then a new solution to satisfy these needs. In fact, facing to his

needs, human creates activities that become his usual habits and customs which we call

culture. In his definition of culture, Malinowski oriented it to the biology or more precisely

humans needs. In that case, culture is involved when human needs increase or change. So,

there is no intervention, revolution and intellectual or social transformation unless there is no

new needs. The culture is an adapted means to achieve the aim in instrumental or functional

aspects. The function is a link between cultural actions to humans needs. It is the satisfaction

of needs by means of activities where humans accomplish together, creating objects,

inventing things and then consume together. Malinowski presented and developed many

concepts but four of them, which are needs, function, culture and institutions are of interest to

the present work.

1.5. METHODOLOGICAL FRAMEWORK

In this part, the approaches used and the methodology of data collection will be

developed. This serves as a part to present the different methodology used during the data

collection as well as the tools chosen in this research. During our investigation, qualitative

and quantitative approaches have been adopted.

First of all, this method is primarily an exploratory research. It is used to gain an

understanding of the underlying reasons, opinions, and motivations. It provides insights into

the problem or helps to develop ideas or hypotheses for potential quantitative research.

Qualitative research is also used to uncover trends in thought and opinions, and dive deeper

into the problem. Qualitative data collection methods vary using unstructured or semi-

structured techniques. Some common methods include focus groups (group discussions),

individual interviews, and participation and observations. In the present work, the sample size

is typically small, and respondents are selected to fulfill a given quota.

36

Then a quantitative research is used to quantify the problem by way of generating

numerical data or data that can be transformed into useable statistics. It is used to quantify

attitudes, opinions, behaviors, and other defined variables and generalize results from a larger

sample population. Quantitative research uses measurable data to formulate facts and uncover

patterns in research. Quantitative data collection methods are much more structured than

qualitative ones. Quantitative data collection methods include various forms of surveys

namely online surveys, paper surveys, face-to-face interviews, telephone interviews,

longitudinal studies, website interceptors, systematic observation. In the present research,

quantitative approach has been used so as to get numerical data on tourism, especially on

cultural tourism and on the interest of tourists in Malagasy painting.

In order to collect as much information and data as possible about the research topic,

some methodology has been adopted. The data collection methodology has been divided into

two, the first one is about primary data collection and the second one is secondary data

collection methods.

1.5.1. Primary sources

Primary data collection methods include all methods of collecting first data through

direct observation or first-hand experience including observation, questionnaires, interviews

and surveys without saying the target population. During our primary data collection we have

used direct observation, interviews and questionnaires.

1.5.1.1. Target population

In order to get the maximum amount of information needed for this study, reading

processes cannot be used alone to carry out our research. Therefore it is required to get

information and ideas from people that we have targeted; talking with them allows us to have

greater expertise and knowledge concerning the research subject. Accordingly, we have

chosen three target groups during the on-site conversation including people involved in

tourism promotion, tourists who are international and national ones and painters.

37

1.5.1.2. Direct observation

Observing involves recording the behavior patterns of people, objects and events in a

systematic manner. There are different kinds of observation but for our research we have

realized the direct observation. This method helps to figure out the reality and the existing fact

instead of totally relying on the answers and interpretations of interviewers.

This method is used to identify the key components of the problem on cultural tourism

in Antananarivo, to develop hypotheses and to see tourist potentialities in the Capital.

Direct observation is used when other data collection procedures, such as surveys and

questionnaires are not effective; when the goal is to evaluate an ongoing behavior process,

event, or situation; or when there are physical outcomes that can be readily seen.

Direct observation is a kind of observation where the observer is just observing without

giving any information.

This method has been applied so that we can understand the reality in cultural tourism

as well as the place of Malagasy painting in tourism. During our research, direct observations

in the ORTANA or Office Régional du Tourisme d’Analamanga, Alliance Française, and in

IKM have been made. We have also realized a direct observation in Antananarivo city namely

in some art galleries like Lisy gallery Antanimora, Is’art gallery Ampasanimalo, the museums

palace of Andafiavaratra and the showroom of Roses et Baobab Antsahavola; also we have

attended some exhibitions on painting art namely in Tahala Rarihasina Analakely, Alliance

Francaise Andavamamba and Le Louvre Hotel Antaninarenina. In addition, we have made

some observation at the upper town of the city as well as in the downtown in order to see the

tourists’ potentialities in Antananarivo. It is to be noticed that this inquiry method has taken

place from August till December 2017.

1.5.1.3. Interviews

Being among the first data collection methods, interviews are considered as interrogative

methods. In general, we can say that an interview is a form of communication established

between two persons who do not know each other. The goal is to collect some information

about a precise phenomenon.

Jean-Marie De Ketele (1993,20) stated that,

38

“L’interview est une méthode de recueil d’information qui consiste en des entretiens

oraux, individuels ou de groupes, avec plusieurs personnes sélectionnées

soigneusement, afin d’obtenir des informations sur de faits ou des représentations,

dont on analyse le degré de pertinence, de validité et de fiabilité en regard des

objectifs du recueil d’informations19.“

Guy Jumel and Joel Guibert, (1997, 113) argued that,

“Les entretiens servent à connaitre la perception que les acteurs ont de

l’organisation…L’objectif est de révéler les opinions et les sentiments concernées par

le dysfonctionnement, de décrire leur comportement de manière dont ils traduisent,

dans leur attitudes, cette perception de la situation20.“

During our investigation, we have made opened questions to the following persons see

appendix 1:

• the responsible of cultural service in the Cultural Direction of Analakely;

• the responsible of the kiosk of the ORTANA (Office Régional du Tourisme

d’Analamaga);

• the responsible of culture at IKM;

• the responsible of ONTM;

• eight painters in Antananarivo;

• two drawers;

• the founder of Rose et Baobab associatio

1.5.1.4. Questionnaires

A survey is also among interrogative method which consists in asking several

questions to many people. During our survey questionnaire a series of questions have been

used.

19 «The interview is a method of information’s collection which consists in oral, individual or group discussions,

with several carefully, chosen persons to acquire information on facts or presentations, whose degree of

pertinence, validity and reliability they analyze compared with the objectives of the collections of information.»

20«Interviews serve to know the perception that the actors have about the organization… The goal is to reveal

the opinions, feelings of the concerned people, to describe their behaviors, their attitudes and perceptions in

the situation. »

39

The questionnaire is sent to respondents who are expected to read and understand the

questions and write down the reply in the space meant for the purpose in the questionnaire

itself. The respondents have to answer the questions on their own.

During our research, we have adopted it to make surveys to tourists on their point of view on

tourism in Antananarivo as well as about people’s representation and interest in painting art

(see appendix 2).

1.5.2. Secondary sources

In the difference of primary data collection, secondary data collection methods involve

published data in the past or by other parties such as books, reports, articles and magazines. In

so doing, the use of documentation has been adopted.

1.5.2.1. Documentation

First of all we have adopted the method of documentation which consists in gathering

all documents and data concerning the topic. In so doing, we collected information cultural on

tourism as well as the case studies of Antananarivo and Malagasy painting.

After that, we have worked on some documents or more precisely some flyers, articles,

reviews, magazines and maps. As illustrations, we have used Magazines such as

Antananarivo city guide, ITM Catalogue des exposants 2016,and Madagascar ile en ile,

laisser vous guider.

To realize the documentation, some libraries like the University Library (BU), Municipal

Library, the ones at Tahala Rarihasina, Académie Malagasy, Le Fond Grand Didier

Tsimbazazaand others have also been consulted. In addition, the Internet was also one of the

means used to realize the documentation.

The objective of the documentation is to understand the research study as well as to know

what the others have already written about them. It is also to collect materials to undertake

and fulfill this research.

1.5.2.2. Literature review

The importance of literature review is based on the fact that it allows us to know what

others have written in relation to our research object. In so doing, we have read several books

40

on tourism, cultural tourism, the basic theory, the study area, meaning Antananarivo City, and

the case study that is painting arts. In the part of the literature review analyzed previously, we

have made a synthesis of three chosen books. The literature review helped us in enriching our

knowledge and ideas. Besides it has inspired us in the writing.

1.5.3. Presentation of the tools used

The writing of this work requires the use of some tools such as sphinx software, Pertt, Gant

diagram and SWOT analysis, tree problems and objectives.

1.5.3.1. Sphinx software

Sphinx is software specialized for making surveys. During our data collection we have used

this software in order to process the opinions of international tourists and local population

about cultural tourism and on their interest in work of art namely painting. This software has

allowed us to complete the questionnaires with their answers and could automatically get the

results of the data .

1.5.3.2. Gantt chart

A Gantt chart 21 is a graphical depiction for planning and scheduling projects. It breaks a

project into smaller pieces of tasks with each of these spread out over time. In a Gantt chart,

each activity is represented by a bar; the position and length of the bar reflects the start date,

duration and end date of the activity. The milestone is represented by a triangle, and the

relationship is always shown with an arrow. It has allowed us to see task dependencies,

scheduling constraints, the duration of each task and percent complete.

We have used a Gantt chart both on our methodology planning in order to complete the

research and the writing on time as well as for our tourist project that will be explained and

developed in the part III of this work.

1.5.3.3. SWOT analysis

A SWOT analysis stands for Strengths, Weaknesses, Opportunities and Threats; it has been

used in order to analyze the situation of Cultural Tourism in Antananarivo City as well as

21 http://www.edrawsoft.com/difference-gant-chart-pert-chart-php

41

Malagasy paintings. Furthermore, we have also used SWOT analysis in the tourist project in

the third part.

1.5.3.4. Problems and objectives trees

Problems tree allow us to analyze the problems linked to the development of cultural

tourism in Antananarivo so as to give some suggestions of solutions after. In so doing, tree

problems will be presented in part II of the work that concerns the obtained results and their

analysis. However objectives tree used in the part of project help us to orientate the projects

itself and its different objectives either global or specific. Accordingly, objectives tree will be

developed in the third part of the work.

42

To put in a nutshell, this descriptive part allows us to understand the importance of

cultural tourism and the relationship between tourism and culture. In that view, tourism and

culture should not be separated and whenever a tourist travels, he will always discover the

culture of the others. This part is also helpful to delimitate the research object and the topic

which only focuses on cultural tourism in Antananarivo particularly in the case of Malagasy

painting. The key concepts of this research are mainly tourism, cultural tourism, promotion

and painting. The synthesis of some books in the literature review also helps us to know what

has already been written and what kind of research has already been done about the topic. It is

important to emphasize that our chosen basic theory is functionalism theory based on needs

and function. This theory has been chosen because it has a link to cultural tourism and allows

us to understand the function of painting as a tourist product. The research is based on

qualitative and quantitative approaches and the methodology of data collection concerns

observation, documentation, interviews and questionnaires. The tools adopted are sphinx

software, Pertt and Gantt diagrams, a SWOT analysis as well as problems and objectives

trees. It is crucial to emphasize the importance of the methodological framework. Thus,

without it, we could not get the results which will be developed in the next part.

42

PART II- THE PLACE OF PAINTING ART IN CULTURAL TOURISM

43

2. THE PLACE OF PAINTING ARTS IN CULTURAL TOURISM

Painting is among the tourist products which does not only show the reality and scenes

of Malagasy daily life but also represents the culture of Malagasy people. Besides, painting

demonstrates the wealth and potentialities of Madagascar.

The main purposes of this part II is to analyze the situation of cultural tourism in

Antananarivo and to emphasize the importance of painting in the tourism sector specifically in

cultural tourism. The results will be presented then analyzed and interpreted. Therefore, this is

the analysis part of the research where the results of documentations, observations, interviews

and surveys are to be presented with their interpretations. Thus, a SWOT analysis and the

identified problems on cultural tourism in Antananarivo City will be carried out as well as a

proposition of solutions. At the end of this part, the hypotheses will be presented and then

tested.

2.1. Results of the research related to Malagasy painting

The results will be presented according to the primary sources used including

observation, interviews and surveys and secondary sources namely the documents used that

helped us to test the hypotheses.

2.1.1. Results from primary data collection

Primary data collection grasps all data and information from either observation or

direct communication or through personal interviews and surveys. During the primary data

collection, methods of direct observations have been accomplished. It allows us to get some

results in the different places to visit in the city linked to Malagasy painting including

museums; places of Malagasy handcrafts and galleries. The main purpose of this method is

thereby to find out the reality of cultural tourism in Antananarivo as well as the reality of

Malagasy painting. The interviews and surveys have allowed us to know the values of

Malagasy painting and the interest of people in painting

44

2.1.1.1. The different places of arts to visit in Antananarivo city

This part develops the potentialities of Antananarivo linked to Malagasy painting. Thus the

different places to visit in Antananarivo such as museum, places for handicrafts, art galleries

and showrooms which display Malagasy painting arts will be presented.

• The Palace of Andafiavaratra

The palace of Andafiavaratra was built in 1872 by the English architect William

POOL. It has been built to replace a lovely wooden building. The palace has been burnt and

restored in 1976. Currently, it shelters an exhibition of art items saved from the fire at the

Queen’s Palace in 1995. These objects include jewels, other items and especially paintings

painted by former artists. In that way, we can see there the portraits of the King

Andrianampoinimerina and Radama II as well as Ranavalona I painted by Ramanankirahina;

the portrait of Radama I painted by André Copalle and the portrait of Ratafika and Rahovy

painted by Colombet in 1816 in Mauritus.

• Places for Malagasy handicrafts

Nowadays, Antananarivo is also observed to have different places for Malagasy

handicrafts sites where we can find basket-weaving, sculpture, painting arts and many other

items in Antaninarenina, Andravoahangy and in some galleries. In Analakely there is a market

for commercial Malagasy painting that can be visited too.

• Art galleries

Source: adapted from www .vanneriemadagascar Source: Photo taken by the author at Lisy Gallery Art

(November 2016) (23 November 2017)

Photo 1: Basket Weaving Photo 2: Painting art at Lisy Gallery Art

45

Antananarivo City has in its disposal many arts galleries. Among others, we have chosen four

of them.

❖ Lisy Art Gallery

Lisy Gallery is a big gallery located in Antanimora, Antananarivo and it displays

Malagasy handcrafts like weaving, sculpture and painting. As regards to paintings, they are

produced by several painters from all the regions of Madagascar. Anyway, most of them are

not yet famous, as asserted by the responsible in the Gallery.

Photo 3: Sample of Malagasy painting at Lisy Art Gallery

Source: author (23 November 2017)

❖ Roses et Baobab showroom

Created in 31 July 2006, Roses et Baobab is a showroom located in Antsahavola,

Antananarivo. It displays the works of arts of approximately 95 Malagasy artists with 34

specialties. In that way, we can see sculpture, glassware items, pottery and painting in which

sculpture and painting constitute the majority of work of arts displayed. Most of the works of

arts displayed there were made by the artists, members of Roses et Baobab association. As far

as painting is concerned, there are two kinds namely, former painting including realistic

painting as well as modern or abstract painting. In addition, some former objects are also kept

46

in the showroom like former cameras and shut guns. Actually there are 1500 units of art

items; these works of art are not only original and unique but also of high quality.

Roses et baobab differs from other galleries as all work of arts displayed there are typically

Malagasy made to represent the wealth of the country. There are three different kinds of

visitors as Gérard- Albin, the owner of Roses et Baobab asserted. The first one is tourists

especially international ones, the second gathers national visitors and the last includes people

who looks for souvenir and gifts.

Photo 4: Sample of painting at Rose et baobab showroom

Source: author (24 November 2017)

This photo above is a painting in which the support is a glass.

• Tourists activities

There are many tourist activities that can be realized in the City of Antananarivo such as

trekking to the Queen’s palace, city tour, parks visits as well as museums and market of

handicraft visits.

Tourists can also attend a show or cultural animation and events organized by cultural center

or ORTANA. As we talk about cultural events, we can take the example of Madagascar

Carnival organized by ORTANA every year; Haify Mampihavana which is an event to show

Malagasy typical meals; and exhibition of Malagasy painting.

Some leisure activities are also organized by ORTANA and Cultural Center like IKM as the

example of competition of fanorona22 and the week of hira gasy23.

22A chess like Malagasy games

47

Apart from that, some discotheque and room of karaoke can welcome tourists especially those

who like going out at night.

2.1.1.2. The different actors in art

Concerning our case study, namely painting art, we have done some observation on the

different actors in art namely CRAAM, Roses et Baobab Association and IS’art gallery.

➢ CRAAM

Located in the University of Antananarivo, since 2013, the center stands for Centre de

Ressources des Arts Actuels de Madagascar and contributes to the development of artistic and

cultural sector of the Country. It organizes exhibition, projections, conferences and debates in

order to promote cultural life at the University. The main objective of the Center is thereby to

favorand facilitate the meeting between the world of art and culture with the students at the

University.

➢ Roses et Baobab Association

Roses et Baobab association is founded in February 2005. The founder is a French man

Gérard-Albin who is an artist and a very art lover. Roseset Baobab is an association gathering

actually 95 artists in which 30-35 of them are active, it grasps together 34 different specialties

in the region of Madagascar. Roses et Baobab association has been created as a result of a

remark of the founder concerning the hard work and bad condition of some Malagasy artists

who only get a little amount of money that is not equitable compared with the time, money

and skills spent. As a consequence, the founder has given training to some Malagasy artists

and after that, he decided to create the Association to support Malagasy artists.

Therefore, the objective of the association is mainly to promote Malagasy arts and

artists. It also aims to help the most deserving artist as well as to make known the quality of

Malagasy art and painters. In the future, the association intends to create an ethnographic and

didactic museum according to Gérard-Albin.

23 Traditional Malagasy song

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➢ IS’ART Gallery

IS’ART gallery stands for Innovation et Synergie pour l’Art or Innovation and Synergy

for Arts. It is an association located at Ampasanimalo since 2014 after being located in

Analakely in 2011. Accordingly, it is at the same time a place of exhibition and sale of

modern arts such as paintings and plastic arts.

The objective of the association consists in the promotion and valorization of Malagasy

arts and artists. It aims to develop in particular modern arts. Thus, IS’ART gallery intends to

promote and valorize the artists by offering them a place of exhibitionand organizing an event

that allows to make them known, not only by Malagasy people but even by the international

audience. According to the administrator, Mister Razanadrasamy Christian Donovan, the

association gathered 14 artists members in 2015.

The gallery is a place of cultural exchange as it organizes shows and exhibitions that allow

the artists with different specialties to meet with the public. In so doing, the gallery organizes

at least 15 exhibitions per year and a cultural show. The exhibitions are not only limited to the

national people but it is opened at the international level. Apart from the works of arts

permanently exhibited in the exhibition room, there is a kind of lounge bar to stay and to take

rest. In addition to the place of exhibition; IS’ART Gallery has in its disposal a stage offered

to the young musicians, dancers and actors to present their work to the public. This stage has

been created as a result of the absence of a space for the professionalization of artists in

Antananarivo.

Moreover, an artistic education is organized by IS’ART Gallery because of the absence of

school of arts. The responsible in IS’ART Gallery carries out workshops for the children of

the Headquarters as well as workshops for artists.

2.1.1.3. Exhibitions of Malagasy painting

Exhibition holds an important place in paintings. It is thereby a way for painters to show

and display their masterpieces. According to them, an exhibition does not only serve as a

means of communication for their products but it also helps them to sell their work of arts.

Therefore, most painters could sell more paintings during an exhibition. In Antananarivo City,

there is at least one regular exhibition each year namely during the high season of tourism.

However, for this year, we have attended some exhibitions in the Capital starting from the

month of August to December in different places. The results of that will be represented

through the following table:

49

Table 2: The different painting exhibition that attended in Antananarivo City

Topic of the exhibition

Place Date Organizers

“Voyage en peinture III ”

Tahala

Rarihasina

Analakely

07 to 24th

August 2017

15 Malagasy painters

“60 ans de peinture de

Raparivo” or 60 years of

Raparivo’s painting

Alliance

Francaise

Andavamamba

23 August to

09 September

Roland Raparivo and Andry Raparivo

« Inspiration vers l’infini »

or Inspiration to the infinite

Le Louvre

Antaninarenina

01 to 30

September

Five painters:

-Petit Maitre

-R Dolph

-Andriantsilavo Toky Andriamisaina

-Rabearivelo Dina

-Randriamiharison Jina

« Couleurs de l’amitié »

Tahala Rarihasina

Analakely

06-20

November

15 Malagasy painters

Source: author (January 2018)

It is to be noticed that all of these exhibitions that we have attended are at the same time a sale

and exhibition.

2.1.1.4. The different kinds of Malagasy painting

Through the direct observation that we have made during some exhibitions on

painting, we could find out the different kinds of Malagasy painting. In fact painting has

several kinds depending on the image that it represents realism, impressionism and abstract.

Realistic painting represents images as they are in the reality like landscape and Malagasy

50

daily life whereas impressionism and abstract represents images in a more imaginative way.

Impressionism represents imaginative landscape. Realistic art are among former paintings

whereas abstract painting is among modern art.

➢ Examples of realistic painting

Photo 5 : Players of fanorona and hairstyle

Source:by Nirina Randrianarisoa, photograph by the author

(18 August 2017)

Nirina Randrianarisoa has been known during this exhibition for his big painting. In this

painting we can see the players of fanorona which is a Malagasy traditional game and a woman who

is combing the hair of her daughter. The painting above shows two aspects of Malagasy culture.

Painting ‘style also depends on the material and support used by painters, most of them used papers

and canvas but during our observation, we have found out that some of them used barks of banana

trees and newspapers as a support of their work of arts.

51

Photo 6: “Hunting” Photo 7: “Sharing”

Source :author (August 2017)

Instead of using papers or canvas, the painter R Dolph uses bark of banana tree as he is living

in the countryside and wanted to exploit what he sees as he has asserted.

Photo 6: Memory of 29th March 1947

By Roland Raparivo

The photo n°7 is one the masterpieces of R.Dolph who is known for his paintings based on

barks of banana tree, instead of using canvas or papers. However, the photo n°8 is

Rabearivelo Dina’s painting based on newspaper. This painter does not use every newspaper

he got but he chose those which are related to his drawing and were able to convey his

message.

Photo 8 : Memory of 29th March 1947 Photo 9: Memory of 29th March 1947

Source:by Roland Raparivo, photograph by the author (23 August 2017)

Photo 9: Memory of 29th March 1947(oil) Photo 10: Memory of 1947 (Oil)

By Roland Raparivo By Roland Raparivo

Source: by R.Dolph , photograph by the author Source: by Dina Rabearivelo , photograph by the author

(18 August 2017) (30 September 2017)

By Rabearivelo Dina

By R.Dolph

52

The photos above are all the works of art of Roland Raparivo. They represent the escape and

the fire on 29 March 1947 that is an outstanding event in the country’s history. These samples

of Malagasy painting have historical value.

Photo 10: Rural areas Photo 11: Campfire in full moon

Source: by Andry Raparivo, photograph by the author (23 August 2017)

Photo 12: Anosy Lake

Source: By Andry Raparivo

Photograph by the author (23 August 2017)

53

The photo n°13 represents the Lake Anosy which is a historical site in Antananarivo. This

painting is oil on canvas. These samples of Malagasy painting represent Malagasy landscape.

➢ Abstract painting

Photo 13: Samples of Abstract arts

.

Apart from realistic arts that represent images as they are in the reality, abstract painting is

also developing nowadays as the example above. Abstract art is not obvious to read and

according to painters, Malagasy people have difficulties to analyze it.

• The organizers of the exhibitions

Through the direct observation that we have carried out, the painters themselves are most

of the time the organizers of exhibition. They just had to find an appropriate place for it and

arrange between them for the communication and the organization. Since the exhibition is a

way for painters to sell more products, they have to make more exhibitions to make more

profits. However, some cultural centers like IKM Antsahavola, Alliance Française

Andavamamba and CRAAM organize exhibitions on painting and are in collaboration with

some painters. Their goals are to make the public know the skills of Malagasy artists and to

promote Malagasy arts. For the case of IKM for example, the cultural center makes an

agreement with painters who want to launch their products on condition that the painters will

not pay any rent and in exchange IKM will choose and keep one painting after the exhibition.

Source: by Petit Maitre, photograph by the author (23 August 2017)

54

2.1.1.5. Specificities of Malagasy painting

Interviews and surveys allowed us to gather some information and data on the

specificity of Malagasy painting in Antananarivo. In so doing, we interviewed the responsible

of Partnership and Training in ONTM, a responsible of ORTANA’s kiosk, a national tourist

guide, eight Malagasy painters, the cultural Responsible of IKM, the founder of Rose et

Baobab Association and the Director of Is’art gallery.

Since our research concerns both international and local people, we made some

surveys using questionnaires with twenty international tourists in total and twenty local

people. Our goal was to know their stay in the Capital, the main problems that they find in

Antananarivo as a tourist destination and their interest in Malagasy painting as well as the

reasons for their interests. Apart from that, we have made surveys of seven organizers on

painting exhibition in which six painters and one organizer of exhibition in IKM and two

drawers. Our purpose was to identify the problems of the development of Malagasy painting

and to know also the main customers on it.

According to most painters that we have interviewed, Malagasy paintings differ from

others in the fact that they represent Malagasy landscape, daily life and culture what arose the

tourists interests. Compared to other handcrafts, painting is among major art because painters

produce a unique work of art.

▪ The values of painting

According to D’Ange the painter, Malagasy painting withdraws cultural, social and

historical value but foremost, it represents our country especially landscape genders. To

illustrate we can take the case of Roland and Andry Raparivo’s paintings. Most of their work

of art represented Malagasy landscape and Madagascar’s attraction.

Cultural and social value are shown through paintings representing social life and

values of Malagasy people like the famous “by the fireside”24 which withdraws a value to

Malagasy people as it is a time of sharing for everyone in the family; the painting representing

24Takariva amorom-patana

55

the zebu which is a very important symbol for Malagasy people. Besides some painting also

illustrate the daily life and activities of Malagasy people.

Furthermore, some paintings also have an historical value as it represents an

outstanding event to the Country like event of 1947 seen through the painting of Roland

Raparivo. Moreover, through the Kings and Queens portraits in Andafiavaratra Palace we can

imagine how the kings and queens were at that time as well as the Monarchy’s history in

Madagascar.

▪ The interests of people in painting

According to Mahery, a portraitist in Analakely, painting is essentially a tourist

product which serves as a memory for foreigners. Gender scenes and realistic arts are the

most interested for tourists because they represent the specificity of Malagasy people in rural

or urban life area, they also demonstrates Malagasy landscape.

According to Andry Raparivo and Rijas Rambelo, both painters,tourists, more

precisely international ones, are the most interested in painting and after that comes painting

lovers, those who make collections as well as young people expatriate abroad. It is due to the

weak interest of national people and the weak Malagasy purchasing power

The Responsible of Roses et Baobab Association asserted that Malagasy people have a

weak interest on arts compared to others for many reasons including “the weak purchasing

power and the absence of artistic education”. In fact everyone cannot afford painting as it is

too expensive.

2.1.2. Results from secondary data collection

Secondary data collection draws together all data collected from books and documents.

2.1.2.1. The different circuits in Antananarivo city

In Antananarivo City, tourists can do the City tours and the following circuits are the

tours proposed by ORTANA. For this purpose, we used the brochure of ORTANA.25

25Antananarivo City tour leaflet : walks and panoramic tour

56

• Circuit jaune:

This stroll allows tourists discover the Place of Independence and its old buildings, the

Street of Jewelers and the shopping area of Ambatonakanga, the Protestant temple, the tombs

of missionaries and the market of secondhand booksellers at Ambohijatovo. It ends with the

discovery of the 26th June Avenue and its market “Aux pavillons” and finally the historical

Ranavalona staircase in Antaninarenina. This stroll lasts for one hour.

• Circuit vert:

This walk allowed discovers the Western and Southern part of the city starting from

the way of the martyrs from Ambatonakanga, and then the north via Faravohitra. Afterwards,

visitors go down to the market of the secondhand booksellers and finally the Ranavalona

staircase in Antaninarenina. It lasts two hours and through it tourists can discover history,

architecture and unusual sights in the City.

• Circuit bleu:

This one is a full tour which shows the essential points to better see and appreciate the

view of the city. After passing through the track of the martyrs from Ambatonakanga and then

Faravohitra, the visit continues and passes by the very animated staircase of Ambondrona to

join Analakely which is the downtown area. It also furrows Tsaralalana and Antsahavola. This

tour lasts three hours.

2.1.2.2. The different kinds of Malagasy painting

Concerning our subject more precisely Malagasy painting, the book “La Peinture malgache,

des origines à 1940” (1991, 129 pages) written by Hemerson Andrianetrazafy has been

chosen. Through this book, we can get some information on the different kinds of painting

arts.

• The different themes of painting art

In general, Malagasy painting depends on European norms.

Portrait

Due to the appearance of the first professional painters, the artists did not only content

on the Tranovola fresco but evolved in terms of technical skills and were in search of more

57

professional and strict painting . Moreover, the portrait demand increased with the idea of

personal identification which had been developed at the time of the colonial period.

Portrait is a drawing and a representation of man’s image. It is important to notice that

man’s image holds an essential place in Malagasy painting. Therefore, Malagasy kings and

queens had their own portrait painted by different kinds of artists. Nowadays, we can find all

Kings and Queens portrait at the queen’s museum in Andafiavaratra.

Gender scenes

Gender scenes26 reflect the image of Malagasy society and Malagasy daily life. Local

artists focus on gender scene in order to represent the social life. There are different kinds of

topic in these types of painting which extremely make the difference of Malagasy painting

from foreigners.

The first one is the scenes related to the life in the rural areas which are most of the

time represented by painters. In so doing, they describe the life in the rural area namely the

activities linked to agriculture and livestock as well as farmers’ daily life. They can be divided

into two distinct groups which are internal and external scenes.

Internal scene is rather limited because it shows Malagasy family life and value in the

household as the example of women’s activities like weaving as well as the famous” by the

fireside27” which constitutes a quality time of Malagasy family where everyone is gathered to

share and discuss after a hard time of work. Among gender scenes, by the fireside scene is

among the most frequent subject represented by painters.

However, external scene represents all kinds of external activities of Malagasy people

which are related to the culture. In that case, painters show the activities in agriculture, and all

the steps in the rice-field activities which are frequently used by painters. Apart from that,

painters also represented other topics like women’s activities outside their household namely

women who fetch water and work in the rice-field.

26H Andrianetrazafy, op cit, p 107

27Au coin du feu ou takariva amorom-patana

58

Nature and Malagasy landscape

In addition to portrait and gender scenes, we can also see the type of nature and

Malagasy landscape in painting. The nature is an essential element for local painters that they

have inherited from Western painting. Therefore, Malagasy painters could not neglect nature

as well as Malagasy landscape. That is why nature and Malagasy landscape hold a crucial

place in painting, not only before but even till now. Through that kind of work of art, painters

can openly show their interest, love and vision for the nature. Once again, Malagasy

countryside is the most represented in this kind of painting in addition to Antananarivo and its

surrounding for painters who live in the Capital.

2.2. ANALYSIS OF DATA COLLECTION

This part will give the analysis of the data collected from observation, interviews and surveys.

It will present the place of Malagasy painting in the tourism sector and the SWOT analysis of

Cultural Tourism and Malagasy painting.

2.2.1. Analysis of Malagasy painting and cultural tourism

Through the data collected from primary and secondary sources we could move on to

their analysis. As we know, painting is at the same time a cultural and tourist product, the

results collected allow us to make some analysis so as to find the problems and then suggest

some solutions in order to promote cultural tourism in Antananarivo. For that purpose, some

analysis on cultural tourism and painting are carried out using different tools like SWOT

analysis and tree problems.

2.2.1.1. The problems of Malagasy painting

In this part the analysis of obtained results from primary and secondary data sources will be

developed.

• The problems of Malagasy painting from interviews and observation

According to the interviews and observation that have carried out during the

exhibitions on painting in Antananarivo, on the one hand, the lack of promotion of painting

constituted the main problem that was shown in the lack of communication as well as the lack

of visibility of artists and painting.

59

On the other hand, there is no collaboration between the artists and the tour operators

except for one portraitist that we have interviewed. As a result, only a few people attended an

exhibition and most of those who buy paintings are foreigners. According to Gerard- Albin,

the founder of Roses et baobab association, the weak interest of Malagasy people in arts is

due to the lack of artistic education in the Country, as well as the weak purchasing power of

Malagasy people. In fact, during our observation at the exhibition Voyage en peinture III in

Tahala Rarihasina Analakely for instance, the less expensive painting costs 60000 Ariary and

the most expensive, one was 3.000.000 Ariary. However, for the exhibition of Roland

Raparivo at Alliance Française Andavamamba, his paintings were between Ariary 1.500.000

to 4.000.000 whereas for Andry Raparivo, his painting costed from Ariary 120.000 to

1.200.000. Therefore, according to those artists, only a little number of local people are

interested in painting namely expatriate people and those who were collecting paintings.

Hence, foreigners involving international tourists, or foreigners who live in Madagascar are

the most interested in painting. As far as international tourists were concerned, some of them

ordered a portrait or Malagasy landscape as a souvenir of their passage in Madagascar as it

was asserted by Mahery a portraitist in Analakely. Malagasy painting is accordingly a tourist

product and according to Gérard- Albin, it can be exploited to develop and promote cultural

tourism in Antananarivo.

• The main problems on Malagasy painting from surveys

The graphic below is the result of the surveys made to six painters, two drawers and

the founder of Roses et baobab association. The graphic is about the main problem linked to

the development of Malagasy painting but it is also linked to the problems encountered by

organizers during a painting exhibition.

According to the organizers of Malagasy painting, we can see through the graphic

below that the major problem of painters and drawers is linked to the absence of financial

means and supports from the Government (20%) as well as the lack of visibility (30%)

whereas there is a weak demand on Malagasy paintings (40%) without saying the problem on

technical means (10%). It is to be noticed that all of these problems are linked together. The

problem related to technical means is due to the lack of cultural and artistic education of

painters in the country as well as the lack of materials. As a result, painters have to import

some materials from abroad. As a consequence, painters have to invest a lot in order to

60

develop their work of arts and to be known by the public. In so doing, they have to produce

different kinds of paintings and to organize some exhibitions, and yet all that needs financial

means and supports. Regarding the lack of promotion and visibility of painters, it is not only

at the national level but also at the international one and that bring about the weak demand for

Malagasy painting.

Figure 7: The main problems of the development of Malagasy painting

Source: author (January 2018)

2.2.1.2. The main problems of Antananarivo destination

The following graphics is a result of the survey made to twenty tourists regarding the main

problems of Antananarivo as a tourist destination.

Figure 8: The main problems of Antananarivo destination

Source: author (January 2018)

Lack of promotion and

visibility30%

Financial means20%

Weak demand

40%

Technical means10%

Main problems of Malagasy painting

0

5

10

Insecurity Pollution Visibility Corruption

8

5

34

The main problems of the destination Antananarivo

61

According to the surveys made with twenty international tourists, the main weaknesses

of Antananarivo as a tourist destination are insecurity, pollution, corruption and the lack of

visibility of the destination. However, it is to be noticed that there are other problems but we

have just taken the main ones from the opinions of the surveyed tourists.

2.2.1.3. The interest of tourists in Malagasy arts

Before knowing visitors’ interest in Malagasy painting, we have asked them if they

like Malagasy arts and if so, what kind of Malagasy arts they like the most. The following

graphic shows the different kinds of Malagasy arts that they like most.

Figure 9: The Malagasy arts that tourists like the most

Source: author (January 2018)

Through the graphic above, we have made surveys among the eleven tourists and

twenty local people, but only twenty three of them gave their answers to this question, five are

international tourists and eighteen national ones.

Accordingly, handicrafts including weaving, sculpture, decorative souvenirs,

embroidery are the Malagasy arts that interest them the most, after that painting including

painting and wall painting. Three of them have asserted to like Malagasy music and three of

them like others including drama and hairstyle.

0

2

4

6

8

10

12

MusicHandcrafts

OthersPainting

3

11

3

6

Number of tourists

62

2.2.1.4. The interest of international tourists on Malagasy painting

Figure 10: Interest of tourists on Malagasy painting

Source: author (January 2018)

Among the twenty tourists that we surveyed, fourteen of them are interested in

Malagasy painting, and five of them are more or less interested whereas, one has answered he

was not interested at all. For those who were more or less interested, some asserted that they

did not know Malagasy painting and some of them said that they are interested, on condition

that the exhibition was original.

2.2.1.5. The interest of local people on Malagasy painting

Some surveys have been made to twenty local people in order to know their interest in

painting. Most of them namely 80% are young Malagasy people, especially students at the

University. We can see the results through the graphic below.

Figure 11: The interest of local people on Malagasy painting

Source: author (January 2017)

14

0

2

4

6

8

10

12

14

16

Interested Not interested More or less

Number of internationaltourists

Interested Notinterested

More or less

15

1

4 Local people

63

As a result, fifteen of the twenty people asked have asserted to be interested in Malagasy

painting, four of them are more or less interested depending on the painting and its originality

and one of them asserted not to like it at all.

2.2.1.6. The different kinds of visitors during an exhibition

The different kinds of visitors during an exhibition will be presented in the graphic below.

Figure 12: The different kinds of visitors during an exhibition

Source: surveys (January 2018)

The graphic above is the result of the surveys to painters and organizers during the

exhibition at Tahala Rarihasina Analakely, Le Louvre Antaninarenina and IKM.

According to painters, most of the exhibition visitors of painting exhibition in

Antananarivo city were local population including art lovers, drawers, painters, students,

journalists (especially during the opening) and those who just passed over the place of

exhibition. They represented 90% of all of the visitors whereas the 10% were foreigners

including international tourists or foreigners who are the majority of clients meaning those

who bought Malagasy paintings.

2.2.1.7. The objects of tourists interest on painting

According to the interviews made to painters, the reasons why tourists are interested in

Malagasy paintings are shown in the graphic below:

90%

10%

0%

20%

40%

60%

80%

100%

Malagasy visitors Foreigners

Percentage

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Figure 13: The objects of tourists’ interest on painting

Source: surveys (January 2018)

It is to be noticed that according to painters 90% of painting buyers are foreigners.

Accordingly, we can see through the graphic above that the most common reason for their

interest for painting is that it serves as a souvenir of their stay in Madagascar. It represents

70% in the graphic. In so doing, they make order their own portrait or Madagascar’s

landscape. Some of them are also interested in painting as it can serve as a gift (15%).

Even though foreigners namely tourists represent a large number of painting buyers, a

minority of Malagasy people were also interested namely some painting collectors, thus they

bought a painting for collection (10%), and for some for room decoration (5%). According to

painters, most of these collectors paintings were expatriated Malagasy.

Table 3: Summary of the obtained results during the investigation

Methods

Obtained results

Hypothesis 1

Antananarivo is overflowing

with assets in cultural tourism

linked to Malagasy painting

Hypothesis 2

Tourists supplies in

Antananarivo are reinforced by

painting art

-Documentation

The history of Antananarivo

Tourismology

Cultural tourism

The different circuit in

Antananarivo

The different kinds of painting

The history of painting

0%10%

20%

30%

40%

50%

60%

70%

80%

Roomdecoration

GiftsSouvenir

Collection

5%15%

70%

10%

Percentage of interest

65

- Direct observation

Different places to visit in

Antananarivo linked to

Malagasy painting (galleries,

showroom, museum, exhibitions,

associations)

The different kinds of painting

in the city

- Interviews

The situation of tourism in

Antananarivo

The problems related to tourism

The interests of tourists in

painting

The problems of painting in

Antananarivo

-Surveys

The main weaknesses of

Antananarivo as a tourist

destination

Interest of tourist for painting

Functions of Malagasy painting

The values of Malagasy painting

Source: author (January 2018)

2.2.2. SWOT analysis

SWOT analyses of cultural tourism and Malagasy painting have been achieved so as

to know the situation and the environment of our case study. In this second section, we are

going to make some analyses about the strengths, weaknesses, opportunities and threats of the

cultural tourism and painting art in Antananarivo. Thus, they will be summarized in the tables

mentioned in the next sub-chapter.

2.2.2.1. SWOT analysis of cultural tourism in Antananarivo

The table below summarizes the SWOT analysis on cultural tourism and the Antananarivo

destination obtained through direct observation, interviews and surveys that were carried out

towards tourists operators and some tourists in the capital.

66

Table 4: SWOT analysis of cultural tourism

STRENGTHS

WEAKNESSES

- The diversity of cultural products in

Antananarivo

- The existence of several historical and

cultural sites

--The strong will of ORTANA to promote

cultural tourism in Antananarivo

- Lack of visibility of cultural tourism

- Antananarivo is not known as a cultural

destination at the international level

- Lack of infrastructure

OPPORTUNITIES

THREATS

- The uniqueness and authenticity of

Malagasy culture

- Acculturation

-Bad image of Antananarivo in other

countries

- Insecurity and pollution in the capital

Source: author (December 2017)

Even though, Antananarivo overflows with great potentialities in terms of cultural

sites and products, it lacks visibility at the International level; most tourists do not know

Antananarivo as a cultural destination in Madagascar28. Some threats have been identified on

the development of cultural tourism, nevertheless if they are solved, this form of tourism will

be developed and tourists will be motivated to stay in the Capital.

2.2.2.2. SWOT analysis of painting in Antananarivo

The Strengths, weaknesses, opportunities and threats of Malagasy painting are summarized as

follow :

28 Source : Interview with the Responsible of partnership and training in ONTM

67

Table 5: SWOT analysis on painting in Antananarivo City

STRENGHTS

WEAKNESSES

- The skills of Malagasy painters

- The existence of different art galleries,

museums and exhibitions on painting in the

Capital city

- Lack of promotion of painting art

- Lack of exhibitions rooms

- Lack of permanent exhibition

- Lack of artistic education

-Lack of financial supports

- Lack of materials

- Lack of visibility of artists

OPPORTUNITIES

THREATS

- The existence of Associations of arts

- The presence of Cultural Centers that could

encourage the promotion of artists

-Weak demand

-Weak purchasing power of Malagasy people

- Weak interest in arts of Malagasy people

and tourists

- The absence of artists status

- No Government support on painting art

Source: author (December 2017)

Concerning Malagasy painting which is our case study, its development is prevented due to

the lack of material, financial and technical means without forgetting the inexistence of

Government support to painters and painting. However, according to painters, painting can be

used to promote cultural tourism in the city as it is among the tourist products that interest

tourists after handicrafts.

2.2.3. Statement of the main problems

Before presenting the tree problems on cultural tourism in Antananarivo, we find it

necessary to talk about the main problems of tourism in general in the capital city. These

68

problems are numerous but we just state the crucial ones among them that might be a

hindrance for the development of this sector, not only in Antananarivo but even in

Madagascar.

First of all, the case of insecurity is a big problem for the development of the tourism

sector because it decreases the motivations of tourists to stay in the city. Insecurity reigns in

the city of Antananarivo days and nights. That is why it is especially required for foreigners to

be prudent while staying in the city.

In addition, pollution has also a negative impact on tourism in Antananarivo. As we

know it brings about some diseases and the destruction of the city’s beauty. Nowadays

rubbishes spread everywhere, some places smell bad because some people, especially those

who do not have toilets make their needs everywhere. As a result, Antananarivo has recently

experienced the outbreak and the spread of plague epidemies from August to November 2017

that has brought about some negative impact on tourists coming to the country.

Apart from that the state of mind of some Malagasy people who do not respect

common property and even dare destroy them have a negative impact on tourism.

Accordingly, some tourist sites have been destroyed and burnt like the Queen’s Palace of

Manjakamiadana in 1995,and the violent fire in Isalo in 9th November 2017.

Moreover, technical problems like the employees strike of Air Madagascar caused the

cancelation of all flights in the international airport of Ivato in June 2015 have brought

negative impacts on the tourism sector. In consequence, it has decreased the number of

tourists in Madagascar especially in Antananarivo. Since then, the company Air-Madagascar

tries to solve this problem, but in February 2018, Air Madagascar is still facing a lot of

problems.

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2.2.3.1. Problems tree on cultural tourism in Antananarivo

Figure 14: Problems tree of cultural tourism in Antananarivo City

Source: author (December 2017)

Lack of visibility of cultural tourism in

Antananarivo

Lack of exploitation of

cultural products

Weak interest of tourists in

Cultural tourism

Lack of valorization

of the culture

Lack of

communication

Weak interest of

tourists for

Antananarivo

Weak demand for

cultural tourism

Lack of knowledge

on culture

Lack of

communication on

Antananarivo’s

cultural attraction

Bad image of

Antananarivo

Lack of tourists and

cultural

interpretation during

the visit

Loss of cultural

value Lack of promotion of

tourist cultural products

Antananarivo is

just a City of

passage of tourists

70

2.2.3.2. Propositions of solutions

After the problems developed above, some solutions will be suggested in this next

part.

Foremost, concerning the problem of visibility, it is on the one hand essential to

reinforce the communication and the promotion of existing tourist sites in the capital city in

order to make tourists know its potentialities as well as to develop the tourism sector

especially cultural tourism in the capital. This reinforcement of communication is encouraged

not only at the international level but also at the national one. Thereby, more promotion and

communication should be carried out so that Malagasy painting and artists will be known at

the international level. In so doing, the use of social networks should be reinforced by the

different actors in tourism and in art. In addition, cultural tourism in Antananarivo should also

be promoted through social networks and internet so that tourists may know the different

cultural attraction in the capital city. On the other hand, it is crucial to develop cultural

tourists products in Antananarivo through the enhancement and improvement of cultural and

artistic events. Therefore, the collaboration between tourist operators and cultural actors is

encouraged. For our case study for example, it is necessary to include the visit of art galleries

or exhibitions on painting in the circuit suggested by tourist operators in the city like the

ORTANA that helps tourists to know Malagasy arts.

Apart from that, the valorization of culture is necessary so that Malagasy culture will

not be neglected or risk of losing its value. In so doing, tourist guides and tour operators

should include more cultural interpretations during the visit of the Capital as most of the sites

in the capital have cultural and historical values. Moreover, in order to avoid the bad image of

the island and the capital city due to dirtiness, the Government and local people should bring

their contribution to reduce pollution and to take care of the environment.

Making several tourist products is thereby necessary. As our research focuses on

Malagasy painting, we find it necessary to exploit this art so as to develop cultural tourism

because it can serve as a means of communication between tourists and the Island. It is

essential to support artists in all fields either materially, financially or others. In so doing,

facing to the inexistence of legal status of Malagasy artists, the Government should provide

supports allowing the development and the promotion of artists. For instance during an event,

the Government should give helps to support artists in the organization and to make the public

71

know them. Facing to the problem of taxation, the State should facilitate the transportation of

imported materials so as to allow Malagasy painters to get high quality products. Even though

there is no school of arts in Antananarivo, more artistic training should be carried out and

created in order to help artists in their performance as well as to arouse the interest of local

population in arts.

2.2.3.3. Recommendations

In addition to the solutions suggested above, these are some recommendations for the

promotion of cultural tourism through Malagasy painting.

Firstly, it is essential to include the visit of art galleries and exhibition on Malagasy

painting in the circuits offered to tourists in order to reinforce more visibility of Malagasy

arts.

The collaboration between different actors in tourism in the city is thereby an efficient

way to provide the visibility of the destination.

Apart from that, the collaboration between tourism operators and painters is necessary

so as to promote Malagasy painting in the development of cultural tourism in the destination.

Last but not least, it is crucial to reinforce the visibility of Malagasy painting and

painters so that it will be known at the International level as well as the national ones. Hence,

the use of social network will be helpful.

72

2.3. HYPOTHESES TESTING AND DISCUSSIONS

Before presenting and verifying the hypotheses, the key research question of this research will

be reminded. After testing the hypotheses, some discussions will be developed.

2.3.1. Hypotheses testing

2.3.1.1. Key research question

Antananarivo City is rich in terms of tourists products linked to culture for example

handicrafts, sites and monuments, gastronomy. However, most of the international tourists do

not stay more than five days in the city for different reasons, and due to the bad image of the

city. Antananarivo is thereby just a city of passage. These problems lead us to several

subsequent questions that allowed us find the main key research question which is:

“How to promote cultural tourism in Antananarivo through Malagasy painting?”

In so doing two hypotheses were formulated:

❖ Hypothesis 1: Antananarivo destination is overflowing with assets in cultural tourism

linked to Malagasy painting.

❖ Hypothesis 2: Tourists supplies in Antananarivo are reinforced by the presence of

Malagasy painting.

2.3.1.2. Hypothesis 1

The first hypothesis is “Antananarivo destination is overflowing with assets in cultural

tourism linked to Malagasy painting “. This first hypothesis postulates all assets in cultural

tourism in Antananarivo either tourists potentialities or products linked to Malagasy painting

that can be used to develop tourism sector in the destination.

On the one hand, through direct observation and documents we put forward the tourist

potentialities of Antananarivo and the different tourist products linked to Malagasy painting

like museum, showroom, associations and art galleries. These places can be visited by tourists

and constitute an asset for the city. On the other hand, surveys have allowed us to find out the

main problems linked the development of tourism in Antananarivo including insecurity,

dirtiness and corruption. Through our results of primary and secondary data sources, we can

say thereby that hypothesis 1 is confirmed on condition that these problems are solved.

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2.3.1.3. Hypothesis 2

The second hypothesis is that” Tourists supplies in Antananarivo are reinforced by the

presence of Malagasy painting”. This second hypothesis tries to verify if Malagasy painting

has a role or function in the development of cultural tourism in Antananarivo. Can we say that

Malagasy painting is among tourists’ products? Is it an asset for other tourists’ supplies and

does it reinforce them?

Surveys, direct observation, interviews and documentation allow us to evaluate this

second hypothesis. Through the surveys of tourists especially international ones, 75% of them

were interested in Malagasy painting for the reason that it can serve as a souvenir of their stay

in Madagascar as well as a gift. We can say that Malagasy painting is among tourists products

and can be used to represent and make Antananarivo known, even Madagascar tourists

potentialities. However, it still lacks of promotion and painters lack financial and technical

means, these are big hindrances for the development of Malagasy painting. Through the

direct observation in Antananarivo city, we found that tourist’s supplies are reinforced by the

presence of art galleries, exhibition on painting and painting itself. In that way, we can say

that the second hypothesis is confirmed on condition that Malagasy painting is promoted at

the international level as well as on locality.

2.3.2. Discussions

Concerning this part, the impacts of the research and the personal contribution of the

research will be developed, then some limits of the study will be presented.

2.3.2.1. Impacts of the research

Since our research focuses more on the promotion of cultural tourism in Antananarivo,

we find that it could bring some contribution to make the tourists aware of the importance of

the Capital City. It will probably lead to the development of the tourism sector in

Antananarivo. In addition, the research can promote Malagasy painting art and Malagasy

painters.

In the social sector, our research on cultural tourism can have some positive impact as

it encourages cultural exchange between local population and tourists. It also strengthens local

74

identity. In that way, tourism helps people preserve their own culture and develop it since we

know that tourists are interested in new discovery. It also has an educational function as it

helps tourists know the culture of the others and their history.

As far as environment sector is concerned, tourism can contribute to its protection in

the way that it encourages the visitors to protect the fauna and flora by the existence of

national parks. Moreover, nature reserve contributes to the conservation of biodiversity.

Tourism, especially, cultural one also valorizes cultural monuments and sites that are among

material heritages. Besides tourism sector financially contributes to the protection of the

environment.

2.3.2.2. Personal contribution of the research

This research has allowed us to learn more on cultural tourism, the capital city and

Malagasy painting. It has also helped us to learn some characters that a researcher should

have, like being resourceful and patient. Moreover, during the time of our research

documentation, surveys and interviews, we still had to go and study at the University so all

that allowed us to better organize our time. This research has also given us the opportunity to

have more friends and more relationship with other people during surveys and interviews.

Besides, it has allowed us to learn the importance of support and help between each one of us

in the Science of tourism Department.

2.3.2.3. Limits of the research

Our research encountered some limits and difficulties because first of all, we could not

find the required international tourists for the surveys as we made it during the period of low

tourists season. In addition, some tourists whom we asked did not answer in the right way the

question, some of them could not talk with us because they were in a hurry.

Apart from that, data were not yet available such as the case of tourism statistics in

2017; besides there is a lack of data on cultural tourism in Antananarivo and no statistics of

this kind of tourism exists in the different institutions of tourism that we have surveyed. As a

consequence, we found some difficulties to complete our research.

By the same token, our research was not fully completed, it is a dissertation of Master,

so it can be developed and deepen in further researches.

75

All in all, cultural tourism in Antananarivo could be promoted and Malagasy painting

could provide that as it interests tourists and is among tourist products. Besides, Malagasy

painting can be used to show tourists potentialities of Antananarivo city in order to know

more on the cultural life of Malagasy people. Anyway, cultural tourism in the capital as well

as Malagasy painting encounters some problems especially related to the lack of visibility and

promotion. Some propositions of solutions has been developed like the reinforcement of

communication and the promotion of the existing tourists products in the Capital City

especially painting.

75

PART III: ORGANIZING A FESTIVAL OF ART IN ANTANANARIVO CITY

76

3. ORGANIZING A FESTIVAL OF ARTS IN ANTANANARIVO CITY

This last part serves as a solution to promote cultural tourism in Antananarivo so that

the city will be a major tourist cultural destination. Having a relationship with culture and

tourism, the project will promote cultural tourism in Antananarivo as well as in Madagascar.

The project mainly focuses on a festival of arts. In general, events play an important place in

the field of tourism because firstly they serve as a means for making the products or the

specificity of a region known to tourists. As illustration, we can take the case of Madagascar

carnival. The objective of this part is to demonstrate the logical framework of the tourism

project including the context and justification of the project, its description and its objective

involving the general and the specific objectives as well as the study feasibility. The

feasibility of the study includes commercial, technical and financial aspects.

3.1. IDENTIFICATION OF THE PROJECT

This first chapter deals with the context of the tourist project namely the context of a festival

as well as the global analysis of the place to set the project.

3.1.1. Context and justification of the chosen project

The project is particularly a tourist project even though it is closely related to culture.

It focuses on a festival of arts. Festivals are a rapidly developing phenomenon that is why they

are frequently studied in different sciences. A definition of festival has been found in a report

on non-metropolitan festival, Gibson and Stewart (2009, 6) which reported that the criteria for

an event to be called a festival is that it

“had to meet at least one of the following: use of the word festival in the event name; it being

an irregular, annual or biannual event; emphasis on celebrating, promoting or exploiting some

aspects of local culture, or being an unusual point of convergence for people with a given

cultural activity, or of a specific sub cultural identification. “

By the way, a festival plays a major role in the development of tourism. A travel to

visit a festival may be treated as a separate type of tourism called festival tourism. A festival

has an important impact on the tourist space. As everything, it brings positive as well as

negative impacts.

77

Festivals are often related to culture and religion of the local communities, they consist in

different cultural or social events linked with arts and culture. During a festival, there is very

often a competition. Festivals attract tourists in the way that these lasts want to attend events

of unusual atmosphere, meet different kinds of people and learn more about the world.

Consequently it is an important tourist asset in a given area, as well as a tourist product

satisfying the tourists’ needs.

Furthermore, a survey carried out by ATLAS Cultural projects in 2007 Worldwide

shows that art galleries represent 23% of types of cultural attraction visited by international

tourists whereas in 2011 it is reported from focus Phocus Wright that cultural events represent

13% of tourist income.

Figure 15: The kinds of cultural attractions visited by international tourists Worldwide

Source: ATLAS Cultural Tourism Project 2007 but adapted by the author (November 2017)

These percentages emphasize the importance of art galleries and festivals which are

included in our project to attract international tourists in Antananarivo. Besides, it shows that

international tourists (23%) are in that way interested in arts .

78

We have chosen to organize arts festival because it is not only original to promote the

tourism sector but it also interests international and national tourists according to the graphic

above as well as the surveys results that we have done with tourists.

Figure 14: The distribution of tourist income per activity Worldwide

Source: PhoCusWright Inc, 2011 but adapted by the author (November 2017)

Through this graphic, it is obviously exposed that cultural events are among the

activities that tourists spend most money, apart from the 13% for cultural events, there is also

a 9% for museum, zoo and aquarium as well as a cultural or historical attraction 2%.

Accordingly, this graphic shows the relevance of our project. Thus, our project results from

tourists need especially international ones even though it is also for national tourists and local

population. Attributed to our surveys to Malagasy painters, foreigners are the most interested

in Malagasy painting because it is among the souvenir products that they could bring to their

own country. In that way, painting is a tourist product which interests tourists because of the

message that it conveys and the Malagasy culture that it reflects.

Besides, we found that painting art is not well exploited as a tourism product in Antananarivo

whereas we could collaborate with some tourism operators to promote the event. Therefore,

79

we choose to organize an art festival on painting which is particularly a tourist project. Thus,

an exhibition on painting will be organized with a projection of Antananarivo tourist

potentialities and an animation of hira gasy. We have chosen to organize it in August as it is

among the high season of tourist attractions.

3.1.2. Localization of the project

The choice of the project place takes into account its accessibility and reputation, as

well as its tourist and historical values. Therefore we have chosen to set the project in

Andohalo’s park which is situated in the Upper town of the Capital. By the way, Andohalo is

an historical and cultural place as before it was the place where the kings gathered the people,

it was also a former market place of Anjoma. Until the beginning of the colonial period, the

place was surrounded by official buildings. It was rehabilitated by Jean Laborde at the end of

nineteenth century hence the name Jean Laborde Place. Andohalo is also surrounded by some

monuments and churches if we only talk about the Rova of Antananarivo, the Cathedral of

Andohalo and Andafiavaratra’s Palace. As far as the park of Andohalo is concerned, it has

been renovated in 2009.

3.1.3 PESTEL analysis

Standing for Political, Economic, Sociological, Technological and Legislative, PESTEL

analysis is a way to know the general context and environment of the place to set the project.

It allows us to evaluate the possible risks and opportunities that an enterprise and its market

may encounter. In our case, we are to make a Political, Economic, Sociological, Technologic,

Ecological and Legislative analysis of Antananarivo where we are to set the project in the

tourism field.

80

Table 6: PESTEL analysis of the environment

Positive

Negative

Political

There is a will to achieve

big challenge to reach in

2020 the attainment of 1

million of tourists in

Madagascar

Concerning the research area,

we notice political instability

and insecurity might be a

barrier for the realization of

the project.

Economic

The tourism sector can bring

a big amount of income to

the economy.

Tourism sector also creates

jobs especially for painters

and artists

Inflation may be an obstacle

because it determines

people’s purchasing power.

Sociological

Painting reflects and

conveys some values in the

society like Fihavanana or

social cohesion, respects of

the elder, the importance of

nature.

81

Technological The development of

technology and its use

represent an opportunity to

communicate with the target

market.

Ecological

The tourism sector

encourages the protection of

the environment.

The pollution in Antananarivo

city constitutes a major

problem of tourists’ stays

here.

Legislative

The law n°95-07 of 25th

August concerning tourism

code determines all project

linked to tourism.

Yet, artists do not have their

legal and clear status despite

the cultural policy of 2005.

Source: author (December 2017)

Through this table above, we could identify the political, economic, sociological,

technological, ecological and legislative situation in the area to set up the project. We could

see that the positive points could be the opportunities of the project and the negative ones are

among the threats.

3.2. DESCRIPTION OF THE ARTS FESTIVAL

The professional project consists in organizing an arts festival on Malagasy painting in

Antananarivo city more precisely in Andohalo’s park. The main activity consists of a sale and

exhibition on painting.

Event name: Sightseeing Tana

Place of the event: Andohalo’s park

Duration of the project: ten days

Date: 01-10 August 2018

Telephone: 034 09 022 07

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Website: www.sitesightseeingtana.com

3.2.1. The field of activities

This project belongs to the tourism field more precisely cultural tourism. The reason is

that it is done for national and international tourists so as to develop the tourism sector in the

city of Antananarivo. The festival is also organized in order to reinforce tourists supply in the

capital. The existence of many professional painters in Antananarivo encourages us to exploit

Malagasy painting as a tourist product. This project of organizing art festival event also

mobilizes tourism operators in the capital such us the Ministry of Tourism, ORTANA, travel

agencies and tour operators as well as painters.

3.2.2. The project promoters and stakeholders

This tourist project is a development project, realized for the profit of those who work

in tourism sector, painters and local population. In so doing, we collaborate with some

representatives in public and private tourism operators in this project. As regards public

tourism operators, we are going to collaborate with the Ministry of Tourism, the Ministry of

Culture as well as ORTANA. About private association the collaboration with some travel

agency and tour operators will be done.

3.2.2.1. The beneficiaries

The project beneficiaries include all people who get profit from the arts festival. They may be

direct beneficiary or indirect ones.

• Painters

Artist painters are among the first ones who will get profit from this project because they will

get 80% of the painting price sold. Besides, their visibility at the national level as well as

International one will be ensured by this project. This project will also be an opportunity for

them to exchange experiences between one another.

• The project planner

The project planner or the organizer of the festival is also among the direct beneficiary of this

project. The piece of information of the project planer is the following:

Full name: HANTALALAINA Jessica

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Qualification: Student in Master 2 at the University of Antananarivo, Science of tourism

Department.

• ORTANA

ORTANA is in charge of the promotion of tourism in Analamanga Region. It will get some

direct with regards profits to the promotion of tourism in the Region thanks to the festival.

• Ministry of Tourism

Since the Ministry of Tourism is the first Responsible for the Promotion of tourism in

Madagascar at the national level, the project will contribute to the reinforcement of tourism

products in the capital, as well as to the increase of tourists’ number.

• Ministry of Culture

Since the project also concerns culture, the Ministry of Culture that has the mission to

promote and valorize Malagasy culture will get indirect benefit from this project, in the way

that it promote and valorize Malagasy culture.

• Local population

Local populations especially arts lovers and sellers are among the major stakeholders in

tourism sector. Regarding this project, they also take part in the realization of the project

as well as the sale of the products. Moreover the employees that will be recruited before

and during the event constitute local population.

3.2.3. Related products

The main tourist products in this festival are painting art namely portraits, gender scenes and

landscapes. Apart from painting exhibition, there will be other tourist products and animation

during the festival. In fact the project will be animated by a show of Hira gasy as well as a

projection on the places to visit in Antananarivo in the Capital in order to value the tourist

sites in the city, to orientate tourists as well as to make these riches known to local population.

Besides, some crafts products will be sold during the festival such as sculpture, weaving and

others. Those products will serve as additional souvenirs for international tourists.

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In addition, some flyers and leaflets will be distributed to tourists and visitors who attend this

festival.

3.2.4. Proceedings of the event

The festival lasts for ten days. Attributed to the high season of tourists in August, we have

chosen to set the project at that time.

Thereby the event will start on 01August and will end on 10 August 2018. The festival will

start by the official opening at 11:30 a.m, it will be started by an official speech with a show

of hira gasy and an explanation of all works of arts that will be displayed during the festival.

All painters who will participate during the event will present their work of art and their

specialties. After that, the video projection of all tourist potential in Antananarivo will be

presented in order to orientate tourists where to go, what to see and what to discover in the

Capital. To finish the opening, a cocktail party will be offered to the official guests and the

festival will be opened to the public.

The next days without taking into account the opening and the closing of the events are

devoted to the sale and exhibition of paintings. Accordingly, the festival will be animated by

cultural animation such as hira gasy shows, a video projections or a music about Madagascar

or Antananarivo.

Like all other painting exhibitions, the event will officially end with an official speech and a

cocktail party too, thus the conduct of the event will be probably similar to the opening.

3.2.5. Relevance of the project

We are to demonstrate in this part the importance and the significance of this project

especially to the development of cultural tourism in Antananarivo.

Foreigners are interested in and curious about authenticity and discoveries of a new

world thereby they like arts and festivals. Besides, our survey results from international

tourists justify their interest in exhibition on Malagasy painting. Consequently, we can say

that in general, international tourists are interested in the project and they will come in great

number to discover Malagasy talents and specificities.

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As the project will be realized during the tourist high season, it is appropriate and

relevant to attract as much as international tourists as possible to attend the festival and to stay

in the Capital city. Besides, the place chosen to realize the festival is a public one, accessible

and visible. That may guarantee the success of this arts festival.

The collaboration with the Ministries, cultural centers, tourism operators and

Malagasy painters constitutes a big opportunity for the realization of the project in different

fields, especially in the financial field, the advertisement and communication to Malagasy

people and foreigners as well. As a result, the place to realize the project is favorable in

reaching the target market. The project will be a means to contribute to the coming of tourists

to Madagascar especially, to Antananarivo and will make Antananarivo a major cultural

destination.

3.3. Project planning

Before developing the project planning, the main objectives as well as the specific ones are to

be developed in this chapter with the expected results and activities related to it.

3.3.1. Objectives of the project

3.3.1.1. Main objective

Tourists’ motivations for visiting a country or a region are numerous but the most common

ones are related to health, wellness, leisure and business. Thereby, most of the time, they are

expecting discoveries and new experiences during their travel. As far as Madagascar is

concerned, tourists travel here “because of the beaches and the biodiversity” as the

Responsible of ONTM asserted. Therefore they do not choose Antananarivo as a destination.

Moreover, some problems like pollution and insecurity push them not to stay for a long time

in the capital city but to go to the coastal regions of Madagascar. That is the reason why the

main objective of this project is to promote the destination of Antananarivo through painting

art.

3.3.1.2. Specific objectives

There are three specific objectives in setting this project. They are about:

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❖ Promoting cultural tourism in Antananarivo;

❖ promoting Malagasy painting ;

❖ increasing tourists numbers in the Capital

Developing and promoting cultural tourism in Antananarivo are relevant thanks to the great

number of tourist sites and events existing in the Capital city. Through this arts festival, we

aim to promote the development of cultural tourism in Antananarivo. Since Malagasy painting

reflect and represent Malagasy culture, this project will also contribute to the valorization of

Malagasy culture. The project specifically aims to promote Malagasy paintings and painters.

Finally, this festival has a purpose to increase tourists ‘numbers and journey in the Capital

city. In fact the project helps tourists to know more about the tourist potentials of

Antananarivo and arouses their interests in the capital city. As a result, tourists number will

increase and they will stay for a long time in the city which leads to the development of the

tourism sector as well as launching of Antananarivo destination.

3.3.2. Activities and expected results from the project

In order to reach these specific goals, it is necessary to accomplish these following activities

including

o The promotion of existing tourist products including tourist sites and activities in

Antananarivo.

In so doing, it is necessary to make a video projection for them during the festival. It is also

crucial to distribute some promotional supports like flyers and brochures to visitors during the

events.

o The collaboration with tourist operators and painters.

It will be necessary in order to make existence of the project known to tourists. Collaboration

with some travel agencies and tourist operators in Antananarivo will be done.

With this end in view, the expected results from the project are the following:

▪ Promotion of Antananarivo destination;

▪ collaboration between tourist operators and painters ;

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3.3.3. Objectives tree

To sum-up these objectives and activities, the objective tree is as follows

Figure 17: Objectives tree

Collaborat

Source: author (August 2017)

Main objective :

Promote Antananarivo destination

Specific objective 1:

Promote cultural tourism

Specific objective 3: Increase

tourists numberin the Capital

Inform tourist potential of

Antananarivo to international and

local tourists

Develop an attractive image of

Antananarivo

Specific objective2 :

Value Malagasy culture

Exploit Malagasy painting

art

Promote existing cultural

products for tourists

Collaborate with

Malagasy painters

Create original products for

tourists

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3.3.4. Logical framework of the project

This logical framework of the project shows in a logical way the different objectives of the

project, the results, the activities and the required conditions for reaching these objectives.

Some indicators and sources of verification are also presented in order to verify in a

qualitative or quantitative way the achievement of the objectives.

Table 7: Logical framework of the project

Description of the project

Indicators Sources and means

of verification

Hypotheses

Main

objective

To promote

Antananarivo

destination through

painting art

20% of tourists who come to

Madagascar visits

Antananarivo

Tourism actors in the region

win 10%

Increase of at least 10% of

tourists number in the country

ORTANA

Ministry of Tourism

Hotels, travel agency

and operator tour in

the city

ONTM

-Tourism sector is a

development factor

of a country

- Collaboration

between tourism

actors and local

population

- Improvement of

tourism

infrastructures

Specific

objectives

To promote cultural

tourism

Tourists demand of cultural

tourism increases of 30% in

five years

Ministry of Tourism

Ministry of culture

-Cultural tourism

promotes the

destination

- Tourists are

interested in cultural

products in

Antananarivo

-Collaboration

between actors in

tourism and culture

To value Malagasy

culture

10% of local guides includes

tourism interpretation during

the visit to a place

ORTANA

Ministry of culture

Painters

Cultural centers

-Local populations

valorize Malagasy

culture

-International

Tourists know some

Malagasy culture

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To increase tourists

number in the City

Tourists stay in the City

increases more than five days

Increase of 10% of tourists

number in Antananarivo

ORTANA

Hotels, travel agency

and tourism operator

in the city

Website

- Tourism operators

work for the

promotion of the

Capital city

Expected

results

-Development of

Antananarivo

destination;

-Collaboration

between tourist

operators and

painters ;

-Increase of

international and

national tourists

numbers

More than 70% of painters

work of art represents the

country

Around 40% of them

represents Antananarivo

International tourists number

increases of 20%

National tourists number

increases of 15%

Galleries, Exhibition

rooms, showrooms

ORTANA

Ministry of tourism

Art festival

Cultural tourism in

Antananarivo

contributes to the

promotion of the

destination

Madagascar

Political stability

Activities Means

website

leaflets

posters

Treasurer

Responsible of

communication

Cost

200.000 Ar

100.000 Ar

20.000 Ar

(includes in tangible

assets)

1- Conception and starting up of the website

2-Conception and distribution of means of

communication

3-Recruitment of human resources

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4- Booking of the festival’s place and rent

Responsible of logistic

Artists manager

Animators

Hosts

Place: Andohalo’s park

rent

Total: 1 880 000Ar

Total: 5.000.000 Ar

(among intangible

assets)

5-Materials purchase

Tangible materials for

the cocktail party, and

stands equipment

Intangible investment

for electricity, fuel and

communication credit

Total: 665.000 Ar

Source: author (January 2018)

3.3.5. Gantt diagram

The use of Gantt diagram allows us to determine the different activities and tasks to be

performed before, during and after the project.

The Gantt diagram will be presented below:

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Table 8 : Tasks list

Tasks

Duration (days) Previous tasks

A- Writing-up the file project

15

B- Submission of the project

7 A

C- Prospection of the place

1 B

D- Booking the place to set the project

3 C

E-Asking for partnership

15 D

F- Negotiation with painters

10 E

G- Drawing time

30 F

H- Recruitment of human resources

15 F

I- Communication means conception

7 F

J- Posters distribution

7 I

K- Materials purchase and booking

3 F

L- Entrance tickets conception

2 I

M- Preparation of the festival place

5 G, H, K

N- Materials transportation

3 M

O- Agreement with the caterer for the cocktail

1 F

P- Stands installation

3 N

Q- Time of exhibition

10 P

R- Desinstallation

3 Q

Source: author (January 2018)

All in all, the Gantt diagram allows us to know the duration of the preparation of the project

with the event itself that will last 108 days, that is to say more than three months are required

for the time of preparation.

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3.4. FEASIBILITY STUDY

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A feasibility study is “an analysis and evaluation of a proposed project to determine if

it is technically feasible, is feasible within the estimated cost, and will be profitable.

Feasibility studies are almost always conducted where large sums are at stake. It is also called

feasibility analysis.”29

The realization of this study allows us to identify the different needs for the fulfillment of the

project in terms of material, finance, human resources, and competences. It is divided into

three categories, the first deals with the commercial feasibility, the second concerns the

technical aspects and the last is about financial requirements.

3.4.1. Commercial feasibility

This part will deals with all commercial needs required for the realization of the project

involving the Marketing mix (4P) including the product itself, the place, the price and the

promotion, as well as the market analysis.

3.4.1.1. Marketing mix

Marketing mix or 4 Ps is created by the Marketing Expert called Jerome Mc Carthy in 1960s.

Marketing involves a great number of activities; to begin with, the firm should decide the

target group of customers to be served, then the appropriate product, price, distribution and

promotional efforts. Marketing mix is thereby the combination or mix of product, price,

distribution and promotional efforts so as to achieve the marketing goal. It consists in putting

the right product in the right place, at the right time, and at the right price. The marketing mix

is predominantely associated with the 4P’s of marketing namely the Product, the Place, the

Price and the Promotion.

According to Philip Kotler” Marketing mix is the set of controllable variables that the firm

can use to influence the buyer’s response. The controllable variables refer to the 4P’s.

29http://www.businessdictionary.com/definition/feasibility-study.html

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❖ The place

Goods are produced to be sold to the consumers. They must be available to the consumers at a

place where they can conveniently make a purchase. In selling a product, the enterprise has to

decide whether to sell it directly to the retailers or through distributors or wholesalers.

The project of organizing an arts festival requires a huge and secure public place. Since it

consists in organizing an art festival with an exhibition of painting animated by a video

projection and cultural animation, we have chosen a cultural and historical place. Therefore

we have chosen to set the project at Andohalo’s park. To be different from usual exhibition on

painting in Antananarivo, the choice of Andohalo has been done.

❖ The product

In general, a product is an item that is built or produced to satisfy the needs of a

certain group of people. The product can be intangible or tangible as it can be in the form of

services or goods.

According to Jerome Mc Carthy 1960,

“A product is more than just a physical product with its related functional and aesthetic

features. It includes accessories, installation, instructions on use, the package, perhaps a brand

name, which fulfills some psychological needs and the assurances that service facilities will be

available to meet the customer needs after the purchase. “

With regard to this project, the product is based on paintings and some crafts products such as

weaving and sculpture. Paintings constitute the main products and since the theme of the

festival is “sightseeing Tana”, the different kinds of paintings to exhibit comprise those that

shows Antananarivo monuments and tourist sites as well as those which show Malagasy daily

life in rural and urban areas, without saying those which illustrate Malagasy culture.

In so doing, 200 paintings will be displayed; those who illustrate the same topic will be

gathered in the same stands. Those works of art will gather at least 10 Malagasy painters.

The list of the painting topics that will be exhibited and sold is as follows:

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➢ 10 portraits;

➢ 40 paintings on Antananarivo tourist sites and assets;

➢ 20 paintings on gender scene in Antananarivo;

➢ 60 paintings on Madagascar landscape and tourist assets;

➢ 20 paintings illustrating Malagasy culture ( gastronomy, dressing, games);

➢ 25 paintings representing rural life;

➢ 25 paintings representing urban life

❖ The price

Price is the amount charge for a product or service. It is a very important component of

the marketing mix. Pricing is a very crucial decision area as it has some effect on demand for

the product and also on the profitability of a firm.

According to Philip Kotler (1997), “price is the amount of .money charged for a product or

service”.

With regard to our project, the entrance in the arts festival is fixed at 1000 Ariary for

Malagasy people and 2000 Ariary for foreigners, as for paintings price, it would depend on

their quality and especially on the reputation of the author.

❖ The promotion

Promotion is an important component of marketing as it refers to the process of

informing, persuading, encouraging and influencing the consumer to buy the product.

Promotion is done through different means such as personal sales, advertising and publicity.

Promotion is achieved mainly with a view to providing information to prospective consumers

about the availability, characteristics and uses of the product. It arouses potential consumers

interests in the product and compares it to the competitors products in order to make the right

choice. The main objective of promotion is to seek the buyer’s attention toward the product

with a view to arouse his interest in the product, to inform him about its availability and to

convince him to buy the product. Since our project is mainly aiming international tourists, the

use of website is crucial in order to launch the project. Moreover the use of facebook account

and other communication means like flyers and leaflets are necessary to reach the target

market.

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➢ Strategy of communication

The strategy of communication plays an important role in the promotion of the project.

Accordingly, in order to launch the project and to arouse tourists’ interest to the festival and to

Antananarivo destination, we need an efficient strategy of communication. The goal is

essentially to inform, communicate and convince people to attend the event. As a

consequence, all kinds of support of communication will be necessary like posters, brochures

and leaflets. These lasts will be displayed in a public place as well as in cultural centers like

IKM and Alliance Française.

Currently thanks to the development of new technology of information and

communication, the use of internet and social networks is very practical especially in the

professional field. Therefore, the creation of website will be done. Our address is

www.sightseeingtana.com. In addition, the use of social network such as facebook is likely to

be useful to reach the target market, mainly tourists who are facebooking or consulting some

website when they prepare their travel to a region or a country. It is also an efficient means to

communicate with international and national people who are interested in tourism or painting.

As a result we have chosen to open a facebook account as well as a website so as to launch

the project.

The collaboration with ORTANA and some tour operator are also necessary in order

to propose the project to them, so as to aim the international tourists who are coming to

Antananarivo. This collaboration is crucial as it is a means to communicate the project to the

target market. Thus, the posters on the festival events will be displayed in some tourist

operators like ORTANA, Ministry of Tourism, some travel agencies and tour operators in the

Capital city.

3.4.1.2. Market analysis

This part of the market analysis is essential so as to define the product itself, the target

people, the competitive market, the partnership as well as the demand and supply. Marketing

encompasses all of the activities that go into promoting a product or service. A marketing

analysis is the actual assessment of the target population, competition and needs for marketing

that product or service.

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❖ Target people

This project namely aims at attracting international tourists especially to those who are

interested in arts and discovery. In fact, according to our surveys among some Malagasy

painters, foreigners are the ones who are most interested in paintings. On the one hand

Malagasy painting can serve as tourist products used for souvenirs, on the other hand, tourist

potentiality of Antananarivo as well as Malagasy daily life and culture can be shown through

painting. Besides in terms of purchasing power, it is easier for international tourists than

national ones to afford paintings. Thus during the event, tourists can make orders of the

painting that they would like to buy.

Apart from international tourists, this project also aims at attracting national ones as it is a

way to promote Malagasy wealth in terms of tourism and culture. In that case the project will

allow Malagasy people to be proud of their identity as well as to value their culture. In

addition, the project is also opened for those who are interested in painting namely young

people and those who are collecting painting arts.

❖ Competitive analysis

Competitive analysis is necessary in order to identify the competitors’ strengths and

weaknesses. Once their strengths and weaknesses are identified, that is helpful for the

enhancement of the product in terms of quality and originality. In terms of competitive

environment, an exhibition of painting is organized by some Malagasy painters every year as

well as in some cultural centers like IKM. These exhibitions are just for sale, they are

different from our project which is animated by shows and video projection.

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Table 9: Strengths and weaknesses of competitors

Competitors Strengths Weaknesses

Exhibition in Tahala

Rarihasina Analakely

• The place is known

for the exhibition

• The place is situated

downtown

• Lack of visibility

• Lack of originality

Exhibition in IKM

Antsahavola

• The exhibition is

inserted in IKM

schedule every year

• Not well-known

• Lack of advertisement

Source: author (January 2018)

Anyway, we will not consider these events as competitors but as partners. Accordingly, a

close collaboration and sharing with the event organizers particularly with their painters will

be realized.

❖ Partnership

Since it is a tourist project which aims at promoting Antananarivo destination, it requires

a collaboration with some public organizations in charge of tourism in the capital like the

Ministry of Tourism as well as the Regional office of tourism in Analamanga (ORTANA).

The success of this project also requires a collaboration with some tour operators and travel

agencies in Antananarivo so as to reach international tourists. The objective is to aim the

largest amount of tourists as possible to attend the festival.

In addition, the collaboration with Malagasy painters is evidently required as it is about sale

and exhibition of Malagasy painting. In so doing, in order to vary the painting, we are going

to collaborate with about ten different painters who have their own style and personality.

3.4.2. Technical feasibility

In technical feasibility, it is important to make a profound study of material resources and

human resources.

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3.4.2.1. Materials and equipment

The project requires some materials to be installed before and during the festival itself.

Materials are divided into two kinds namely, tangible and intangible assets.

❖ Tangible assets

They involve all physical and material assets necessary to run the project. Tangible assets are

mainly transport equipment, communication supports, materials used for paintings and others.

Accordingly, the table below gives the details of all the needed tangible assets for this arts

festival.

Table 10: Tangible materials list

Designation

Details

Stands equipment

Tents, tables, decoration, chairs

Materials needed for the cocktail Tables, tablecloths, trays, plates, glasses,

napkins, etc

Events equipment

microphone, entrance tickets, satge,

decoration

Communication support

Posters and flyers

Communication means

Telephone sets, computers, loudspeakers,

sound equipment

Source: author (October 2017)

❖ Intangible assets

Intangible assets contain non-physical material and equipment required for the realization of

the project. As regards to the arts festival considering the preparation and the festival itself,

the intangible assets include management salary, rent, and licensing agreement of the project.

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Besides, communication support like website, e-mail, and air-time for communication are

among these intangible assets.

3.4.2.2. Human Resources

The project needs in total 21 labors including artists to run the project. We do not really

require too much qualification for them but one of the criteria is they should have at least one

year of experience in the field, a good command of French and English especially the

responsible for communication and exhibition. In so doing, we need the following list:

❖ The planner of the event who is in charge of the organization of the event

❖ The treasurer who is in charge of looking for partnership, sponsoring and investments

to the project. He will be responsible for the finances keeping too.

❖ The responsible of communication who is in charge of all kinds of communication

(internal, meaning between the staff and external which gathers all the communication

used for the advertisement and contact with the target);

❖ The responsible of logistics who deals with the installation and all activities about the

places and materials used for the event;

❖ The responsible of animation who is in charge of the animation and performance of

hira gasy;

❖ The hosts who deal with the reception of tourists and visitors , as well as the sale and

commercialization of the painting. They are in number of two;

❖ Artists’ manager who is in charge of the originality and quality of painting arts;

❖ Artists are in charge of the conception and drawing. They will also be present during

the exhibition to host the visitors.

❖ Animators: they will be responsible for animating the festival. They are two.

Regarding the painters, ten Malagasy painters will participate in this event and as for hira

gasy actors, they are five.

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Figure 19: Human resources

Source: author (September 2017)

3.4.3. Financial feasibility

A financial feasibility study projects how much start-up capital is needed, sources of capital,

returns on investment, and other financial considerations. It looks at how much cash is

needed, where it will come from, and how it will be spent. It considers thereby start-up

capital, expenses, revenues, and investor incomes.

So the project requires a large amount of money due to the cost of the rent of the exhibition

place, the communication support as well as the salary of the personnel. That is the reason

why we decide to ask for sponsorship from the Ministry of Tourism and Ministry of Culture.

In addition, the entrance price is about 1000 ariary for Malagasy people and 2000 ariary for

foreigners.

Project planner

Treasurer

Logistics

responsible

Communication

responsible

Artists’manager

Artists

Animators

Hosts

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Table 11: Result account

CHARGES PRODUCTS

Rent

Employees allowance

Material purchase

Cocktail party

Transportation

Communication credit

Communication means

Sales of painting

Sales of handicrafts articles

Festival entrance

Source author (November 2017)

This table above shows the different necessary charges to spend in order to realize the arts

festival as well as the products that may bring some income. The table below gives the details

of these different investments cost.

3.4.3.1. Forecast income of the project

The following tables give some details of the forecast income of the project for five years. It

is important to determine it in order to know the feasibility and profitability of the project.

Table 12: FORECAST VISITORS FOR FIVE YEARS

Year Year 1 Year 2 Year 3 Year 4 Year 5

National visitors 300 350 400 425 430

International visitors 200 300 350 400 450

Source: author (December 2017)

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Table 13: Forecast income account for five years (in Ariary)

Year Year 1 Year 2 Year 3 Year 4 Year 5

Income from national

tourists entrance

300.000 350.000 400.000 425.000 430.000

Income from international

tourists entrance

400.000 600.000 700.000 800.000 900000

Average number of

paintings sold

10

12

13

15

16

Average cost of paintings 1 000 000 1 000 000 1 000 000 1 000 000 1 000 000

Total sale of handicrafts

items

200 000 225 000 250 000 300 000 325 000

Total income from

paintings sale got by artists

8 000.000

9 600 000 10 400 000 12 000 000 12 800 000

Total income from

paintings obtained by the

organizer (20% of the

painting sold)

2 .000.000

2 400 000

2 600 000

3 000 000

3 200 000

Total income obtained by

the organizer in

handicrafts items (20% of

the items sold)

40 000 45 000 50 000 60 000 65 000

Total income in Ariary

10 900 000

13 175 000 14 350 000 16 525 000 17 655 000

Total income obtained by

the organizer

2 740 000 3 395 000 3 750 000 4 185 000 4 595 000

Source: author (January 2018)

This forecast income has been calculated through the entrance prices for national and

international tourists as well as the probable paintings sold during the exhibition. It is to be

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noticed again that there is a difference between national and international visitors’ entrance

fees. In fact, the entrance fee for national visitors is 1000 Ariary and international ones is

2000 Ariary. As far as Malagasy painting is concerned, the price changes according to the

types and quality of painting but the average cost is 1 000 000 Ariary and the organizer

receives 20% of the painting sold as well as the handicrafts items.

3.4.3.2. Investment cost

In this subsection, the investment cost for tangible and intangible assets as well as the

allowances for employees will be presented in the following tables in order to know the

forecast money needed to set the project.

❖ Investment cost for tangible assets

The table below shows the detail of tangible assets cost during the art festival.

Table 14: Investment costs for tangible assets

Designation

Unit

Quantity

Cost per unit

TOTAL COST

Communication

means

- Leaflets Pieces 1000 1000 100.000

-Posters Pieces 20 1000 20.000

-Website 1 200000 200.000

Stands equipment

(rent)

Tents Pieces 20 20000 40.000

Tables Pieces 25 10000 250.000

Chairs Pieces 25 1000 25.000

Coktail party

snacks and juices Person 150 2000 300.000

Total in Ariary 665.000

Source: author (November 2017)

105

❖ Investment costs for salaries

For this project, the salaries of each employee will be summarized in table 15. Since our

project lasts for ten days, some employees will be rewarded per day. Concerning allowances,

project planner who is myself will not get any as well as the painters. As far as the painters

are concerned, they would not pay any rent of the place but when they sell a painting, they

will give 20% of its cost.

Table 15: Investment costs for basic salaries

Treasurer, communication responsible, logistics responsible as well as artists manager will be

given the basic salary in the table below.

Post Position Unit Basic costs in

Ariary

Total cost in Ariary

Treasurer 1 300.000 300.000

Communication responsible 1 400.000 400.000

Logistic responsible 1 200.000 200.000

Artists manager 1 100.000 100.000

Total 4 1.000.000

Table 16 presents the salary of the employees rewarded per day:

Table 16: Investment costs for employees paid per day

Post Unit Daily amount Daily total

amount

Total of

the days

Total cost

Hosts 2 15000 30000 10 300000

Animators 2 20000 40000 10 400000

Actors in hira gasy 6 15000 90000 2 180000

Total in Ariary 10 880000

Source: author (January 2018)

106

❖ Table 17: Total costs for salaries

Employees Amount in Ariary

Basic salaries for permanent employees 1.000.000

Employees paid by day 880.000

Total cost 1 880 000

❖ Investment cost for intangible material

The following table shows the investment costs for intangible material including Andohalo’s

park rent, electricity as well as air-time communication.

Table 18: Investment costs for intangible material

Designation Unit Amount Total cost in

Ariary

Rent 10 500.000 5.000.000

Electricity 50.000 50.000

Communication air-time 20 1.000 20.000

Fuel 100.000 100.000

Total cost in Ariary 5.170.000

Source: author (January 2018)

Table 19: Investment total cost

Designation Costs

Tangible assets 665.000

Intangible assets 5.170.000

Salaries 1.880.000

unforeseen (5%) 385.750

Total in Ariary 8.100.750

Source: author (January 2018)

107

❖ Forecast cost of the project for five years

The following table presents the forecast costs of the project for five years. It is to be

noticed that due to inflation, there is a 2% evolution each year.

Table 20: Total forecast costs of the project in Ariary

Year Year 1 Year 2 Year 3 Year 4 Year 5

Total costs of the

project (5% of

change)S

8.100.750 8.505.787,5 8.931.076,8 9.377.630,6 9. 846.512,13

❖ Exercise results

Exercise results summarize the forecast profit that we could win during the five years

of the project.

Table 21: Exercise results in Ariary

Year Year 1 Year 2 Year 3 Year 4 Year 5

Forecast for the

project income

10.900.000

13.175.000 14.350.000 16.525.000 17.655.000

Forecast for the

project cost

8.100.750 8.505.787,5 8.931.076,8 9.377.630,6 9. 846.512,13

Exercise results

(5% of evolution)

2.799.250 4.669.212,5 5.418.923,2 7.147.369,4 7.808.487,87

Source: author (January 2019)

108

3.5. ANALYSIS OF THE PROJECT

By the way, a SWOT analysis of the project will be done together with the study of the

impacts of the project. Like all projects, our arts festival has some impacts on the economy,

society and the culture, the environment as well as the tourism of the capital city, which is the

place to set it up.

3.5.1. SWOT analysis of the project

3.5.1.1. Strengths

According to the surveys that we have undertaken in Antananarivo among 20

Malagasy people and 20 international tourists, 72, 5% of them were interested in exhibition of

painting which constitutes the strength of our project.

In addition, most of the foreigners were interested in Malagasy arts according to our

surveys. As we have developed previously, apart from sale and exhibition of painting, the arts

festival will contain hira gasy show as wells as sales of handicrafts items which are all among

arts field.

Concerning the places chosen to realize the cultural event, Andohalo’s park is a public

place which not only is accessible but also quiet and visible. It is relevant for the event as it

has cultural and historical values. Besides, it is situated in the upper-town of the city meaning

next to monuments and historical sites. As a result, after or before the exhibition, tourists are

encouraged to visit these places.

This project is very different from a mere painting exhibition as it is rather oriented to

tourism and culture. Besides, all the visitors during the event will have the opportunity to

sightsee Antananarivo through the different work or arts of professional painters in the City.

The painters in this festival are also professional ones and of different specialties.

3.5.1.2. Weaknesses

Malagasy painters lack of visibility not only in the Country but especially at the

International level. Thereby, it is essential to mobilize and reinforce the means of

communication as much as possible, especially through the use of social network and other

means of communication.

109

3.5.1.3. Opportunities

For this project, the collaboration between tourism actors and cultural actors will be

done. In fact, we are going to collaborate with tourism operators either public or private such

as some travel agencies, ORTANA, the Ministry of tourism, the Ministry of Culture, some

tourists’ guides as well as painters. The collaboration between them presents a great

opportunity as some of them are financial partners and some like tours operator will be a

means to reach the target public.

3.5.1.4. Threats

Political instability is still a big problem in Madagascar especially in Antananarivo

which is the administrative center. As a consequence, political instability may prevent the

project or if not, it would impact negatively on the realization of the project and coming

tourists. Apart from that, the dirtiness and insecurity in Antananarivo decreases tourists’

motivation to come to the Capital. The table below summarizes the SWOT analysis of the

project:

Table 22: SWOT analysis of the project

STRENGTHS WEAKNESSES

• Accessibility and safety of Andohalo’s

park

• Tourists interest in the festival

• Participation of several painters with

different specialties

• Use of different means of communication

• Lack of artists visibility

OPPORTUNITIES THREATS

• Collaboration with tourism operators in

the Capital

• Political instability in the Capital

• Insecurity

• Inflation

• Pollution

Source: author (January 2018)

110

3.5.2. Impacts of the project

The project will have some impacts on the economy, culture, society, environment and

especially on the tourism sector.

3.5.2.1. Impacts on the economy

Our project contributes to the economic growth because it provides a creation of new

jobs that contribute to the decrease of unemployment. Indeed this project hires around twenty

people. Moreover, it provides the promotion of Antananarivo destination and a growth in

income of tourism operators in Antananarivo city. It also offers more profits to Malagasy

painters and allows them to afford more professional materials that they need for painting.

3.5.2.2. Impacts on society and culture

In the social and cultural sectors, this tourism project has a positive impact as it

encourages cultural exchange between local population and tourists. It also strengthens local

identity. In that way, this project allows international tourists to discover and know more

about Malagasy culture. In addition, it helps people to preserve their own culture and to

develop it since we know that tourists are interested in new discovery.

As far as painters are concerned, this project will increase their visibility at the

national and international level. Also, it will promote Malagasy work of art especially

painting arts. As a consequence, local people’s interest in Malagasy painting will rise just like

the tourists demand on it. We can thereby say that this project provides some development

and valorization of Malagasy arts at the International level.

3.5.2.3. Impacts on the environment

The project focuses on cultural tourism thereby it contributes to the protection and

valorization of material and immaterial heritage in Antananarivo. However, as far as painting

is concerned, the use and waste of papers have a negative impact on the environment later.

111

That is why; we will encourage painters to reduce the waste of papers as much as possible in

order to protect the environment.

3.5.2.4. Impacts on the tourism sector

This project reinforces tourism events in Antananarivo as well as tourism products. It

is also a means to promote the different tourist potentialities in Antananarivo city as the

majority of paintings for sale and exhibited during the festival represents Antananarivo

attractions apart from Malagasy culture. That is why this project would reinforce

Antananarivo city’s visibility. As we know, paintings also have cultural value so this project

will bring the promotion of cultural tourism in Antananarivo. Accordingly, this arts festival

contributes to the promotion of Antananarivo destination at the international as well as

national level. Otherwise, it does not only concern Antananarivo but Madagascar too that is to

say it will increase tourists’ number in the country.

112

CONCLUSION

Tourism is an industry that grasps different fields including accommodation, catering,

transportation and leisure activities. The activities linked to tourism are created in order to

give satisfaction to tourists; they are offered so as to respond to their needs as well. Tourism

has different forms and in our research, we have focused on cultural tourism. In fact,

whenever we talk about tourism, culture holds an important role. Cultural tourism is the form

of tourism that characterizes the city of Antananarivo. However, according to the interview to

the Responsible in ONTM, cultural tourism lacks promotion especially at the International

level. A national guide that we have interviewed also asserted that tourists who are coming in

Madagascar are more interested in biodiversity and landscape rather than culture.

Nevertheless, according to our observations, Antananarivo city has many riches in cultural

tourism that can be exploited and developed. That is the reason why we have chosen to deal

with cultural tourism in this research. Our choice for Malagasy painting relies on the fact that

it is among tourist products that also reflects Malagasy culture. Besides, it is not well

exploited to develop the tourism sector. The interests of the subject rely on the fact that

culture is closely linked to tourism and Malagasy painting art may constitute another aspect of

Malagasy culture that promotes cultural tourism.

Throughout this research, some contribution to the promotion of cultural tourism in

Antananarivo city through Malagasy paintings has been presented. In so doing, we have

developed the importance of culture in tourism, the different assets of Antananarivo in terms

of tourism potentialities. Moreover, the problems of tourism development in the Capital and

the function of Malagasy paintings in tourism sector; some suggestions have been developed.

Our work is based on functionalism theory in which the concept of function, needs, culture

and institution are linked together. It describes then the function of the different institutions in

society. In that way, it is important to know tourists needs so as to create an appropriate

product for them. In our result, we have found out the function of each tourism institution in

Antananarivo in the development of the tourism sector.

In the first part of the research, the general background of the research, the

delimitation of the subject; the theoretical basis, the conceptual framework and the

methodology of the research have been developed. As methodology both qualitative and

quantitative approaches have been adopted. During our investigation, primary data and

113

secondary data sources have been used so as to get the results and to analyze them in the

second part.

Accordingly, the second part of the dissertation presents the situation of cultural

tourism in Antananarivo city mainly the major tourism potentialities of the City linked to

cultural tourism as well as the main problems for the development of tourism sector. In

addition, the interest of tourists in Malagasy paintings and their representation on painting

have been analyzed. These results allow us to confirm the hypotheses.

The third part develops the tourism project including its description, objectives and

feasibility studies. In fact, our project consists in organizing an arts festival in Andohalo in

order to promote cultural tourism in Antananarivo. It aims at promoting Antananarivo

destination, to value Malagasy culture and to increase tourists number in the City.

In this research, our main research question is “how to promote cultural tourism in

Antananarivo city through painting art?” Accordingly, we have tested two hypotheses namely

Antananarivo destination is overflowing with assets in cultural tourism linked to paintings art

and tourists supplies in Antananarivo are reinforced by the presence of Malagasy paintings.

These two hypotheses have been confirmed in part through direct observation, interviews,

surveys and documentation.

However, the contribution of different stakeholders in tourism is essential in order to

improve the image of the city and particularly to provide the promotion of cultural tourism.

All in all, Antananarivo city has in its disposal different assets linked to cultural tourism, and

painting art is among tourism products that reinforce the existing tourism products in the

Capital. Malagasy paintings can be exploited to promote cultural tourism in Antananarivo

because not only they are among tourists’ products but they also reflect Malagasy culture and

values. By the same token, paintings especially realistic paintings that represent Madagascar

and Antananarivo’s attraction promote the destination. Besides, according to our surveys,

international tourists are interested in Malagasy painting. They can also be used as a means of

communication to make the existing potentialities of Antananarivo known.

Nevertheless Malagasy paintings and Malagasy painters lack of visibility either at the

national or the international level. Moreover, they do not have a clear and legal status. That is

why we find it crucial to exploit Malagasy painting in tourism. The project of arts festival on

114

painting does not only promote the tourism sector in the capital city but also Malagasy

painters.

The reinforcement of communication and promotion of the existing tourists’ products

in the City are important so as to promote Antananarivo as a tourist destination. Face to the

bad images that are perceived by tourists like dirtiness, insecurity and corruption, the

improvement of the attractiveness of the City is necessary. In so doing the State, all the

tourism operators as well as local population are all concerned.

During our investigation, some problems have been encountered either during the

collect of information or during the dissertation writing. Anyway, our research has been

completed. Our investigation reaches its limits for this topic however some points that we did

not develop in this work could lead to further researches.

115

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119

LIST OF ILLUSTRATIONS

❖ LIST OF TABLES

• Table 1: The different actors in Tourism in the City………………………………...28

• Table 2: The different painting exhibition that we have attended in Antananarivo…49

• Table 3: Summary of the obtained results during the investigation………………….64

• Table 4: SWOT analysis on cultural tourism ………………………………………...66

• Table 5: SWOT analysis on painting in Antananarivo City…………………………….67

• Table 6: PESTEL analysis of the environment …………………………………........80

• Table 7: Logical framework of the project …………………………………………..88

• Table 8: Tasks list…………………………………………………………………….91

• Table 9: Strengths and weaknesses of competitors………………………………….98

• Table 10: Tangible materials list……………………………………………………..99

• Table 11: Result account…………………………………………………………….102

• Table 12: Forecast visitors for five years……………………………………………102

• Table 13: Forecast income account for five years…………………………………..103

• Table 14: Investment cost for tangible assets…………………………………….....104

• Table 15: Investment cost for basic salaries………………………………………..105

• Table 16: Investment cost for employees paid by day……………………………..105

• Table 17:total cost for salaries………………………………………………………106

• Table 18: Investment cost for intangible material…………………………………..106

• Table 19: Investment total cost….......................................................................106

• Table 20: Forecast total cost of the project ………………………………………...107

• Table 21: Exercise results…………………………………………………………...107

• Table 22: SWOT analysis of the project …………………………………………...109

❖ LIST OF FIGURES

• Figure 1: UNWTO tourism towards 2030…………………………………. 18

• Figure 2: The reasons of destination’s choice top 5………………………… 19

• Figure 3: Percentages of Tourists in Madagascar per activities…………..20

• Figure 4:Map of Antananarivo urban commune…………………………….27

• Figure 5: Functionalism in physiology………………..…………………...31

120

• Figure 6: Functionalism in anthropology…………………………………..31

• Figure7: The main problems of the development of Malagasy painting…....60

• Figure 8:The main problems of Antananarivo destination ……………........60

• Figure 9: The Malagasy art that tourists like the most……………………….61

• Figure 10: Interest of tourists on Malagasy painting………………………62

• Figure 11: The interest of local population on Malagasy painting…………62

• Figure 12: The different kinds of visitors during an exhibition……………63

• Figure 13: The objects of tourists’ interest on painting……………………...64

• Figure 14: Problems tree of Cultural Tourism in Antananarivo………….….69

• Figure15: The kinds of cultural attractions visited by international tourists...77

• Figure 16: The distribution of tourist income per activity…………………..78

• Figure 17: Objective tree……………………………………………………..87

• Figure 18: Gantt diagram of the project……………………………………..92

• Figure 19: Human resources……………………………………………….100

❖ LIST OF PHOTOS:

• Photo 1: Basket Weaving …………………………………………………………………….44

• Photo 2: Painting art at Lisy Gallery Art……………………………………………………...44

• Photo 3: Sample of Malagasy painting at Lisy Gallery art…………………………………..45

• Photo 4: Sample of painting at Rose et Baobab showroom…………………………………………...46

• Photo 5 : Players of fanorona and hairstyle……………………………………………….....50

• Photo 6: Hunting………………………………………………………………………………51

• Photo 7: “Sharing”…………………………………………………………………..51

• Photo 8: Memory of 29th March 1947 ……………………………………………………….51

• Photo 9: Memory of 29th March 1947…………………………………………………….......51

• Photo 10: rural areas ………………………………………………………………...52

• Photo 11: Camp fire in full moon…………………………………………………....52

• Photo 12: Painting of lake Anosy …………………………………………………...52

• Photo 13: Samples of Abstracts art ………………………………………………….53

121

LIST OF APPENDICES

APPENDIX 1: People resources

APPENDIX 2: Questionnaires

APPENDIX 3: Gantt chart of the work

APPENDIX 4: Tourism statistics in 2015-2016

APPENDIX 5: International charter of cultural tourism

122

APPENDIX 1:PEOPLE RESOURCES

Full name Profession Place Date of the

interview

1- Toky RASOANINDRAINY

Responsible of Partnership

and training

ONTM Antsahavola

O1 August

2017

2- Tsiaro ANDRIAMAHERY

Cultural Responsible

IKM Antsahavola

O1 August

2017

3- Rodolphe RANAIVOARIMANANA

Artist painter

Tahala Rarihasina

Analakely

16 August

2017

4- Lalao Harivelo Henri RAMBELO

Artist painter

Tahala Rarihasina

Analakely

16 August

2017

5- Tojonirina ANDRIAMITANTSOA

Artist painter

Tahala Rarihasina

Analakely

16 August 207

6- Andry RAPARIVO

Artist painter Alliance Française

Andavamamba

23 August

2017

7- Mahery

Portraitist

Esplanade Analakely

23 August

2017

8-Gerard – Albin

Founder of Roses et

Baobab Association

Antsahavola

24 November

2017

9- Rijas RAMBELO

Artist painter

Antsahavola

24 November

2017

10-Lova

National guide

Mandriambero

30 November

2017

11- Christian Donovan

RAZANADRASAMY

Director IS’ART Gallery

Antsahavola

14 December

2017

12- Padoue RABENALA

Drawer

University of

Antananarivo

17 December

2017

13- Sedra Fanantenana

Drawer

University of

Antananarivo

O6 January

2017

14 Dina Mitia RABEARIVELO Painter online 15 January

2018

15- Titane Pigny

Painter online 17 January

2018

Source: author (January 2018)

123

APPENDIX 2: QUESTIONNAIRES

Faculty of Arts and Humanities

are you interested in ?

124

APPENDIX 3: GANTT CHART OF THE WORK

ACTIVITIES

June-July2017

August 2017

September 2017

October 2017

November 2017

December 2017

January 2018

Modification of the

case study

Books collection

Literature review

Data collection

Surveys

and interviews

Academic supervising

Writing report

125

APPENDIX 4: Tourism statistics in 2015-2016

MINISTERE DU TOURISME

SECRETARIAT GENERAL

DIRECTION DU SYSTEME D’INFORMATION

SERVICE DES STATISTIQUES

EVOLUTION DES ARRIVÉES DES VISITEURS NON RÉSIDENTS AUX FRONTIÈRES

(Publication Officielle mois de DECEMBRE 2016)

Année

Mois 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016

Janvier 20 138 23 594 18 785 17 910 18770 19 804 19 847 18 196 19 193 26 629

Février 16 639 18 593 9 526 11 087 13380 14 940 12 989 15 636 17 253 14 974

Mars 23 834 25 975 11 172 13 645 16119 16 935 12 408 20 604 19 789 19 324

Avril 25 752 27 850 11 670 13 925 16696 20 018 13 029 16 746 19 501 15 002

Mai 26 354 28 775 12 467 14 387 17513 21 318 15 162 18 054 19 718 18 066

Juin 28 857 31 698 13 624 15 849 18214 20 932 15 526 15 277 17284 16 111

Juillet 34 104 37 850 14 351 19 540 21296 23 210 21 157 21 621 23815 23 763

Août 36 714 37 300 14 487 18 650 23193 28 843 16 538 18 680 20 490 20 277

Septembre 32 213 35 845 13 270 17 307 19816 22 689 16 744 18 195 18 629 19 759

Octobre 34 231 37 390 15 295 18 295 21481 25 222 20 512 21 378 21 939 38 548

Novembre 32 612 35 315 13 740 17 257 19502 22 039 16 830 19 484 22 204 42 471

Décembre 32 900 34 825 14 300 18 200 19075 19 992 15 633 18 503 24 506 38 261

TOTAL 344 348 375 010 162 687 196 052 225 055 255 942 196 375 222 374 244 321 293 185

STATISTIQUES DU TOURISME 2015-2016

Source : Ministère du Tourisme/PAF/ ADEMA/APMF

126

APPENDIX 5: INTERNATIONAL CHART OF CULTURAL TOURISM

CHARTE INTERNATIONALE DU TOURISME CULTUREL

La Gestion du Tourisme aux Sites de Patrimoine

Significatif (1999)

Adoptée par ICOMOS à la 12è Assemblée Générale au Mexique, Octobre 1999.

INTRODUCTION

Principes généraux de la charte

Au sens le plus large, le patrimoine naturel et culturel appartient à tous les hommes.

Nousavons chacun un droit et une responsabilité de compréhension, d'appréciation et

deconservation de ces valeurs universelles.Le patrimoine est un concept vaste qui réunit aussi

bien l'environnement naturel queculturel. Il englobe les notions de paysage, d'ensembles

historiques, de sites naturels etbâtis aussi bien que les notions de biodiversité, de collections,

de pratiques culturellestraditionnelles ou présentes, de connaissance et d'expérimentation. Il

rappelle et exprime lelong cheminement du développement historique qui constitue l'essence

des diversesidentités nationales, régionales, indigène et locales, et fait partie intégrante de la

viemoderne. C'est un point de référence dynamique et un instrument positif du

développementet des échanges. Le patrimoine particulier et la mémoire collective de chaque

lieu et dechaque communauté sont irremplaçables et représentent une base essentielle

dudéveloppement, à la fois maintenant et pour l'avenir.

En cette période de globalisation croissante, la protection, la conservation, l'interprétation etla

présentation du patrimoine et de la diversité culturelle de chaque lieu ou région, sont unenjeu

important pour tous et partout. Cependant, la gestion de ce patrimoine, dans le cadrede

recommandations internationales reconnues et appropriées, relève habituellement de

laresponsabilité des communautés d'accueil.

Un premier objectif pour la gestion du patrimoine consiste à faire connaître sa significationet

les justifications de sa conservation aussi bien aux communautés d'accueil qu'aux

visiteurs. Une gestion matérielle raisonnable et une approche intellectuelle et/ouémotionnelle

du patrimoine et du développement culturel sont à la fois un droit et unprivilège. Cette gestion

doit être porteuse de respect pour les valeurs patrimoniales, pourles populations indigènes qui

les perpétuent, pour les paysages et les cultures qui les ontproduites, pour les intérêts et les

droits actuels des communautés d'accueil, et pour les propriétaires d'ensembles historiques.

Les interactions dynamiques entre patrimoine culturel ettourisme

127

Le tourisme national et international a été et demeure un des principaux véhiculesd'échanges

culturels, une occasion d'expériences professionnelles non seulement de ce qui a survécu du

passé mais aussi de la vie actuelle d'autres groupes humains. Il est de plus en plus largement

reconnu comme une force positive qui favorise la conservation du patrimoine naturel et

culturel. Le tourisme peut saisir les caractéristiques économiques du patrimoine et les utiliser

pour sa conservation en créant des ressources, en développant l'éducation et en infléchissant la

politique. Il représente un enjeu économique essentiel pour de nombreux23pays et de

nombreuses régions, et peut être un facteur important de développement, lorsqu'il est géré

avec succès. Le tourisme est devenu un phénomène complexe en plein développement. Il joue

un rôle essentiel dans les domaines économiques, sociaux, culturels, éducatifs, scientifiques,

écologiques et esthétiques. Parvenir à dépasser pour les valoriser les conflits qui peuvent

exister entre les attentes et les aspirations des visiteurs et celles des communautés d'accueil,

constitue à la fois un enjeu et une opportunité.

Le patrimoine naturel et culturel, comme la diversité des cultures vivantes sont des attractions

touristiques majeures. Un tourisme excessif peut de la même façon qu'un tourisme inexistant

ou mal géré nuire à l'intégrité physique et à la signification du patrimoine. La fréquentation

touristique peut également conduire à la dégradation des espaces naturels ainsi que des

cultures et des modes de vie des communautés d'accueil.

Le tourisme est porteur d'avantages pour les communautés d'accueil et leur procure des

moyens importants et des justifications pour prendre en charge et maintenir leur patrimoine et

leurs pratiques culturelles. La participation et la coopération entre les communautés d'accueil

représentatives, les conservateurs, les opérateurs touristiques, les propriétaires privés, les

responsables politiques, les concepteurs et les gestionnaires des programmes de planification,

et les gestionnaires de sites sont nécessaires pour mettre en œuvre une industrie touristique

durable et favoriser la protection des ressources patrimoniales pour les générations futures.

ICOMOS, Conseil International des Monuments et des Sites, en tant qu'auteur de cette

Charte, ainsi que les autres organisations internationales et les industries du tourisme, sont

prêts à relever ce défi.

Name: HANTALALAINA

Firstname: Jessica

Telephone: 034 09 022 07

Email: lalainajessie@gmail.com

PROMOTING CULTURALTOURISM IN ANTANANARIVO CITY

THROUGH MALAGASY PAINTING

Number of pages: 127

Number of illustrations: 53

Academic supervisor: Doctor Harilala Miaratiana ANDRIANARIVELO

Professional supervisor: Mister Marcel RAKOTOSEHENO

SUMMARY

Nowadays cultural tourism is developing Worldwide. However, for the case of Madagascar,

this form of tourism is not yet enough exploited. Malagasy painting is another aspect of

Malagasy culture. That is why our topic focuses on “Promoting Cultural Tourism in

Antananarivo city through Malagasy painting. The key research question of this work is

“How to promote cultural tourism in Antananarivo city through Malagasy painting?” The

objectives of the research are to analyze tourist potentialities and problems in Antananarivo as

well as to identify the importance of Malagasy painting in the promotion of cultural tourism.

As approaches, quantitative and qualitative methods have been chosen with primary and

secondary data collection. In one word, painting art provides the promotion of cultural

tourism as it reflects Malagasy culture and represents Malagasy daily lives. Among others,

Malagasy painting is a tourist product that reinforces tourists supplies in the city. It can serves

as a mean of communication that contribute the visibility of Antananarivo. By the way, our

project consists in organizing a festival on painting exhibition. The objectives are to increase

the number of tourists either national or international in Antananarivo.

Keywords: Madagascar, Antananarivo, science of tourism, cultural tourism, Malagasy

painting