From my experience, indigenous tourism doesn’t fall into the category of the "been there, done that" tourism. In fact the alluring mixture of history, culture, environment, music, art, archeology, astronomy and even gastronomy stimulates demand for knowledge in tourists that keeps them coming back for more. And as the specific product becomes more sophisticated it can branch out into hybrid markets. For example, recreational fishing is a $1 billion dollar a year industry in Australia. So ‘Salt Water People’ can develop fishing into the specific experience of indigenous fishing tourism. Four wheel drive tours are a non-indigenous specific activity but one that is perfectly suited to the Australian outback and therefore a product that indigenous communities are well placed to offer. However, I must say that I’m not sure I’m ready for a drive through the scrub with the drivers from the ABC TV series the ‘Bush Mechanics’.

Another example of possible hybrid tourism is astronomy tourism. Some of the best areas in the world for astronomy are in the Australian outback and about 20,000 tourists visited Ceduna to witness the recent lunar eclipse. The southern skies are internationally recognised as clear and bright but in addition to basic accommodation and logistical support for the astronomy product, indigenous tourism operators can include Aboriginal dreamtime stories to create a unique indigenous tourism experience.
State, territory and local government tourism bodies must work in partnership with indigenous operators to maximise these opportunities. For example, wherever we travel in Australia, we are advised through maps and signage of a town, shire or region. So why can’t our signage be used to help acknowledge the local indigenous people?

Shouldn’t signs provide the indigenous name for the local area?

Or for towns like Wagga Wagga, why can’t there be a sign at the entrance to town that provides an English translation of the meaning for the name?Bilingual signage is already standard in countries like Ireland and Wales. Walking tracks in National Parks should include indigenous cultural references. Signage identifying local flora and fauna should have more than just Latin botanical names. There is a fantastic opportunity here to detail the indigenous terms for particular plants. These indigenous tourism signs could also illustrate uses for particular trees and the relevance of certain animals to local tribes. Every tourist information centre should inform visitors of the local indigenous people and their history. It would also be preferable if this information could be conveyed by an indigenous tribal member, not a university student on holidays or someone who’s simply been told or heard a few stories. Also as part of a program to raise awareness, indigenous culture should be available to tourists in every hotel.
For example, the Sofitel Hotel in Melbourne markets itself as the ‘Art Hotel’ and it recently held an exhibition showcasing indigenous artists from the Kimberley region. It wasn’t tucked away in a conference room or upper level foyer but it was incorporated into the main dining area for all to see. Now if every hotel in Australia had a piece of indigenous art in their rooms, with an explanation of the painting’s story and an opportunity to purchase it, then the financial and cultural impact on Aboriginal communities would be profound.

Aboriginal food is another important opportunity to showcase the indigenous experience.

In many restaurants in Canada there is dish called ‘Indian Candy’ which is a form of dried salmon. It’s an opportunity for tourists to sample indigenous cuisine that forms an important part of the overall Canadian tourism product. There are already many dishes that use lemon myrtle, quandongs and other unique Australian ‘bush tucker’ as ingredients. All of these suggestions demonstrate the array of opportunities to develop the unique indigenous tourism product. The sustainability of these initiatives is dependent on the product maintaining its cultural integrity. It must be the genuine article. Tea towels and boomerangs painted and sold by backpackers devalue the product. Inaccurate imitations are an insult to indigenous culture. People aren’t going to fly half way around the world to experience an inferior product and if they do they sure won’t come back. If our target market is high yield tourists, then there’s no point judging the health of the Australian tourism industry by the number of bums on seats that pass through our airports. Many of them are time rich and relatively affluent and can generate sufficient income to allow lower volume of traffic, which places less pressure on our fragile environment. And let’s face it our environment is a crucial asset for our entire tourism industry and in particular for a genuine indigenous experience and is more in simpatico with the aspirations of indigenous Australians. We want more discerning and time rich tourists who are looking for a unique and stimulating experience. They are, in their own words looking for "authentic, engaging discoveries."

Ladies and gentlemen 10,000 Americans turn 55 every day. According to the Bureau of Tourism Research figures, indigenous tourism is tailor-made to attract these tourists.

Genuine indigenous cultural products are central to the development of our brand ‘Australia’. For example, Aboriginal art attracts international visitors looking for a unique experience. Contemporary Aboriginal art is a vital part of the world's oldest continuous cultural tradition. It is also one of the most brilliant and exciting areas of modern art.
Such is the international demand for indigenous art, that the New York Times devoted nearly an entire page to an obituary of Rover Thomas. Not because he was a quaint ethno-centric artist but was acclaimed internationally as a modern master.
Indigenous art is proving to be a tourist attraction in itself, with wealthy collectors already visiting galleries such Balgo Hills on the northern edge of the Tanami and Great Sandy Deserts. This gallery is one of the most diverse and innovative indigenous art centres in Australia. And whilst it is 300 kilometres from the nearest town, it helps supports a community of several hundred people who come from seven different language and family groups. Indigenous art creates unique works that can be found no where else in the world, such as the Hermannsburg pots and the bark baskets of the Tiwi Islands. The urban work of artists such as Gordon Bennett and Tracey Moffatt also showcase indigenous culture and generate income for local communities.
Take for instance the importance of the work of John Moriarty on the Qantas planes. There wouldn’t be a travelling Australian who wouldn’t be moved when they see one of those planes. This is also a great example of how indigenous culture and Australian companies can develop a profitable business partnership and further the cause of meaningful reconciliation.
I am therefore delighted to support the work of Aboriginal Tourism Australia, under its Chairman, Lois Peeler.
ATA is the national peak body for aboriginal tourism. It is developing a broad program that encompasses accreditation and business advice under the banner of "Respect our Culture".

The package will assist both indigenous businesses and mainstream businesses that deal in indigenous product.
This initiative encourages the tourism industry to respect and reinforce indigenous cultural heritage and the living culture of indigenous communities. Indigenous tourism businesses commit to protecting cultural authenticity and integrity, developing sound business practices and having sustainable environmental management systems.

Ladies and gentlemen, while indigenous tourism gives us the opportunity as a nation to celebrate indigenous culture, it offers so much more.