The Los Angeles Tourism & Convention Board is expanding its presence in the region with the appointment of Craig Gibbons to now oversee Indonesia, Malaysia, the Philippines, Singapore, Thailand, Vietnam, in addition to Australia and New Zealand.
Based in Sydney, Gibbons has been Los Angeles Tourism’s regional director for Australia/New Zealand since 2014.
In his expanded role, Gibbons will develop and support air service for Los Angeles International Airport; design a destination training programme for the travel trade utilising the L.A. Insider programme; and attend key industry trade shows in the region.
Prior to joining Los Angeles Tourism, Gibbons was the commercial & trade executive, South-east Asia & Australia for Visit Britain and held the role of Australia country manager for Visit Indonesia.
“South-east Asia continues to be an expanding source-market for travel to the US and we are keen to increase and support airlift from the region,” stated Kathryn Smits, vice president, tourism for the Los Angeles Tourism & Convention Board.
Radisson Hotel Group has announced the signing of a beachfront property close to Hoi An, the heritage port town on Vietnam’s central coast.
Slated to open in 2021, Radisson Blu Hoi An will be nestled directly on the Ha My Beach, just eight kilometres from Hoi An’s UNESCO World Heritage-listed town centre and 30 minutes’ drive from Danang International Airport.
Radisson Hotel Group announced at a signing ceremony they will be opening Radisson Blu Hoi An, their fourth property in Vietnam
The low-rise property, comprising 734 rooms, suites and villas, will flow around a series of reflective pools, with wooden walkways and landscaped gardens. Facilities on-site include a water sports and recreation centre, several swimming pools, a spa, fitness centre, kids’ club, rooftop garden, three restaurants, a lobby lounge and pool bar. The property also features a ballroom, meeting facilities and a private beach for alfresco occasions.
Developed by Indochina Hoi An Beach Villas, a subsidiary of the Bamboo Capital Group, and designed by BAKH Architecture, Radisson Blu Hoi An will embrace eco-friendly features, such as solar panels, rainwater harvesting systems, recycling, energy conservation and green walls.
Radisson Blu Hoi An is the company’s fourth property in Vietnam, following Radisson Blu Resort Phu Quoc, Radisson Blu Resort Cam Ranh and Radisson Resort Phu Quoc Long Beach.
Thai Airways International (THAI) has embellished a Boeing 777-300 aircraft with the Suphannahong Royal Barge livery to commemorate the coronation of Thailand’s new king this year.
THAI’s president Sumeth Damrongchaitham, who presided over a sacred ceremony to bless the aircraft livery, said the effort is an expression of the national carrier’s loyalty and honour to the royal coronation – which was held on May 4, 2019, with celebrations to continue until May 4, 2020.
The royal barge livery on THAI’s Boeing 777-300 aircraft will appear on the plane till end 2022
The airline received permission to paint the Suphannahong Royal Barge aircraft livery on its Boeing 777-300 aircraft, which was royally bestowed the name “Lahan Sai”. The emblem will appear on the aircraft till end 2022.
This special aircraft, equipped with 34 seats in Royal Silk Class and 330 seats in Economy Class, will be operated on round-trip flights from Bangkok-Seoul, Taipei, Beijing, Singapore, Kuala Lumpur and Sapporo.
The Suphannahong Royal Barge, originally called “Si Suphannahong” or “Chai Suphannahong Royal Barge” has been the Thai king’s royal barge since the Ayutthaya era.
The current Suphannahong Royal Barge was constructed upon the order of King Rama V, and completed during the reign of King Rama VI.
At the front or bow of the barge is a golden swan figurehead, the body or hull is the body of the swan etched in wood and decorated with gold leaf, mirrors, tassels and engraved glass. The exterior of the barge was painted black, while the interior was painted red, with a throne in the middle of the barge for the monarch or royalty. The Royal Barge is 46.2m long, 3.2m wide, and 15 tons in weight.
Xiqu Centre, one of the West Kowloon Cultural District’s landmark buildings, is a new home for traditional Chinese opera. Photo by HKTB
An increasingly vibrant and flourishing cultural and artistic scene currently unfolding in Hong Kong is stirring up greater interest among foreign visitors to seek out lesser-known facets of the city.
The growing arts and cultural scene is in part bolstered by active support pledged by the Hong Kong government to the sector’s development, with recent initiatives including HK$20 billion (US$2.6 billion) set aside for upgrading existing cultural hardware and building new facilities, and HK$500 million allocated to the Leisure and Cultural Services Department (LCSD) to acquire museum collections and organise exhibitions.
Xiqu Centre, one of the West Kowloon Cultural District’s landmark buildings, is a new home for traditional Chinese opera. Photo by HKTB
Having positioned itself as an art city in Asia through events like Art Basel and numerous openings of blue-chip galleries, a fresh crop of mega cultural projects launching over the next few years is set to inject a new buzz to Hong Kong’s arts and culture scene.
For instance, the 57-year-old Hong Kong Museum of Art will reopen in November this year on the Tsim Sha Tsui waterfront following a major makeover with an eye-catching glass façade. Not only will the institution see its total exhibition area expand by 40 per cent from 7,000m2 to 10,000m2 and the number of galleries increase from seven to 12, it has also received 350 Chinese painting and calligraphy masterpieces from Chih Lo Lou Art Promotion for its permanent collection.
West Kowloon Cultural District (WKCD), a government-funded development project that seeks to create a hub of arts and cultural venues in a 40ha waterfront area west of Yau Ma Tei, will house numerous facilities. This includes the Xiqu Centre, a venue for Cantonese opera; Freespace, presenting contemporary arts performances; Lyric Theatre Complex, focusing on international dance and theatre: M+, a museum of visual culture; and the Hong Kong Palace Museum, which will display Chinese art and culture from the imperial period.
Hong Kong’s flourishing cultural scene has given a visible marketing push for tour operators, say industry players.
For instance, Hong Kong A La Carte’s managing director Alexandra Malandain has added tours of Tai Kwun, a contemporary art and heritage centre housed in the restored and revitalised Central Police Station compound.
She explained: “The western market, especially FITs and corporates, is definitely interested in hosting events and meetings at the brand-new Tai Kwun. They like the way the compound mixes contemporary buildings with old ones. They are also keen on the art exhibitions and the numerous F&B offers there. The Museum for Contemporary Art, M+ and K11 should interest them as well.”
Likewise, Via Vai Travel, director, Sef Lam, also offers architecture and heritage tours of key and revitalised landmarks like the new University of Chicago campus in the old Victoria Detention Centre; the Haw Par Mansion, which has been given a new lease of life as Haw Par Music Farm; Xiqu Chinese opera, which gives “an excellent introduction to an art form many are not familiar with”; and twinning a visit to Tai Kwun with H Queen’s, a building dedicated to art and lifestyle.
“Based on our experience, these are popular destinations, each with its own attraction,” Lam remarked.
Nadia Quinn, lead guide at Hong Kong Greeters, told TTG Asia that such attractions not only add breadth to Hong Kong’s portfolio of tours, but also helps to cultivate a lasting impression of a destination offering “diversity and variety”.
She added: “We observed travellers attending Art Basel are mainly business people or those who have a direct connection to art and culture, whether through work or personal interest. I hope more staff training would help tourists receive friendly guidance upon their arrival at these new cultural attractions and make it easier for them to navigate.”
Hospitality players are also keen to get a piece of the action in Hong Kong’s flourishing arts scene, with the new Hotel Alexandra slated to open in early 2020 as a design-led property. Melding Victorian elegance and modern concepts to create an atmosphere evocative of Alice’s Adventures in Wonderland, the 840-room hotel will be adorned with art fixtures like engraved golden doors and pendant crystal chandeliers, general manager Christina Cheng informed.
She added: “We are excited to be a part of this integral artistry, bringing Hotel Alexandra to new heights within the growing art scene in Hong Kong, making it a friendly social hub space and a welcoming arena for creative campaigns, art installations and showcases.”
However, art and culture is often not the sole attraction for tourists visiting Hong Kong, noted Paul Chan, co-founder, Walk in Hong Kong.
He explained: “Except for Hong Kong Arts Month and Art Basel, there is no defining feature that stands out for the city’s cultural tourism push at this stage. Still, we need these kind of new attractions to build up the (momentum) with (multifaceted support) to boost tourism.
“Factors like quality of curated exhibitions, access to performances and events, as well as availability of a systematic information channel are crucial software to draw visitor interest. In fact, there isn’t any integrated system that shows what the city offers in a day, and ticketing is tied up with two ticketing agents that often have a lot of glitches during purchasing.”
It’s still early days for Hong Kong’s culture tourism development, Chan elaborated, as the under-construction WKCD is not yet anchored on the cultural hub ecosystem while existing institutions like Xiqu Centre needs supporting attractions in its vicinity to become a staple stop on tour itineraries.
The management of cultural venues is also a key link, Chan pointed out, stressing the importance of having a roster of “creative promotions and new themed exhibitions” for tour operators to incorporate them into walking tour programmes to attract international visitors.
Lam also noted: “In the long term, education is important to get tourism school students interested in arts and culture. I believe strongly in students acquiring hands-on experience and getting involved with an art form, so that they will develop a growing appreciation for the art form as they mature and share this knowledge and passion with the people being guided.”
Qatar buys about 9.6 per cent stake in the Hong Kong flag carrier
Cathay Pacific Airways CEO Rupert Hogg, alongside chief customer and commercial officer Paul Loo, both resigned last Friday.
They will be succeeded by Augustus Tang and Ronald Lam respectively, starting from today. Lam will also remain the CEO of Hong Kong Express until a successor has been appointed.
Cathay Pacific Airways CEO Rupert Hogg is the latest casualty of Beijing’s immense displeasure over Hong Kong protests
In a statement, Hogg indicated that he and Loo, his deputy, resigned to “take responsibility” in light of recent “challenging weeks” for the airline.
According to AP, Hogg’s shock resignation came following pressure by Beijing over the participation of some of Cathay’s employees in the recent anti-government protests.
In a statement, John Slosar, chairman of Cathay Pacific, said that it needed a “new management team in place who can reset confidence and lead the airline to new heights”.
Hong Kong is entering its third month of protests that started in opposition to a proposed extradition law but which have since expanded to include demands for a more democratic system.
Japan is ramping up its accessibility efforts to better cater to a growing number of overseas and domestic visitors with mobility issues. According to the Japan National Tourism Organization, 15 per cent of the 31 million inbound visitors to Japan in 2018 had a physical disability.
Meanwhile, Japan’s rapidly ageing population is resulting in more domestic travellers with reduced mobility. By 2030, 37.2 million people in Japan are expected to be aged 65 or older, according to the National Institute of Population and Social Research.
Japan is working towards building a barrier-free society amid growing demand
In anticipation of this growing need for improved accessibility, the government will be using the Tokyo 2020 Olympic and Paralympic Games to champion barrier-free access to transport, hotels and attractions. It has launched a Universal Design 2020 Action Plan to make universal facilities a legacy of the Games.
To date, 93 per cent of Tokyo’s subway stations and 1,000 taxis are wheelchair accessible. In soft infrastructure, the Japan Tourism Agency is supporting barrier-free mindset education to aid tourism staff.
“There is a need to create the infrastructure to allow every traveller, including the elderly and people with disabilities, to experience the ‘joy of travelling,’” the Council for a Tourism Vision to Support the Future of Japan said.
All Nippon Airways (ANA) has launched a raft of new services, including one that allows passengers who require special assistance to register their information indefinitely, rather than on a per-use basis. The airline has also partnered with Panasonic to test self-driving electric wheelchairs at Narita International Airport and created Mobility as a Service, which offers on-demand transport for all on arrival.
“We think it is very important to promote accessible/universal tourism,” an ANA spokesperson told TTG Asia. “We will continue embracing the latest technological advancements and seeking out new innovations to improve every aspect of the air travel experience.”
Joshua Grisdale, founder of Accessible Japan, a website that offers information on barrier-free facilities, claims that although there are more barrier-free rooms, toilets and facilities in Japan, more needs to be done to communicate its availability in English.
“According to a recent survey, 54 per cent of disabled people said they would not travel to a destination if information on accessibility is not available,” he said.
Domestic tourism in Malaysia posted a 10.9 per cent increase in 2018, growing to 78.2 million domestic tourists last year from 70.5 million the year before, revealed figures from the Department of Statistics Malaysia (DOSM) in a survey of some 100,000 respondents.
Pahang the top choice destination in 2018, recorded the highest number of domestic tourists at 9.2 million, followed by Johor (7.8 million), Perak (7.6 million), Selangor (6.8 million) and Negeri Sembilan (6.1 million).
Domestic tourism in Malaysia rose 10.9 per cent in 2018, with Pahang the top choice destination (Pictured: Taman Negara, Pahang)
Total expenditure by domestic tourists also rose by 11.7 per cent to RM60.4 billion (US$14.4 billion), from RM54.1 billion (US$12.9 billion) in 2017. Average per capita expenditure increased by 0.7 per cent to RM772 as compared to RM767 in 2017.
Expenditure on shopping recorded the highest percentage share of the total expenditure at 26.8 per cent, followed by fuel and F&B (13.9 per cent), visited households (13.7 per cent), accommodation (13 per cent), transportation (8.4 per cent), other activities (4.9 per cent) and expenditure before the trip/packages/entrance fees/tickets (3.9 per cent).
Unpaid lodging provided by relatives and friends were the main choice of accommodation last year. It recorded the highest percentage at 68.2 per cent, followed by hotels (20.4 per cent), apartments (4.4 per cent), homestays/vacation homes (3 per cent), chalets (2.3 per cent) and rest houses (1.7 per cent). The average length of stay rose 3.8 per cent to 2.44 nights last year, from 2.35 nights in 2017.
Most domestic tourists were between the ages of 25 and 39 years old, earning double income and no children or single office ladies, shared Musa Yusof, director-general, Tourism Malaysia in a joint press conference with the DOSM.
Secretary-general at the Ministry of Tourism, Arts and Culture Malaysia, Isham Ishak, said that the results of the domestic tourism survey will help the ministry in planning programmes and events to increase the number of domestic tourists, in conjunction with Visit Malaysia 2020.
Vietnam-based Lux Group has fully acquired the five-star, all-inclusive Emperor Cruises, adding to the travel and hospitality company’s portfolio that includes the DMC Luxury Travel and Heritage Cruises.
Pham Ha, the president of Lux Group, told TTG Asia that he previously owned a 50 per cent stake in Emperor Cruises and has now bought the remaining stake to gain full ownership of the business. Financial details of the purchase have not been released.
Emperor Cruises is now part of Vietnam-based Lux Group, which also owns Luxury Travel
In a statement, Ha said that the company “will expand its portfolio of luxury small ship and expedition cruises to new cruising destinations” following the acquisition.
“Five new cruise ships will be added in Nha Trang Bay and Phu Quoc Island, and overnight cruises will be introduced for the first time in these amazing beach and island destinations,” Ha said.
Meanwhile, Heritage Cruises will begin sailing around Cat Ba Archipelago in the Gulf of Tonkin from September 7. The boutique cruise ship, which consists of 20 suites ranging from 33m2 to 80m2, is divided into three different categories – Delta, Ocean and Heritage Suites – with a maximum capacity of 60 guests.
Amenities onboard include two Vietnamese restaurants, an infinity swimming pool, a pool bar, wine cellar, lounge and a library.
Heritage Cruises also hosts a floating exhibition, L’Art de l’Annam, which showcases the first designer art gallery of artist Pham Luc, known as the Picasso of Vietnam, alongside the works of many Vietnamese artists.
Universal Studios Singapore’s (USS) Halloween Horror Nights will return for its ninth edition, from September 27 till October 31 this year, featuring five haunted houses, two scare zones and two killer shows across 16 event nights.
Taking centre stage this year is Curse of the Naga, USS’ first regional collaboration with the directors of blockbuster Thai horror films Shutter and 4bia, Parkpoom Wongpoom and Gunn Purijitpanya, in the creation of the an original haunted house. Featuring elaborate landscape design, stunning special effects and original characters, the haunted house will transport guests from the colourful streets of Bangkok to a lost village that is under the spell of the Naga, a snake spirit.
Halloween Horror Nights 9 (Photo credit: Resorts World Sentosa)
1 of 4
Curse of the Naga
The Chalet Hauntings
Twisted Clown University
Try to survive the Undertaker (pictured in the centre) as he roams around, searching for the next unsuspecting victim
Those curious to unmask the horror and secrets behind Curse of the Naga can go for a daytime, behind-the-scenes guided tour, available at a top-up fee in addition to daytime admission ticket.
Adding on to the list of ever-popular Asian-inspired horrors is The Chalet Hauntings, brought to you by Official Partner Traveloka. Here, Singaporeans can relive one of the most commonly shared experiences of paranormal sightings in their teenage years. This house will feature the event’s most extensive collection of South-east Asian ghosts – from the mischievous Toyol to the bloodthirsty Langsuir – in a single house. Not for the faint-hearted, The Chalet Hauntings plays off one’s darkest fears with illusions that will trick the eyes and minds, raising fears and anxieties as guests unravel the mystery behind the disappearance of five teenagers.
Elsewhere, visitors can join the circus of clowns as they wreak havoc and train the next generation of red-nosed killers at Twisted Clown University or step into Spirit Dolls, an abandoned village where the only inhabitants are silent dolls watching everyone’s movement.
Those looking for a respite from the scares can head to Pantages Hollywood Theater where hosts Skin & Bones will present a repertoire of offbeat entertainment, quirky cast, along with terrifyingly funny acts in their live show. For a head-banging frenzy, join the mass of metal heads in Death Fest and rock out to the savage sounds of the Death Trap band. On peak nights, Death Trap will lead a morbid metal procession around the park with specially designed floats, electrifying acts, and culminating in a hardcore music festival bursting with pyrotechnics.
Tickets are now available for purchase at www.halloweenhorrornights.com.sg and guests can choose from 16 event nights (10 peak nights + six non-peak nights). From now till September 1, tickets can be purchased at S$65 (US$47; peak nights) and S$55 (non-peak nights). After which, regular tickets will cost S$70 for peak nights and S$60 for non-peak nights. Guests can also enjoy many of the theme park’s rides and attractions during event nights.
Travelport and Qantas have launched an NDC live production test
Travelport has begun handling its first bookings with Qantas using IATA’s New Distribution Capability (NDC) standard, as part of its continuing support for the airline’s NDC, including the Qantas Distribution Platform (QDP).
The bookings are made through Travelport Smartpoint in a live production test environment as Qantas prepares distribution of differentiated NDC content from late 2019.
Travelport and Qantas have launched an NDC live production test
This NDC connection to Qantas is the first by any GDS to the carrier and enables live bookings of NDC content to be made by selected agency partners taking part in the testing programme, including ATPI Corporate Travel, Globetrotter and Travel Beyond. It comes ahead of a rollout to the wider agency community in the coming months.
The development is part of the airline’s plans for the QDP which offers an improved customer experience via enhanced and personalised content.
Having been the first GDS to make a live NDC booking in October 2018, Travelport has already connected to five European airlines’ NDC content, said the travel technology company in a statement. It will follow up with an API NDC connection channel through Travelport’s Trip Service API with Qantas’ content among the first to be available through this channel. The Trip Service API is also currently part of a testing programme with an Australia-based OTA successfully coding to it.
Scott Barber, managing director Australia and New Zealand at Travelport commented: “Qantas shares our vision that NDC has the potential to enhance the travel experience for its customers, offering personalised and differentiated choice and a seamless booking experience. NDC delivery is complex and requires collaboration from all parts of the travel industry.
He added: “We value our relationship with Qantas and are grateful to our test agencies for partnering with us to ensure we deliver an NDC solution which makes the process of buying and managing travel continually better for everyone. The ongoing delivery of our NDC roadmap is a key part of this.”
The airline industry has been developing NDC since 2012 with the aim of extending customisation to agents and establishing closer relationships between airlines and customers.
