Richard Parsons considers whether Britain can successfully market its traditional assets in tandem with promoting itself as a modern tourist destination

The UK’s split personality, unsure of how its history and heritage relates to the modern world, is reflected in tourism as much as in any other area of national life. And, as in most things, Britain tries to have it both ways.

Ministers and tourism chiefs, their latest strategy suggests, are firm believers in the principle that the “heritage Britain” of trooping the colour is not incompatible with the more modern image briefly symbolised by “cool Britannia”. And with the key role that the holiday and leisure sector plays in the British economy, it is to be hoped that the balancing act proves successful.

In the “Tomorrow’s tourism today” strategy document, published this summer, the Department for Culture, Media and Sport set out its plans to take the sector “to the next level”. “We can appeal both to our existing markets, and to new ones emerging around the globe,” it said. “Our traditional assets, including our heritage, culture, and countryside, remain strong. But increasingly they are being supplemented by a new awareness of the attractions of our thriving modern culture, and of our place at the cutting edge of many creative activities.”

And a demonstration of the possible synthesis between the old and the new came this summer as VisitBritiain published a guide to key UK attractions alongside the release of a Hollywood film called King Arthur. The leaflet highlighted locations linked to the historical legend, such as Bamburgh Castle in Northumberland.

But while such campaigns may be a tactical success, capitalising on the publicity generated by such films, doubts have been expressed about the strategic message about Britain that films such as King Arthur entrench. There have been concerns that an undue emphasis on the past can cause damage to the UK on a wider range of issues, even if it successfully encourages tourism.

In one intervention in the debate, Edinburgh’s first minister linked the image of Scotland around the world with other problems the country faces such as a shrinking population and the need to attract new immigrants. Jack McConnell said the traditional image of Scotland failed to convey the impression of a dynamic country needed to succeed in a globalised economy.

“The predominant image of Scotland is a mythical one,” he said. Castles, glens and misty mountains. Add to that the Braveheart and a touch of Trainspotting and what you have is the uninformed image of Scotland. This gap between perception and reality holds us back economically.”

As ever, the key issue seems to be how to strike the right balance. One way to gain the maximum advantage is to promote different assets to different target audiences. That suggestion is backed by a spokesman for tourism body VisitScotland, who says the country is “extremely lucky to have so many icons on which to draw, whether traditional or modern”.

“For instance the more traditional elements such as tartan and those linked to heritage go down well in the US, whereas that approach does not necessarily appeal to, say, the city break market in the UK, which we would target with messages flagging up the modern, dynamic nature of our cities,” he says. “So on balance, having that enviable mix of heritage and modernity is a huge strength for Scotland, and something which is certainly helpful in attracting potential visitors.’’

And the UK, too, appears set to capitalise on a range of assets by targeting key audiences. VisitBritain, the organisation that markets Britain to the rest of the world, highlights its strategy to compete in an international tourism market that is “as competitive now as it has ever been”. “VisitBritain has developed a brand for Britain that helps identify what is unique about Britain,” says head of public affairs Bernard Donoughue. “It provides us with an understanding of the Britain that truly engages, motivates and excites our target audiences across the world.”

And while the quest for modernity might appeal to some, it remains a fact that the traditional image of Britain remains a key draw for many overseas tourists. A spokesman for the Historic Houses Association (HHA) says that historic houses and castles, together with their parks and gardens, are one of the major draws for overseas visitors. And figures suggest that historic buildings receive only four per cent of the spending of visitors with the remaining 96 per cent, some £1.68 billion in rural areas, going to secondary beneficiaries such as B&B’s, craftshops and pubs.

“Of course, Britain has a vast reservoir of attractions which draw visitors,” says the HHA spokesman. “But any country vying for a greater slice of the world tourism market must play to its strengths and, for Britain, that means its unrivalled wealth of built heritage. So rather than dealing in absolutes, let’s promote the very best of what our country has to offer and celebrate the diversity of our tourism provision, rather than running scared of the past.”

While tactical campaigns aimed at key groups might maximise returns on limited advertising budgets, it remains to be seen whether the branding of Britain can be synthesised into a coherent hole. Given that the heritage of stately homes and the royal family is as much a part of today’s Britain as the Notting Hill Carnival in London or Manchester’s gay pride parade, it is open to visitors to take what they like from a trip to the UK. In fact, the range of options available suggests that Britain might be so diverse that it defies any simple categorisation - and that might be a unique strength.

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