Mythology as a resource for cultural tourism

Angelina Titeryakova University of Food technologies Plovdiv Abstract An examination of mythology's role as a fundamental asset in cultural tourism, looking to modern day mythology and its potential as a resource for the cultural tourism sector. Employing a quantitative methodology, this study assesses the level of interest among potential customers regarding pop-culture mythology and its relevance to cultural tourism. Key words Cultural tourism, mythology, pop-culture Genesis of the myth For a comprehensive exploration of mythology as a resource within the realm of cultural tourism, it is imperative to commence with a precise definition and an examination of its origins. The term "mythology," commonly employed both within scholarly discourse and everyday language, traces its etymology to the Greek words /μῦθος - story and λόγος - teaching/, denoting the teaching of stories. According to Merriam-Webster's Dictionary, mythology is described as a pattern of beliefs that frequently symbolically conveys characteristics or prevalent attitudes within a given group or culture. Definition The Encyclopaedia Britannica provides a bases definition of mythology as a symbolic narrative, typically of indeterminate origin and, to some extent, grounded in tradition. These narratives, often entwined with religious convictions, convey stories that seemingly depict actual events. Crucially, myths are demarcated from symbolic behavior such as cults and rituals, as well as symbolic locations or objects like temples and icons. They manifest as specific chronicles involving deities or superhuman entities engaged in extraordinary events or circumstances, existing within a temporal framework distinctly separated from ordinary human experience. Moscado, in his 2010 work, references additional perspectives on the definition of myths proposed by Adval and Ware in 1998. According to these scholars, myths embody structural knowledge comprised of a sequence of thematically and temporally interconnected events. They are characterized as anecdotes possessing distinct narrative elements, including a commencement, a plot development, and a conclusive resolution, purposefully crafted to provide entertainment (Moscado, 2010). Bill Moyers, drawing insights from an array of literature on myths, articulates his personal interpretation of their essence, stating, "Myths are stories about the search over the centuries for truth, for meaning, for significance. We all need to tell our own story in order to understand it….We need to know that life means something, that it touches eternity, we want to understand the mysterious and discover who we are" (Камбъл, 2019). In a conversation with the professor of comparative mythology Joseph Campbell in 1985-1986, when sharing these reflections, Campbell offered his perspective that the quest is not merely about seeking the meaning of life but rather understanding how to experience it. He emphasized that myths play a pivotal role in facilitating this experiential understanding. According to Campbell, the definition of myth is intrinsically tied to the experience of meaning itself (Камбъл, 2019). Burket defines myth as a traditional narrative; whatever its origin, it is characterized by its suitability for telling and retelling stories; myth is itself a cultural tradition (Burket, 1986). Considering the array of definitions discussed, we can say that the myth is a narrative of traditional origin, encompassing a myriad of beliefs, experiences, and symbols. Central to the essence of myth is the exploration of meaning and direction, reflecting the human quest for understanding and purpose. History of myth The genesis of myth dates back to the early stages of humanity, evolving from primal expressions through various sounds imbued with specific meanings, eventually crystallizing into the formation of words. The earliest extant narratives of this nature trace their origins to the advent of writing (Burket, 1986). In her "Short History of Myth," Karen Armstrong initiates the exploration of mythic history from the era of the Neanderthals. The preservation of their cultural legacy is indebted to archaeological investigations, which have unearthed a wealth of artifacts including burials, tombs, weapons, knives, and evidence of sacrificial practices, providing invaluable insights into the mythic dimensions of their civilization. With their help, we can unravel part of their beliefs, thus touching their mythology. The existence of these traditions tells us that Neanderthals, like Homosapiens, were beings that sought meaning (Armstrong, 2008). Up to this point, the primitive understanding of myth at first sight overlaps with its modern dimensions, but in the beginning it had rather the meaning of something inexplicable, something real in an unreal world. Despite the overlapping elements, after looking at the main five things that the Neanderthals left us as mythology, again elaborated by Armstrong one can gain a more nuanced understanding of how myth evolved over time and the unique characteristics that distinguish its early manifestations from later, more complex iterations. The narratives woven within myths frequently serve as a means to explore, understand, and navigate the profound mysteries and anxieties associated with the human experience of mortality. Mythology is usually inseparable from ritual, as we can see from the bones found that indicate the presence of sacrifices. Myth is something unknown. Most often, Neanderthal myths are associated with graves; they are often extreme and aim to push us out of our comfort zone. A myth is not just a story, it shows us what are the frameworks we must respect and how to make this happen. The myth speaks of another reality that exists alongside ours. The belief in an invisible, transcendent realm, often perceived as a domain inhabited by gods, constitutes a foundational element of mythology. In the evolutionary trajectory of human thought, this conceptualization of a divine or otherworldly realm forms the basis of what is commonly identified as the world of the gods within mythological frameworks. In pre-modern contexts, and persisting in certain traditionally oriented tribes and communities today, this worldview is encompassed by what can be termed as a perennial philosophy. This philosophy not only encapsulates mythological concepts but extends its influence into aspects of social organization and rituals, reflecting the interconnectedness of belief systems, societal structures, and ceremonial practices. According to Karen Armstrong, everything that happens in our reality also happens in the other, but in a more intense way, as every earthly reality is a pale copy of the archetype from the other dimension(Armstrong, 2008). The conceptualization of another dimension and reality, rooted in the worldview of the Neanderthals, has persisted over time and stands as one of the enduring functions of mythology. This continuity is discernible in the myths of the ancient world, spanning from Mesopotamia to the Roman Empire. From this epoch, the oldest surviving accounts emerge, portraying gods, demigods, heroes, rituals, practices, and realms closely mirroring our own, yet moderated by the transcendent. These myths serve as conduits for understanding the interplay between the divine and earthly, perpetuating the notion that the archetypal truths of another dimension shape and influence the realities of our world. Perhaps the one that has gained the most prominence is ancient Greek mythology, thanks both to its wide spread throughout antiquity and to the numerous texts and plays that have survived to our days. The hero in mythos Ancient Greek mythology is characterized not only by the depiction of gods but also by the prominent presence of heroes. These heroes typically possess a divine connection, with one of their parents being a deity. Divine intervention often plays a role in their conception, and they frequently exhibit a connection to archetypal realities that resonate with aspects of the human experience. This infusion of divine lineage and archetypal resonance imbues the heroes of Greek mythology with a unique blend of human and divine qualities, rendering them central figures in narratives that explore the complexities of mortal and immortal realms. Joseph Campbell's exploration in "The Hero with a Thousand Faces" identifies various stages that a hero undergoes in their journey. The initial stage is the "Departure," which encompasses several key steps. The mythological cycle commences with a "Call to Adventure," marking the moment when the hero is beckoned by destiny into the realm of the unknown. The hero's subsequent decision holds pivotal significance, as it determines their fate. Opting to either accept or reject the call to adventure becomes a critical juncture, and the chosen path significantly influences the narrative trajectory. Refusing the summons typically results in the premature conclusion of the adventure, often marked by an unhappy ending. In the majority of cases, the hero chooses to embrace the adventure, and a crucial moment of supernatural assistance often occurs at the inception of their journey, providing the hero with the necessary aid or guidance to navigate the challenges ahead. The hero, having accepted the call to adventure, often receives a boon—be it an item, information, protection, or other forms of assistance—that proves indispensable for the impending quest. This aid becomes a crucial element without which the hero's task would be deemed insurmountable. Crossing the initial obstacle marks the hero's entry into the unknown, signifying the commencement of their quest. The hero's absorption by these mystical forces represents a profound transformative experience, akin to a symbolic rebirth. This stage underscores the hero's departure from the familiar and their immersion into the realm of the extraordinary, laying the foundation for their personal and spiritual evolution and is referred by Campbell as being "in the stomach of the whale," (Campbell, 2004). The various phases of the hero's journey delineate a profound inner calling to embark on a quest of exploration and experience. Upon choosing the unfamiliar yet enticing path, the hero, fortified by received assistance and guidance, gains assurance that they are moving in the correct direction. Commencing the journey anew, the hero does so with a transformed perspective, heightened ambitions, and receptivity to newfound knowledge. The symbolism of rebirth is aptly employed to convey this metamorphic process, encapsulating the hero's departure from the familiar, the shedding of old identities, and the embrace of a revitalized and open-minded approach to the challenges and revelations awaiting them on their mythic odyssey. The second step in the mythological journey is the initiation, which commences with the "Road of Trials." In this phase, the hero confronts a series of challenges that must be overcome to achieve the ultimate goal, marking a pivotal and significant segment of the myth. Following the trials, there is another noteworthy element, not often found in conventional narratives—the "Meeting with the Goddess." This encounter with a feminine figure, representing the divine feminine or creative forces, is a crucial step in the hero's journey. The woman, embodying an artistic and nurturing presence, serves as a natural extension of the meeting, symbolizing the interconnectedness of the hero's journey with broader cosmic and creative forces. In the hero's journey, the phase of reconciliation with the father represents a poignant moment where the now wiser hero encounters forgiveness or reaches a comparison with a father figure. This marks a crucial step towards achieving balance and personal growth. Following this reconciliation, the hero has the potential to attain "apotheosis"—a state of transcendent or divine existence. This culmination often leads to the hero experiencing ultimate grace and fulfillment (Campbell, 2004). If we accept Karen Armstrong's theory that myths don't just tell us how the gods live because we're curious, but exist to show people an example and a guideline for how they should live and behave (Armstrong, 2008), we can say that the different stages in the hero's journey, such as development, life trials, finding a partner, and achieving grace, can be symbolically linked to the initial phase of a person's conscious life. In a broader cultural and historical context, reproduction has been a fundamental aspect embedded in traditions and cultures since ancient times, including in the Neolithic period. The imperative to reproduce, often seen as a means of safeguarding the continuity and survival of the community or society, has been a cornerstone of human traditions aimed at preventing extinction. This biological and cultural imperative has left an indelible mark on the narratives, myths, and social structures of various civilizations throughout history. Mircea Eliade in his work expresses a similar opinion, as Armstrong, that all imitations of the archetype (repetitions of the character) help a person to transfer to the other reality (Eliade, 1959) through similar experiences. The third stage of the mythological journey is the return, which again depends on the hero's choice. Some adventures end here with a moment of return, while others continue their development with the magical flight. When the journey is successfully completed, the hero receives the next task, which is again supported by supernatural items, spells and omens. Salvation from outside [forces] refers to instances where earthly realities intervene to rescue the hero from divine challenges. Through repeated crossings of this invisible barrier, the hero attains mastery over both earthly and divine realms. This mastery grants the hero the ability to freely navigate between these worlds. With newfound freedom, the hero contemplates the cyclical nature of life and death, symbolically closing the circle of their journey(Campbell, 2004). Modern day mythos This pattern persisted throughout the Middle Ages, evident in various mythological traditions such as Norse mythology. In Norse cosmology, Earth, known as Midgard, was one of nine realms that coexisted simultaneously (Davidson, 1981). Parallels to the journey of the mythical hero as described by Joseph Campbell can be discerned in monotheistic religions such as Christianity and Islam, where figures such as Jesus and Allah respectively, assume roles akin to that of the hero. In the modern world, mythology continues to resonate not only within theological contexts but also pervades popular culture, particularly in literature and visual media. Various franchises draw upon mythic themes and archetypal motifs to captivate audiences and convey timeless narratives of heroism, adventure, and transcendence. During his conversation with Joseph Campbell, Bill Moyers gives an example of how when asked to his son why does he go to see the Star Wars movies so many times, he answers ‘For the same reason you've been reading the Old Testament all your life’ (Камбъл, 2019). If we take Star Wars as an example, we witness the embodiment of mythological themes through characters like Luke Skywalker. The expansive world of Star Wars is replete with its own narratives, myths, and lore, which bear resemblances to our reality while also featuring just enough significant deviations. The presence of mythological elements is pervasive across a multitude of franchises beyond Star Wars, including Star Trek, Lord of the Rings, Harry Potter, Game of Thrones, and the Marvel and DC universes, among others. Through their storytelling, they provide audiences with a sense of wonder, excitement, and contemplation, much like the myths of old, demonstrating the enduring relevance and power of mythological themes in modern popular culture. Myths in tourism academia The interpretation of mythological narratives and the associated rituals remains a subject of contention within the realm of scholarly inquiry. While certain perspectives may dismiss myths as seemingly preposterous tales, others perceive them as expressions of imaginative constructs and fictional narratives. (Burket, 1986). We already explored the ancient conceptualizations of myth, which were intricately intertwined with theology and the divine realm. Conversely, contemporary perspectives often emphasize the individual's subjective experience as central to myth interpretation. However, the evolution of myth interpretation has traversed various interpretive frameworks. Notably, during the Enlightenment era, the lexicons of myth and theology became entangled, assuming nearly synonymous connotations. Moreover, until the 19th century, references to myth predominantly conjured associations with the ancient Greek corpus. (Sloek, 1966), Under the pervasive influence of the Renaissance, which had commenced several centuries prior, which turned to ancient Greek culture and art. s the scope of mythology expands in science, theories begin to appear that connect ancient myths with modern rituals and understandings of time. James Frazer, a prominent anthropologist and folklorist of the late 19th and early 20th centuries, posits that myth transcends mere isolated or primitive ideation. Rather, Frazer contends that ancient shamans and contemporary researchers alike adhere to similar underlying principles, wherein events unfold sequentially, driven by enduring human exigencies. (Sloek, 1966), trying to find common ground between the eras. Edward Burnett Taylor, another anthropologist who lived at the same time as Fraser, suggests that the cognitive frameworks of primitive cultures, as manifested in their conceptions of death, suffering, sleep, and dreams, afford them a philosophical equivalence with their modern counterparts. (Sloek, 1966). In contemporary scholarship, myth and its multifaceted expressions are subject to examination across various scientific disciplines, including psychology, anthropology, and sociology. On the other hand, within the domain of tourism studies, the exploration of myth remains relatively sparse, despite its significant relevance as a resource within the industry. Among the social sciences, anthropology emerges as the discipline most fecund in its contributions to the understanding and application of myth within the context of tourism (Korstanje, 2014). Tourists these days don't just want to stand on the beach and get a tan, they want to immerse themselves in culture, meet local people and have authentic experiences (ITB Berlin, 2024); strive for memorable experiences (Boz, 2018). In his 2015 study, Perez-Aranda posited that contemporary tourists aspire to attain psychological rewards throughout their journeys. These rewards encompass elements such as inspiration, authenticity, a sense of belonging to specific communities, as well as the discovery of intrinsic value and meaning in their travel experiences (Perez-Aranda et al., 2015). In accordance with the European Commission for Education, Culture, Youth, and Sport, culture, particularly history and traditions inherent to a destination, hold significant potential to foster sustainable economic growth, job creation, and promote social cohesion. According to the 2015 UWTO Tourism and Culture Study, it is observed that international tourist arrivals dedicated to cultural tourism are experiencing a consistent upward trajectory, outpacing the growth rate of total tourist arrivals. (Boz, 2018). As per the World Tourism Organization's definition, cultural tourism predominantly encompasses two key components: cultural heritage, which encompasses tangible and intangible aspects, and modern culture, which encompasses a diverse array of expressions including films, fine arts, design, fashion, exhibitions, new media, and other contemporary cultural manifestations (UNWTO, 2024). The realm of intangible cultural heritage, to which myths inherently belong, increasingly captivates individuals seeking to delve into the emotional depth and significance imbued within material artifacts. This interest underscores the notion that every material heritage possesses an intangible value, enriching the human experience by evoking profound sentiments and cultural connections (Boz, 2018). An important part of intangible cultural heritage are myths and legends, pivotal in elevating the tourist experience into one that is truly memorable. The narratives woven around historical events and characters serve as indispensable resources, providing fertile ground for tourists to envision compelling stories with significant tourism appeal (Perez-Aranda et al., 2015). The depictions of cultural representations wield significant influence over destination selection, serving as guiding parameters for tourists upon arrival. These representations not only shape the contours of their exploratory paths but also influence the narratives that tourists construct about their experiences (Boz, 2018). Tourist sites inherently embody a fusion of the imaginary and the tangible, with these dimensions intertwined inextricably. Embracing the notion that tourism serves as a narrative medium, it follows that the richness of the tourist experience hinges upon the accessibility and manner of storytelling dissemination (Boz, 2018). Usage of myths in cultural tourism In the contemporary landscape of global tourism, an escalating number of destinations are capitalizing on their intangible assets, such as myths and legends, to craft enticing tourism offerings. Given the rapid pace of development coupled with intensifying competition among destinations, there arises a compelling need to reassess prevailing strategies. Traditional cultural elements, while undoubtedly valuable, may no longer suffice in the face of evolving tourist demands. Consequently, there is a burgeoning imperative to integrate elements of popular culture alongside traditional cultural narratives to maintain competitiveness and appeal to diverse tourist demographics (Griffin et al., 2013). A notable exemplar of the diversification of cultural tourism through mythology is the city of Dubrovnik. Renowned as a perennially popular tourist destination, Dubrovnik captivates visitors with its storied past, impeccably preserved fortress walls, and breathtaking vistas. In contrast to other economic sectors within the country, the tourism industry experienced notable growth between 2009 and 2014, playing a pivotal role in stabilizing the national economy. While Dubrovnik had long attracted significant tourist interest prior to 2011, its allure was further augmented when portions of the globally acclaimed television series "Game of Thrones" began filming in the city starting in 2012. Dubrovnik's portrayal as King's Landing has catapulted the destination to international fame, captivating fans of the series and the accompanying literary works. Renowned for its recurring appearances throughout the series, Dubrovnik's allure is further heightened as it becomes enshrouded in the mystique of political intrigue, clandestine machinations, and secrets characteristic of the narrative (Tkalec et al., 2017), which viewers bring to the real world and look for as an authentic experience in Croatia when visiting. According to data from the National Statistics Agency of Croatia, the period spanning from 2011 to 2015 witnessed a notable surge in visits to Dubrovnik, with a remarkable increase of 37.9%. Concurrently, overnight stays experienced a significant uptick of 28.5%. (Tkalec et al., 2017). Fig. 1 Tourist arrivals (in thousands) (Tkalec et al., 2017) Furthermore, there exists a consistent upward trend in the number of visitors opting to purchase tickets for ascending the walls of medieval Dubrovnik, a prominent feature prominently showcased in the series. Fig. 2 Tickets sold to visit the walls of Dubrovnik (in thousands) (Tkalec et al., 2017) Travelling for pop-culture mythology purposes – a quantitive approach Similar examples are observed across various destinations worldwide that have strong ties to the film industry and popular media. Enthusiasts of pop culture mythology exhibit a distinct inclination to prioritize visits to destinations that resonate with their interests in these realms. This trend underscores the significant influence of pop culture on travel preferences, with fans actively seeking out destinations that offer immersive experiences aligned with their cinematic and media-related passions. Within the ambit of a quantitative investigation pertaining to the intersection of travel for tourism purposes and its interplay with contemporary pop-cultural mythology, a study was conducted at Megacon London 2024. This study entailed the dissemination of an online survey facilitated through a QR code distribution method. Through this approach, it became feasible to gauge the level of interest regarding the subject matter among a targeted demographic of fans within the Megacon London event attendees. Responses were gathered on-site from event attendees spanning two days, strategically timed to capture periods of anticipated higher foot traffic—one session conducted post-lunch and the other pre-lunch. The selection of Megacon London as the survey venue was driven by the congregation of individuals who harbor a fondness for media mythology and exhibit interest in travel experiences tied to this theme. Moreover, to broaden the outreach and engage a larger audience, the survey was additionally shared during the event and disseminated in an online format through the official Megacon Discord group. The survey garnered responses from a cohort of approximately 104 to 114 individuals. It is noteworthy that a subset of ten respondents opted not to answer the final four questions. Among these individuals, eight hailed from Bulgaria, while one respondent each originated from the United States and Ireland. In response to the initial question pertaining to gender self-identification within the demographic section, women constituted the predominant demographic, comprising 62.93% of the respondents. This figure notably surpasses the next largest demographic segment, which comprises men, accounting for 32.76% of the total respondents—a proportion approximately half that of women. In response to the second question concerning the age demographics of the respondents, the distribution appears relatively evenly dispersed across different age groups. Notably, the highest proportion, constituting 25.86% of respondents, falls within the oldest demographic category of 55 years and above. Furthermore, the respondents can be broadly segmented into two nearly equivalent groups: those aged under 35 and those aged over 35, each comprising a roughly equal share of respondents. The final demographic query concerning the respondents' residential locations revealed a notable distribution. The United States emerged as the primary domicile for respondents, constituting 34.21% of the total, followed closely by Great Britain with 25.44%. Bulgaria trailed slightly behind, representing 24.56% of respondents. Other countries, including Australia, Canada, Brazil, Belgium, the Bahamas, Denmark, Germany, Greece, and Sweden, each accounted for 0.78% of respondents. It is evident that the collected data predominantly reflects the interests, attitudes, and desires of individuals residing in Europe and North America. Among the respondents who completed the survey, the majority, comprising 41.23%, indicated that they engage in pleasure travel once or twice annually. Following this, 26.32% of respondents reported traveling less than once a year, while 21.92% indicated traveling three to four times annually. A smaller subset, constituting 10.53% of respondents, reported engaging in pleasure travel more than five times per year. In order to gauge the preferences of individuals interested in pop culture mythology, the survey included a question presenting several prominent franchises for respondents to select their favorites from. The results demonstrated a notable level of similarity among the franchises, indicating that consumers harbor interest in multiple franchises concurrently. "Doctor Who" emerged as the most favored franchise, garnering the highest score of 16.70%, closely followed by "Harry Potter" with 15.11%. Other franchises, including "Marvel" (13.20%), "Star Wars" (12.92%), "Lord of the Rings" (12.52%), "Star Trek" (11.53%), "Game of Thrones" (9.54%), and "DC Universe" (8.55%), also garnered notable levels of interest among respondents. When questioned if they had visited locations associated with their preferred franchise, a little over half of respondents, constituting 53.10%, indicated that they had not visited such a location. The other 46.90% of respondents, affirmed having visited a place connected to their interests in the field. As we saw from the previous question, about half of the respondents have already been to a location that is related to their favorite media, and when asked if they would be interested in visiting such a place, 91.6% answered positively and 8.04% answered negatively. An extremely high percentage of fans would like to visit sites that are tied to modern mythology. This includes both locations where scenes from various movies and series were filmed, as well as locations that inspired them or even those that are mentioned in the given pop-culture media. According to the survey results, a significant majority of respondents, accounting for 67.57%, expressed interest in the prospect of partaking in a tour of locations associated with pop-cultural mythology. However, a notable portion, comprising 22.52% of respondents, remained undecided, while 9.91% indicated a lack of interest in such a service. It is worth noting that individuals who are hesitant may be swayed through targeted promotion or additional information provided at the point of booking. Additionally, it is pertinent to differentiate between tourists who visit locations solely for sightseeing purposes and those who have cultural enrichment objectives in mind. When queried about their preference for the type of tourist trip they would utilize, the highest proportion of respondents, comprising 33.64%, expressed a preference for joining an organized tour. Following closely behind, 30.91% indicated a preference for independent travel, wherein they would handle all trip arrangements themselves. A smaller subset, representing 19.9% of respondents, favored a hybrid approach, whereby they would travel independently but have the trip organized by a tour operator or agent. The analysis reveals an intriguing pattern regarding age groups and preferred travel arrangements. Individuals opting for organized tours or seeking assistance from travel agents tend to be clustered in the higher age brackets. Conversely, those inclined towards independent travel predominantly fall within the younger age categories. This suggests a generational divergence in travel preferences, with older individuals exhibiting a greater propensity for structured, guided experiences, while younger demographics prefer greater autonomy and flexibility in their travel endeavors. When on-site, the survey reveals that 30.48% of respondents express a preference for hiring a tour guide. Close behind, at 28.57%, are those who opt for independent exploration, meticulously preparing in advance and relying on information boards onsite. Additionally, 23.81% indicate a preference for utilizing an audio-guide system, while 17.14% opt to solely rely on reading information signs on the spot, without prior preparation. These findings highlight the diverse range of preferences among respondents when it comes to navigating cultural sites. Very often sites associated with pop culture mythology are located in more than one country, often adjacent to each other. When asked about the preference of the duration of the tour, A significant majority, constituting 65.38% of respondents, express a preference for longer tours. Among them, approximately half (32.69%) favor staying within a single country, while the remaining half (32.69%) opt for tours spanning multiple countries. Conversely, 34.62% of respondents prefer shorter tours limited to a single country. These findings underscore the market's potential to cater to diverse preferences, accommodating both shorter visits focused on media mythology sites and longer itineraries that can be seamlessly integrated with visits to other destinations. When asked about how many days they would prefer to spend on such a trip 33.33% would spend between four days and a week on a similar tour, 26.47% would allocate between two and four days, 17.65% only one day, 16.67% ten days, 5.88% would allocate more than ten days for a similar type of tour. When queried about the importance of verbal communication with the local population while traveling 43.27% regarded verbal communication as important, as it aids in gaining a deeper understanding of the local culture, 29.81% expressed that while it would be beneficial if feasible, it is not necessarily crucial, as a lack of verbal communication wouldn't pose a significant issue, 23.80% deemed verbal communication very important, as it contributes to a sense of safety and better orientation while traveling. A small 2.88% indicated that verbal communication with locals is inconsequential, as they do not prioritize such interactions and a small percentage of 0.96%, remained neutral on the matter, expressing indifference towards verbal communication with the local population. The survey results targeting fans of pop-culture mythology indicate a keen interest in visiting locations and tourist sites associated with their favorite franchises. The majority of respondents fall within the paying age demographic and are willing to dedicate approximately a week to exploring one or more sites, primarily for cultural tourism purposes. To enhance their experience, they prefer participating in circular tours that provide insights into the mythology and pop-cultural heritage of the site in various forms. Furthermore, to gain a deeper understanding of the local culture surrounding these locations, tourists express a preference for being able to communicate verbally with the local population. In the modern era, achieving this connection is facilitated not only through language proficiency but also with the aid of technology. Conclusion The definitions provided by various scholars offer nuanced perspectives on the nature of mythology. The overall definition that can be said from the different variants provided highlight mythology as narratives of traditional origin, exploring diverse beliefs and symbols, and reflecting humanity's quest for understanding and purpose. The genesis of mythology traces back to humanity's earliest stages, evolving from primal expressions to the formation of words with specific meanings. Neanderthal myths, often associated with graves, push the boundaries of comfort and offer insights into their beliefs. These early myths, while primitive, share overlapping elements with modern dimensions, reflecting a quest for meaning in an inexplicable world. Ancient Greek mythology, with its wide spread and surviving texts, stands out prominently in this continuum, depicting gods, demigods, and heroes in realms reflecting both divine and earthly influences. The persistence of mythological patterns throughout history is evident in various traditions, including but not limited to Norse mythology, Christianity and Islam. Mythology remains influential in modern culture, permeating literature and visual media. Franchises like Star Wars, Marvel, Harry Potter, DC and others draw upon mythic motifs, captivating audiences with tales that evoke wonder and contemplation. These narratives demonstrate the timeless power and relevance of mythology in shaping modern popular culture. Contemporary tourists seek psychological rewards from their journeys, including inspiration and authenticity. Cultural tourism, encompassing tangible and intangible heritage, is on the rise, with myths playing a pivotal role in enriching tourist experiences. The findings from the survey conducted among enthusiasts of pop-culture mythology reveal a strong desire to visit destinations and landmarks associated with their beloved franchises. Most of the participants belong to the demographic capable of spending on travel and express a willingness to devote approximately a week to exploring these sites, primarily driven by their interest in cultural tourism. Overall, the results suggest that fans have a strong interest in experiences that involve their favourite franchises, indicating that there is indeed a place for mythology in cultural tourism. Literature: Камбъл, Джоузеф; Мойърс, Бил – „Силата на мита“; Сиела; София; 2019 Armstrong, Karen – ‚A short history of Myth‘, Chapter I; Canongate Books Ltd; Edinburgh; 2008 Boz, Mustafa – ‚Myths and legends in destination tourism marketing: the story of Hero and Leander – Canakkale, Turkey‘. Heritahe tourism beyond Boarders and civilizations; Proceding of the Tourism Outlook Conference; 2018 Burket, Walter – ‚‚Homo Necanus‘. The Antrhopology of Ancient Greek sacrificul ritual and myth‘. 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