People are drawn to a place by the unique experience art and culture gave.  The very reason art and culture had been paired to promote tourism over the years has been practiced by countries around the world. Because of the story and message art brings, it has been used to promote a place, which Green et al. (2018) quoted as “branding”. It was proven in the study that a place, capitalizing in arts, attracts a large number of tourists. According to Slak Valek and Mura, (2023) art tourism existed a long time ago, but it was overlooked due to its association with cultural tourism. At the broadest level, art tourism is a multifaceted phenomenon, encompassing diverse motivations, such as visiting museums and galleries, attending festivals and exhibitions, engaging in creative workshops, or exploring public art installations (Mordor Intelligence, 2025). Recent literature underscored the shift from passive consumption of cultural artifacts to active participation and immersive experiences, particularly within the realm of creative tourism (Tan et al., 2020; Ribeiro, 2022; Zhu et al., 2023). This dynamic engagement involves a complex interplay among tourists, local communities, artists, cultural institutions, and destination management organizations (Nakamura et al., 2017). Understanding these interactions and the evolving nature of art experiences is crucial for effective planning and development in the sector (Franklin, 2018).

In the Philippines, there is a rising interest in contemporary art, a growth in art fairs and biennales, and increasing support for emerging artists, with digital transformation also playing a significant role in market reach (Imahica Art, n.d.). The tourism industry is growing. Western Visayas, for instance, saw a notable increase in tourist arrivals in 2024, generating substantial revenue, with Capiz recording a high growth rate of 43.73% (Lena, 2025). 

Every province in the Philippines actively integrates art and culture into its tourism programs. Cities and municipalities often maintain local museums that showcase artworks, pottery, literature, and cultural artifacts, helping visitors connect with the history and identity of each locality. Architectural heritage, especially Spanish-era churches, also plays a vital role, many of which featured Baroque design elements introduced during colonial times. In Capiz, this cultural richness is evident in traditions like Habol Panay weaving and landmarks, such as the Santa Mónica Church in Panay, which houses Asias largest Catholic church bell. These heritage assets are preserved and promoted through institutions like the National Museum of the Philippines, which supports regional museums and cultural education initiatives (National Museum of the Philippines, n.d.; Kanda et al., 2021; Department of Tourism, 2025).

However, having artistic landscape and works are not enough to promote art tourism. Brida et al. (2016) articulated in their study the importance of government support in developing art tourism. They argued that various sectors should be involved in planning and management. They also examined the role of local artists and craftsmen, as stakeholders, in shaping the artistic landscape and attracting visitors. Despite the evident potential and growing interest in art tourism in the Philippines, significant research gaps persist, particularly at the local and provincial levels. In the case of Capiz, while it is widely recognized as the “Seafood Capital of the Philippines” and is home to the historic Panay Church Bell, there is a notable lack of comprehensive studies that explore the provinces broader potential for art tourism. Beyond these established attractions, Capiz possesses a rich cultural landscape that remained under-researched and under-promoted in academic and policy discourse. This oversight reflects a broader trend in the literature, which often emphasizes national-level developments while overlooking the unique dynamics of local destinations. 

Moreover, existing studies on cultural tourism in the Philippines frequently highlight persistent challenges that hinder the sectors growth. Busalla, (2025) argued that these challenges include inadequate infrastructure in rural areas, the countrys vulnerability to natural disasters, and ongoing issues with workforce development and training. Such barriers limit the ability of regions like Capiz to fully harness their cultural and artistic assets for sustainable tourism development.

While some cultural initiatives exist, a comprehensive identification of local artists, art spaces (beyond the few prominent ones), traditional crafts (e.g., Capiz shell craftsmanship), and indigenous art forms needs to be established.  There is a question of whether local artists and communities are genuinely empowered and deriving equitable value from current tourism activities, or are the benefits concentrated elsewhere. Likewise, given the provinces coastal nature and susceptibility to natural disasters, art tourism development can be made resilient and sustainable (Islam and Akter, 2022).

These gaps allowed the researcher to delve into the study of art tourism alone, thus contributing to the limited studies regarding this industry, particularly the limited art tourism studies focusing on visual arts. The theory of engagement developed by William Kahn, (1990) offers a powerful lens for analyzing the dynamics and value creation of visual artists within the context of art tourism. Kahn posited that individuals bring varying degrees of their “full selves” - comprising physical, cognitive, and emotional dimensions - into their work roles, depending on three key psychological conditions: meaningfulness, safety, and availability. Applied to visual artists, this framework helps explain how and why artists choose to deeply engage in art tourism activities, such as exhibitions, workshops, and community-based projects. When artists perceive their work as meaningful, perhaps by contributing to cultural preservation or community identity, they are more likely to invest themselves fully. A sense of psychological safety, fostered by supportive environments and creative freedom, further encourages authentic expression. Finally, the availability of emotional, physical, and mental resources determines whether artists can sustain their engagement over time. Together, these conditions shape how artists interact with tourists, collaborate with local stakeholders, and ultimately co-create cultural value within the tourism experience. By using Kahns framework, a study in Roxas City can systematically analyze not only how visual artists engage (physically, cognitively, emotionally) but also the underlying conditions that either facilitate or hinder their engagement. This understanding is crucial for designing interventions and policies that foster deeper artist engagement, leading to enhanced value creation – both artistic and economic – within Roxas Citys burgeoning art tourism sector. 

The descriptive-quantitative research design was used to determine the level of engagement and challenges encountered by visual artists in promoting art appreciation in the tourism development of Roxas City. The data needed for the analysis were gathered with the use of a validated and reliability tested structured survey questionnaire made by the researcher. Validation was done with the help of six experts in the field of public administration, the leaders of art organizations, a statistician and a psychometrician. The validators utilized the Goods and Scate, (1972) Criteria to assess the quality and appropriateness of a research instrument.

The approved survey questionnaire was disseminated to the 86 visual artists who are members of the five art organizations in the province of Capiz, namely: Art Association of Capiz, Biswal Kapisnon, Guban Handuraw, Dibuhistas de Panay, and EyeCan Creatives, in different locations and timeline. They were dominated by male with a percentage rate of 61.6 percent and 38.4 percent for female. Most of them were aged18-25 years old, degree holder and had a stable income. For the years spent as a visual artist, almost half of them have been into this field for 4-6 years, and are more engaged in painting.

Subsequently, in order to scale their responses, the researcher incorporated two scoring variables, for the engagement of virtual artists and the challenges they encountered. When the instruments validity and reliability were established and ready to use for data gathering, the researcher reproduced 86 sets of questionnaire and coordinated the schedules with the presidents of visual artists associations for the administration of the questionnaire, prior the approved communication letter. For the actual data gathering, the researcher personally administered the questionnaires in every group to make herself available to answer questions as well as guide the respondents in completing the questionnaire. The data gathering procedure always starts with a brief description of the study. The researcher then discussed ethical considerations and secured the consent of the respondents to proceed with the completion of the questionnaire.  It took three months for the researcher to complete the data gathering with the respondents since the visual artists do not convene often in one place and the researcher had to wait for opportunities to have them answer the questionnaire.

The data gathered were encoded in Microsoft Excel spreadsheets and submitted to the statistician for processing and analysis using the Statistical Package for Social Sciences (SPSS). In order to assess the profile of the respondents, frequency and percentage analyses were used for all the demographic characteristics. Other descriptive statistics, such as ranking was used to establish the most common used art form by visual artists, while mean and Analysis of Variance (ANOVA) were used to describe the level of engagement of the visual artists and their challenges encountered. Subsequently, regression analysis was used to establish whether the challenges encountered by the respondents predicted their level of engagement.

 A courtesy call with the association presidents was done to personally ask permission to conduct the study through a letter. Prior to the collection of data, the respondents, through a brief orientation, were assured of the confidentiality of the data to be gathered for this were emphasized in the questionnaire consent form. They were informed that their participation is voluntary and that they may choose to stop answering the questionnaire anytime they feel uncomfortable providing the answers.  

The researcher was also committed to make the respondents identities remain anonymous as well as secured, and this included not only protecting their names but also not to use any language or content that could be identified with them. This ethical consider-ation was enforced through giving the participants the option to whether put their names or otherwise on the questionnaire. Furthermore, no names or other identifying information were used when discussing or reporting data in the conduct of the research.  All files and information gathered were securely stored in a safe location after a thorough examination and recording. Additionally, it was not expected that the data gathering procedure will cause any risk, injury, distress, or discomfort to the respondents, research site or any negative impact to the community where the research was conducted. The responses were completely confidential. The respondents were also informed that the results of the study may be disseminated and presented in research.

The result revealed that the virtual artists were highly engaged in the art activities prepared by the Roxas City Tourism Office. The result indicates that the visual artists in the province of Capiz are deeply engaged in the tourism activities of Roxas City which can led to the enrichment of the citys tourism offerings and can create authentic and culturally resonant experiences and attractions that may enhance a tourists unique destination identity and increase the appeal of the city to a broader range of visitors. These engagements may not only go beyond simple showcasing of the visual artists art work but may also enhance cultural storytelling depending on how these artists can visually interpret the history of a city, its heritage, and contemporary culture. Meanwhile, cognitive engagement having the least mean score infers that the visual artists may not have enough knowledge of their role in art tourism of Roxas City. This gap suggests the need for a briefing and workshops that explains how their art aligns with the tourism development.

This result supported Proietti and Addis, (2022) who described contemporary art organizations as having key roles played in driving art tourism by offering visitors memorable experiences. The research revealed that the main idea is arts engagement, which is connected to three degrees of customer reactions, the cognitive, emotional, and social responses, and these are brought on by three antecedents, such as involvement, sharing and comprehension. Their contemporary arts experiences are expected to generate great benefits in terms of social, ethical, and economical values for the entire society. Down, (2024) further argued that emotional connection with art leads to an active emotional engagement. Art affects emotions to the point that it encourages audience to explore the reasons and messages behind an artwork. In the point of view of the audience, they tend to learn about the artist and its inspiration and at the same time seek similar pieces. This emotional engagement allows them to have a lifelong connection with the art, the artists, and the cultures. Art often makes artists physically exhausted. Thus, maintaining a healthy and active lifestyle is necessary to avoid disruptions with doing an artwork. Stress and body pain can hinder them to perform well, thereby being physically fit is essential to an artist.

Based on the findings, they were emotionally, physically, and mentally engaged despite the presence of several challenges. They showed a significant engagement in painting, with their works often exhibited in public spaces, such as Robinsons Mall and SM City. Furthermore, their participation extended to wall and mural competitions, while having the general designs like buildings and fashion on the least. Their contribution to the development of art tourism is fundamental and can be seen through event participation, showcasing a diverse range of artistic styles. This underscores not only individual uniqueness but also a collective contribution to the industry.

Moreover, the artists exhibit collaboration, fostering community engagement and strengthened relationship with fellow artists. This extends beyond self-promotion, highlighting the transformative potential of promoting diversity and inclusivity within the community. While the study identified fundamental challenges related to time constraints, financial shortage, and conservation of artworks, these findings indicate potential areas for intervention by the government and private sectors to further support the development of art tourism in the city.

The challenges of protecting art from damages due to handling, coupled with financial strain and scarcity, limit artists opportunities to showcase their creations, potentially hindering their professional development and the broader dissemination of their artistic expressions. Likewise, failure to protect art works, such as applying proper art preservation techniques, may lead to deterioration, diminishing their aesthetic value and financial worth. Moreover, the life of an art work depends on conservation practices that protect it from any form of damages.   

To support this findings, Amato, (2025) emphasized the importance of detailed planning in protecting artworks during art exhibitions, particularly when managing large crowds. It was noted that the layout and positioning of artworks within a venue must be guided by risk management principles, ensuring adequate spacing, visibility, and security. Beyond physical protection, exhibitions require trained gallery attendants, surveillance systems, and environmental controls to monitor humidity and temperature, even in indoor settings. These considerations are critical not only for preserving the integrity of the artworks but also for ensuring a safe and enriching experience for visitors. Such measures reflect the shared responsibility of visual artists, event managers, and sponsors in safeguarding cultural assets while enhancing public engagement. 

Furthermore, the availability of quality materials and cost considerations, and the reliability of suppliers are among the challenges encountered by visual artists during tourism engagement. Artists need to ensure the consistent availability of their preferred materials, while also considering the affordability and sustainability of their choices so as to make their selling price attractive and affordable to interested customers. This supported Baskerville, (2024) who emphasized that quality control and ethical sourcing are essential for maintaining the standard and sustainability of art materials. In the context of drawing and visual arts, it was noted that artists and suppliers must consider not only the availability and consistency of materials but also their environmental impact and supply chain ethics. This includes ensuring that materials are responsibly sourced, free from exploitative labor practices, and produced with minimal ecological harm. Additionally, quality control plays a crucial role in preserving the integrity of the artwork, especially when materials are expected to endure over time or under varying environmental conditions. These concerns are increasingly shared by artists, designers, supply chain managers, and event organizers, who recognize that the ethical and material choices made during production directly influence both the creative process and the cultural value of the final work for maintaining the standard of art materials.

Conversely, the result also showed that the relationship among financial instability, lack of sales, and burnout is complex. Factors, such as artists personality, support system, and access to resources, can also play a significant role. This suggests that the financial instability resulting from insufficient art sales can lead to burnout among artists, hindering their continued participation in the art world. The frustration of not achieving adequate sales may diminish artists motivation, ultimately impacting their ability to sustain their artistic practice and potentially leading to their withdrawal from pursuing art professionally. According to Wenzel-Vollenbroich, (2024) doing art is financially demanding, and the tendency is that, the artists become more open to juggling multiple works to sustain themselves and buy materials for their outputs. 

Generally, the artists were mentally, emotionally and physically engaged in the art activities facilitated by Roxas City tourism despite the fact that they highly encountered challenges and some acted as predictor of their level of engagement such as artwork protection, financial shortage, and time constraints.

Insights to Diversity and Inclusions

The use of local and indigenous materials for artwork inspires Capizeños and their families outside of Capiz and other visitors of the unique characteristics of their surroundings, reflecting local history, customs, and landscapes when creating their artwork. By providing platforms for artists to exhibit such work, cities can honor their heritage and foster cultural continuity, attracting tourist interested in experiencing the local culture. Visual art can also be a powerful medium for raising awareness about environmental issues and promoting sustainable practices. Public art installations using recycled materials or addressing climate change can educate and inspire both tourists and residents to adopt more sustainable behaviors. This suggests that by capitalizing in local artistic expression, artists are able to deliver the right message while promoting local arts.

The findings of the study also communicated the challenges visual artists faced when engaging with the city tourism activities and events, and some of these challenges affected their level of engagement. Many visual artists, especially emerging ones, may struggle financially and lack consistent income from their art, making it challenging for them to fully engage with the tourism industry. The study revealed issues related to protecting their artwork, scarcity of materials best suited for the product they want to produce, marketing support to effectively participate in the tourism activity and the undervaluation of their artistic labor. This challenge has been acknowledged by Macneill et al. (2025), who argued that increasing diversity and inclusion in the arts took many forms and had ripple effects across institutions, communities, and artists themselves. Inclusive practices in the visual arts not only broaden representation but also challenge systemic barriers that have historically marginalized certain groups. This insight is particularly relevant when considering the challenges faced by visual artists in Capiz, where limited institutional support and visibility can hinder participation in the local art tourism economy. In the context of Roxas City, the lack of active involvement from local artists may result in fewer artworks available for exhibition, diminishing the citys cultural appeal as a tourism destination. To foster a truly inclusive art tourism industry, it is essential to acknowledge these challenges and develop strategies that support both the creative expression of local artists and the economic vitality of the tourism sector.

The pressure to cater to tourists tastes and commercial interests might also lead to a dilution of artistic authenticity and compromise the creative freedom of visual artists. The study highlighted the difficulties artists faced in maintaining their unique style due to production cost and scarcity of materials while creating work that appeals to a broader audience. Moreover, art reflects cultural, religious, or political contexts, and visual artists engaging with tourism might face challenges related to misinterpretation of their work or navigating cultural sensitivities among diverse tourist audiences. The study could benefit from the collaboration between local tourism organizations and visual artists, giving more opportunities for artists to be integrated into tourism offerings and strategies.

Faller and Orth, (2022) stated that places differ in cultural background, and people should respect it. This argument indicates that art work made through local way can be viewed indifferently as interpretations vary depending on the place where you come from. Diversity and inclusions can also be found in the similarities and differences of cultures and history. As the results of the survey revealed, traces of diverse and inclusive art practices were observed, implying that the city and province are moving towards a dynamic art community. Thus, highlighting the value of collaboration and engagement with the community, visitors and fellow artists underscores the potential of art tourism to create inclusive spaces where artists can connect with local communities, visitors and fellow artists. Art tourism initiatives may continue to facilitate opportunities for interaction, such as workshops, talks, and community-based art projects. These activities can empower local artists and foster a sense of belonging that will provide visitors with meaningful opportunities to engage with diverse cultural traditions and perspectives.

In addition, addressing the challenges faced by the artists is essential for building an inclusive art tourism industry. The findings revealed that financial instability, lack of resources, and difficulties in marketing and protecting artwork are significant barriers for artists. To promote inclusivity, it is crucial to have support systems that address these challenges. Programs that provide funding opportunities, affordable studio spaces, marketing assistance, and legal advice on copyright and intellectual property rights are essential. By creating a more supportive environment for artists, the art tourism sector can ensure that artists from all backgrounds have the opportunity to participate and contribute to the development of art tourism in the city of Roxas.

The virtual artists in this study show commitment in answering the call of Roxas City Tourism Office to participate in the development of art tourism. Their presence in various activities reflects their willingness to contribute to the goal of the city. Also, the artworks they presented signify diverse art dynamics and styles, representing not just their own unique styles but also histories. They embrace unity and acceptance. The trait of not considering one another as competition means they truly understand that art is broad and diverse. Meanwhile, building connections with the community is not just about the potential opportunities to make their name popular in the industry, but rather a way of educating them about how transformative art can be. This connection bridges the history, the artists, the art, and the audience, in which the Roxas City Tourism Office aimed to promote. Furthermore, there are some downsides and challenges, particularly in terms of costing, time allotment, and conserving outputs. However, these can be turned into a platform for having a diverse and inclusive art community. Government, private sectors, and other organizations can focus on addressing these concerns. The demographic profile of the visual artists also shows the dominance of male artists in the group, with most of them being experts in the field of painting and drawing. The presence of these differences, without discrimination and superiority, signifies that everyone in the field was acknowledged and valued. This is seconded by the positive result about the engagement of visual artists with each other. Thus, this trait is a proof that the art industry in the province is practicing diversity and inclusivity. Developing a diverse and inclusive art community is crucial. It has a domino effect that when pursued, various sectors and individuals are affected. However, this will become attainable if the government will focus first on addressing the challenges experienced by the artists. This is the primary step to having an inclusive art community. Financial support, art activities, and workshops may solve these problems. A diverse art community is easier to achieve compared to inclusivity as the visual artists themselves, already promoted diversity within their respective communities. Moreover, a diverse and inclusive art tourism industry can only be achieved with the collaboration of the various sectors in the community.

The researcher is grateful to everyone involved in the study, especially the respondents and the Capiz State University Main Campus.

The author affirms no conflicts of interest.