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In their case study on improving marketing in leisure literature, Tew & Havitz (2002, 77) point out that less than 1% of the papers published in the top recreational journals between 1989-2002 dealt in any way with the promotion of public leisure services. They remark that "communication with unresponsive, or at least not currently participating, markets remains both challenging and problematic" (ibid). Ed Mayfield, part owner of the Caverns of Sonora, said in a telephone interview that as a small family-owned cave, marketing studies were simply not in their budget, a fact confronting many small commercialized caves. An occasional brief or even ad-hoc survey provides much of the information upon which small caves market to new visitors, or contemplate adding products. Such lack of audience studies results in dependence on the age-old traditions of hailing visitors to the cave by promoting their most unique feature. Because "site managers are aware of the risks of similarities of the guided tours ... some cave mangers attempt therefore to diversify the visit by adding something particular to distinguish their site from the others" (Diekmann et al. 2006, 281). This is primarily accomplished by highlighting the cave's distinctive characteristics or unique superlatives, and by promoting new products added to the cave (ibid). For example, Carlsbad has long advertised its lunch room at 750ft below ground and the tremendous size of its rooms, while the Caverns of Sonora are known for the unequivocal beauty of their formations and unusual helectites, such as the famed Butterfly.
According to Diekmann, et al., "it is clearly a fact that caves are victims of standardization" which leads to the 'seen one, seen them all' tourist response, so "even though it is not officially recognised - site managers obviously try to extend their activites ... by diversify[ing] their product in different ways" (Diekmann, et al. 2006, 286). They may add particular presentation features to the site, develop new merchandise for sale, organize co-curricular events and opportunites beyond the cave site, and diversify the service supply within the cave (ibid). Virtually all of these added products and extended services capitalize on the three major subjectivites produced by show caves. Sluicing is a prime example a technology often used to highlight both historical frontier themes and the science of geology. Ziplines and wall climbs cater to the discovery-explorer and boat or Jeep rides into the depths expand the notion of newly-accessible-but-previously-unknown frontiers. Many caves have set aside wildlife preserves on their property or gardens that spotlight native flora and fauna, and most offer at least some version of ecological or enviromental education, especially for school aged children. While few caves have an art gallery of the stature of Carlsbad, many have expanded their online presence to offer high resolution photography that helps position their landscape in the realm of high art. Owners and developers are constantly searching for new ways to market their tourist site while promoting the cave agenda. Jack Burch feels he has "fulfilled his mission by helping to develop two show caves in Texas, but is thinking about new, futuristic ways for people to visit these ancient wonders" (Pittman 1999). His visions include possible virtual tours (a much lesser-known technology in 1999) or traveling through the cave in a transparent tube to minimize tourism's negative effects on cave ecology.
But it is not just the act of acquiring new visitors which prompts a need for self-reflection on the part of show caves. It is also the need to ensure repeat visitors by offering tourists the experience that satisfies the subjectivity that they have, to some degree, selected for themselves.
"Popular culture invites resistance, misinterpretation, evasion and distortion as well as acceptance; all of these cultural practices eventually result in transformation. Landscapes of leisure, as one of the sites upon which these transformations are worked, play a central role in people's everyday lives. Their popular and sometimes fantastic forms embody texts of domination and texts of resistance. By frequenting or generally paying attention to these landscapes, people find the resources to make sense of their lives. Geographers should also pay attention to landscapes of leisure to make sense of our popular cultures" (Warren 1993, 183).
"Modern tourism is reorganizing nature and the touristic experience of it so it may continue to serve as a basis for unity in the family of man. The modern tourist version of nature treats it not as a force opposing man ... but as a common source of thrills, something we must try to preserve. Tours of natural wonders organize the thrills nature provides into discrete experiences, guaranteeing results for those who would take in the approved sights" (MacCannell 1976, 81). The discourses and mythologies informing the popular culture of leisure have been changing, as the availability of leisure prompts more tourist to search out a traveler type of experience. Museums and galleries have begun to pay attention, and make a good case study for the show caves, which embody so many facets of both institutions.
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