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Creative Tourism Trend Report Volume 1, 2015
By Greg Richards
Published by the ATLAS - Association for Tourism and Leisure Education and Education PO Box 109 6800 AC Arnhem The Netherlands Tel: +31-20-893 2166 Fax: +31-26-870 0143 Email:
[email protected] Edited by Greg Richards ISBN: 978-90-75775-78-5 © ATLAS June 2015 AUTHORS No part of this publication may be reproduced, stored in a retrieval system or transmitted by any means without permission from the publishers.
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Creative Tourism Trend Report Volume 1, 2015 Greg Richards
Contents About the author .................................................................................................................................... 6 1. Introduction ........................................................................................................................................ 7 2.
Changing definitions of creative tourism ........................................................................................ 8
3.
Creative Tourism Trend Analysis................................................................................................... 11
4.
5.
3.1
The growing global scope of creative tourism ...................................................................... 11
3.2
Exhibitions: Bowie as creative tourism inspiration ............................................................... 11
3.3
Attractions - Painted houses ................................................................................................. 11
3.4
Pop-up creativity: food ......................................................................................................... 13
3.5
Pop-up accommodation........................................................................................................ 13
3.6
Urban Sketchers .................................................................................................................... 15
3.7
OECD recognises the creative tourism wave ........................................................................ 16
Creative clusters and tourism ....................................................................................................... 18 4.1
Argentina............................................................................................................................... 18
4.2
China ..................................................................................................................................... 18
4.3
Dubai ..................................................................................................................................... 19
Creative tourism around the world .............................................................................................. 20 5.1
Argentina............................................................................................................................... 20
5.2
Australia ................................................................................................................................ 20
5.3
Austria ................................................................................................................................... 21
5.4
Bahamas and other islands ................................................................................................... 21
5.5
Brazil...................................................................................................................................... 23
5.6
China ..................................................................................................................................... 24
5.8
Ecuador ................................................................................................................................. 25
5.9
France.................................................................................................................................... 26
5.10
Germany................................................................................................................................ 27
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Greece ................................................................................................................................... 27
5.12
Iceland ................................................................................................................................... 27
5.13
India - Anjos Creative Holidays ............................................................................................. 28
5.14
Ireland ................................................................................................................................... 28
5.14
Italy........................................................................................................................................ 28
5.16
Japan ..................................................................................................................................... 29
5.16
Portugal ................................................................................................................................. 29
5.18
South Africa ........................................................................................................................... 30
5.19
Spain...................................................................................................................................... 30
5.20
Taiwan ................................................................................................................................... 30
5.21
UK .......................................................................................................................................... 31
5.22
USA ........................................................................................................................................ 31
6
Technology watch ......................................................................................................................... 33 6.1
Creative Tourism Limes ......................................................................................................... 33
6.2
Creative tourism content generation ................................................................................... 33
6.3
Discover the Other You ......................................................................................................... 34
6.4
Bosch Art Game .................................................................................................................... 34
6.5
Creative Lighting ................................................................................................................... 35
7.
Creative tourism policy ................................................................................................................. 36 7.1
Thailand................................................................................................................................. 36
7.2
Indonesia ............................................................................................................................... 37
7.3
Latvia ..................................................................................................................................... 39
7.4
European Union .................................................................................................................... 39
8.
Destination focus: South Korea .................................................................................................... 41
9.
Creative tourism demand ............................................................................................................. 45 9.1
Thailand................................................................................................................................. 45
9.2
Taiwan ................................................................................................................................... 47
9.3
Creative tourism in Santa Fe ................................................................................................. 47
9.4
Creative Tourism in Barcelona .............................................................................................. 47
9.5
Creative economy and tourism in Malta .............................................................................. 48
9.6
Global youth tourism ............................................................................................................ 48
9.7
Design exhibitions ................................................................................................................. 49
10. 10.1
Sector watch: Accommodation ................................................................................................. 52 Airbnb at Sundance ............................................................................................................... 52 4
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Arts events and fashion shows in hotels............................................................................... 52
10.3
Design value in accommodation ........................................................................................... 52
10.4 Accommodation for creatives ................................................................................................... 53 10.5 Accor discovers creative tourism .............................................................................................. 54 11.
Sector Watch: Gastronomy ....................................................................................................... 55
12.
Sector Watch: Tour operations ................................................................................................. 57
12.1
Sabiar, Brazil .......................................................................................................................... 57
12.2
Russia: Ecsplora ..................................................................................................................... 58
13.
Conferences and meetings ....................................................................................................... 60
13.1
UNCTAD meeting on tourism and the creative sector.......................................................... 60
13.2
Creative tourism meeting in Barcelona ................................................................................ 60
14.
Education and training .............................................................................................................. 61
15.
The personal impact of creative tourism .................................................................................. 62
16.
Creative Tourism Bibliography .................................................................................................. 64
16.1
Core bibliography (in date order) ......................................................................................... 64
16.2
Recent Creative Tourism Publications (in alphabetical order) ............................................. 71
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About the author Greg Richards is Professor of Placemaking and Events at Breda University of Applied Sciences and Professor of Leisure Studies at the University of Tilburg in the Netherlands. He has worked on projects for numerous national governments, national tourism organisations and municipalities, and he has extensive experience in tourism research and education, with previous posts at London Metropolitan University (UK), Universitat Roviria I Virgili, Tarragona (Spain) and the University of the West of England (Bristol, UK). He has collaborated on many international projects for the European Commission, the OECD and the UNWTO on topics including cultural tourism, creative tourism, tourism and gastronomy, sustainable tourism and tourism education. He has also worked extensively on the analysis and development of cultural and creative tourism in cities. He has been involved in the long term monitoring of cultural and creative processes in a number of cities and regions, most notably in Den Bosch (The Netherlands) and Sibiu (Romania). His other major publications include Cultural Tourism in Europe (1996); Cultural Attractions and European Tourism (2001); Tourism and Gastronomy (2002); The Global Nomad: Backpacker Travel in Theory and Practice (2004); Cultural Tourism – Global and Local Perspectives (2007) Tourism, Creativity and Development (2007), Eventful Cities: Cultural Management and Urban Regeneration (2010), Cultural Tourism Research Methods (2010), The Handbook of Cultural Tourism (2013) and Exploring the Social Dimension of Events (2013), Event Design: Social perspectives and practices (2014), Tourism and the Creative Economy (OECD, 2014), Reinventing the Local in Tourism (2015) and The SAGE Handbook of New Urban Studies (2016).
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1. Introduction Aims, content and scope of the report The field of creative tourism is dynamic and fast moving. Since Greg Richards and Crispin Raymond first defined ‘creative tourism’ as a concept in 2000, the idea has been picked up, developed, expanded and improved by countless individuals, organisations and destinations around the world. Although a growing number of publications on creative tourism are now available, these tend to be largely academic in nature (many of the key sources are listed in the bibliography in section 16). This trend report aims to provide up-to-date, accessible information on creative tourism for all those who want to develop, market and understand the phenomenon. Objectives The main objective of this report is to give timely information on the development of different dimensions of creative tourism. In doing so, we focus on creative experiences for tourists that conform to the definition of creative tourism as expressed by Richards and Raymond (2000, see section 2), as well as subsequent extensions of the term (OECD, 2014 – see section 3.7). We therefore deal with creative tourism in a broad sense, and not just the provision of workshops or individual experiences. In this trend report we aim to:
Identify trends in creative tourism development and marketing Trace the adoption and development of policies relating to creative tourism Develop market data and information to inform strategy and policy Collect and analyse best practice in creative tourism Stimulate debate on the nature and effects of creative tourism
Content We aim to provide a wide range of information on creative tourism in terms of different creative fields, different forms of creative activity and different types of destinations. In particular we identify interesting trends that can give clues about the future of tourism. In this issue we pay attention to the convergence of tourism, creativity and the creative industries. This is a theme analysed in the OECD (2014) report on the Creative Economy and Tourism. We want to focus on crossovers and areas of integration between creative sectors, between creativity and tourism and on the development of tourism as a creative industry, which is significant to the work of IGCAT (see section 11). A number of these areas of crossover are dealt with in the current report. For example, we look at the development of creative content for tourism within multimedia marketing use, we analyse the growth of creative forms of accommodation, design events as tourist attractions and we examine the increasing convergence of gastronomy, creativity and tourism. 7
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2.
Changing definitions of creative tourism
Creative tourism was first identified as a specific niche of tourism in 2000 by Greg Richards and Crispin Raymond, who defined it as: Tourism which offers visitors the opportunity to develop their creative potential through active participation in courses and learning experiences which are characteristic of the holiday destination where they are undertaken. In 2006 the UNESCO Creative Cities Network then took up the creative tourism concept, defining it as: Creative tourism is travel directed toward an engaged and authentic experience, with participative learning in the arts, heritage, or special character of a place, and it provides a connection with those who reside in this place and create this living culture. Crispin Raymond (2007), on the basis of his experience in developing creative tourism in New Zealand defined it as: A more sustainable form of tourism that provides an authentic feel for a local culture through informal, hands-on workshops and creative experiences. Workshops take place in small groups at tutor’s homes and places of work; they allow visitors to explore their creativity while getting closer to local people. As creative tourism has developed, so the scope of activities and types of tourism covered by the concept has broadened. One direction of development is towards the realm of community development, as expressed in 2011by Sergio Molina, in his book Turismo creativo: el fin de la competitividad (Creative Tourism: The end of competition). He sees creative tourism as: a tourism model based on community participation, in order to create a suitable scenario for their interests and expectations. This process is enabled by strategic partners such as public sector institutions, investors and entrepreneurs, and NGOs. In this scheme, the market is a tool to serve the objectives of economic and social development of the community. This is basically a community development model, where the creative development of tourism becomes a platform for collaboration between different stakeholders. Creative Tourism is tourism that seeks to integrate itself into the community and develop tourism activity for the community and all stakeholders: private and social, creating new opportunities for tourism experiences for visitors and tourists. It is based on the collaboration of different actors, where the human and social and economic development of the community is emphasized. Creative Tourism brings an appreciation of culture, the environment and people. This community-based concept is focused on who is involved in tourism development, and the actors to whom the benefits of tourism flow. 8
Downloaded by the author (author), on June 29th, 2015 As well as the community dimension of creative developing over time, the creative aspect has also been taken up in the emerging creative economy. Taking these developments into account, in 2014, Greg Richards re-defined the creative tourism concept originally set out by Richards and Raymond (2000) in a report for the OECD on Tourism and the Creative Economy as: Knowledge-based creative activities that link producers, consumers and places by utilising technology, talent or skill to generate meaningful intangible cultural products, creative content and experiences. The definition of creative tourism has therefore developed in tandem with the development of creative tourism itself. One might identify four different types of creative tourism definition, which also correspond roughly to different phases in the development of creative tourism:
Creative tourism 1.0: The development of small-scale creative experiences and learning activities, primarily provided by creative entrepreneurs as a supplement to other creative production (Richards and Raymond, 2000). Creative tourism 2.0: The development of policies related to creative experiences in specific destinations and the creation of Internet portals for the marketing and distribution of creative tourism (Richards and Wilson, 2006; Binkhorst and den Dekker, 2009). Creative tourism 3.0: Broader integration of tourism and the creative economy, leading to the development of a wider range of creative experiences as well as more passive forms of creative consumption for and by tourists (OECD, 2014). Creative tourism 4.0: The shift from creative tourism to ‘relational tourism’, based on the co-creation of experiences through peer-to-peer networks (Richards, 2013).
Overlaying this chronological development of creative tourism, we can see three broad approaches to creative tourism development emerging. These are basically production related (creative producers using their skills to develop creative experiences), consumption related (creativity being used as a means to attract tourists to a destination) and community related (creative tourism as a stimulus for community development). Although these different styles of creative tourism are recognisable in many places around the world, it is clear that much of what is currently referred to as “creative tourism” may be linked to very different types of creativity, creative activities and creative content. There is no consistent application of the definitions or terminology relating to creative tourism at present. This is perhaps also logical, because creativity cannot be developed ‘top-down’ through classification or standardisation, but rather should be developed in a bottom-up, grassroots and creative way. Ways of understanding creative tourism What emerges from the preceding discussion of creative tourism definitions is that much depends on the context in which creative tourism is being defined. In fact, one could argue, there are many differing ways of viewing creative tourism, depending on the viewpoint of the person defining it, and their intentions. We can see a number of these different viewpoints emerging in the creative tourism literature: 9
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As a form of cultural tourism As a relationship As a form of self-development As a form of community development As a support for creativity As a means of supporting local identity As a convergence of tourism and the creative industries
In fact, the very flexibility of the concept may be part of the appeal of creative tourism. It seems capable of being adapted to a variety of different needs in different places. However, this does place the onus on those developing ‘creative tourism’ products and projects to be clear about what they mean by ‘creative tourism’. Some destinations are now beginning to create clear frameworks in which creative tourism can be developed, such as the Creative Tourism Brazil programme in Porto Alegre (see section 5.4). For bibliographic references in this section and the rest of the document, please refer to the bibliography in section 16.
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3.
Creative Tourism Trend Analysis
3.1
The growing global scope of creative tourism
The first structured creative tourism programme began in New Zealand in 2003 (Raymond, 2007), but other formal and informal programmes and projects followed swiftly in different parts of the world. By 2010 there was enough critical mass to form the Creative Tourism Network, an international group of creative tourism providers and destinations. This international network now has 13 destination members from Europe, Latin America and Asia and a further 17 collaborating organisations from around the world. The network aims to “promote those destinations and organizations that are clearly fostering creative tourism”, for example by awarding the title of “Creative Friendly Destination” to places that exhibit originality, authenticity and which adhere to the “Best Practices of Creative Tourism”. The network is also developing the “Creative Tourism Awards”, which will go to innovative creative tourism projects around the world. The global spread of creative tourism is traced in section 5, Creative Tourism Around the World. 3.2
Exhibitions: Bowie as creative tourism inspiration
The recent David Bowie exhibition at the Victoria and Albert Museum (V&A) in London is a good example of how the creative industries and tourism are converging. The “David Bowie is” exhibition featured more than 300 objects that include handwritten lyrics, original costumes, fashion, photography, film, music videos, set designs and Bowie's own instruments. Visitors could enjoy a range of creative experiences related to Bowie, including having their photographs taken alongside life-size Bowie cutouts, being transformed into Bowie with face-paints and costume making, taking part in a Bowie quiz and listening to various talks by the exhibition curators and by rock and roll journalists Charles Shaar Murray and Barry Miles. There were Kabuki theatre and mime performances and DJs playing sets throughout the weekend as well as screenings of Bowie films. The V&A sold over 67,000 tickets prior to the exhibition opening, more than three times the advance sales of any other V&A exhibition, and a total of 300,000 visited the exhibition. This is much greater than the usual number of visitors for exhibitions at the V&A (see table 9.2), and the exhibition would probably rank among the best attended creative sector events worldwide. 3.3
Attractions - Painted houses
Houses are so common in cities that we hardly see them. But creative adaptation can help us to see houses in new ways, and also to attract tourists. 11
Downloaded by the author (author), on June 29th, 2015 Mondriaan house in San Francisco The SF Weekly blog lists this house painted in Mondriaan style as “Tourism for Locals”: The Piet Mondrian-inspired house's exterior is painted in the signature style of the Dutch artist: solid horizontal and vertical black lines against a white canvas creating asymmetrical square regions accented with three regions filled with the primary colors of red, yellow, and blue. By creating an unusual exterior for the house, an instant tourist attraction and icon has been created. However, this is a private house, so we are not sure how pleased the residents are with the tourism effects of their artwork. The Dalston House Argentine artist Leandro Erlich was commissioned by the Barbican to create Dalston House, an installation in East London. The installation imitated the type of terraced house that used to stand on the site. Although the house appeared to be three stories tall, it was in fact created flat on the ground and reflected onto a mirror to give the appearance of a building. Visitors could interact with the installation, positioning themselves so that they appeared to be dangling from windows or walking on the roof (see figure 3.1). Erlich sees this work as a “subversion of everyday spaces”, which as Richards (2011) has noted in the case of creative tourism, is exactly what contemporary creative tourists often want to experience. Activities related to the event included walking tours of Dalston with local historians; east London storytelling; workshops and other onsite activities for families; live performances by local musicians and dancers; and screenings of feature films and videos by visual artists and community activists.
Figure 3.1: The Dalston House
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Pop-up creativity: food
Creative tourism is being increasingly generated by pop-up facilities around the world. A highly successful example is the Pop-up Restaurant Day in Helsinki. Timo Santala, one of the founders of this event says that “Restaurant Day is a food carnival, where anyone can set up their own restaurant, cafe or bar for a day, anywhere they want. It happens four times a year and it’s a celebration of food culture, crazy restaurant concepts and togetherness.” The idea originally came from a creative response to the restrictive regulations for restaurants in Helsinki. When the founders were frustrated in their attempts to open a restaurant in Helsinki they found that restrictions did not apply to pop-up restaurants that only opened for one day. The resulting Restaurant Day event has been tremendously successful, and now has four editions a year in Helsinki. The influence of the event is now global, with almost 800 restaurants taking part in 25 countries in 2012. The Finnish capital also hosted the Streat Helsinki event in 2014, which showcased street food. Over 20,000 people visited the event, which featured 37 street kitchens as well as a conference that attracted 500 delegates. Helsinki’s Head of Food Culture Strategy, Ville Relander said: We set new frames for encounters in the food scene – many already told us that they will model their own events on Streat Helsinki. On the other hand, street food entrepreneurs fighting with permits received a lot of advice from their international colleagues and from the food world in general. It is amazing that we are able to exchange more and more ideas and views in the future. The idea has also spread to advocates of creative tourism. Santa Fe held an event called “Pop-up Dinner: Foods of the New South”, saying that: Pop-Up Dinners and Restaurants are unique, temporary, culinary events usually lasting 1-2 days. The SFCA hosts one-of-a-kind, one-night-only PopUp Dinners on the first Thursday of each month in our student restaurant, The Guesthouse. 3.5
Pop-up accommodation
The pop-up concept is also being widely used in the accommodation sector. For example the Danish design company PinkCloud won a prize for “Radical Innovations in Hospitality” with their pop-up hotel concept for empty office buildings. The Pop-Up Hotel is designed to be a means of urban revitalization, an economic catalyst, as well as an active community partner. We strongly believe the Pop-Up Hotel to be a transformative experience for both the building and more importantly, the hotel guests. The idea of using empty spaces for tourist accommodation is beginning to pop-up in other places as well. The Street loft is now operating in Vienna, Austria. This project 13
Downloaded by the author (author), on June 29th, 2015 uses the empty shops created by the recession to create temporary accommodation spaces. We remain on the ground. We love the real thing. From former commercial premises we make hotel rooms for adventurers. Our Street Lofts preserve the history of old shops, workshops and studios. From here, experience Vienna for what it really is. Street lofts are “hotel rooms with a history”. Where once Bronze was cast, art crafted and sewing machines worked, city nomads are at home today. We have converted historic buildings into hotel rooms that have more of everything: more space, more comfort and more history. The shops are turned into hotel accommodation by using a network of local service providers, who provide breakfast, the bar and other facilities. These “urbanauts” not only service the guests, but they are neighbours and friends. From traditional to exotic and all of the finest: Robert’s Tafelspitz is awarded, Olli’s vodka home distilled, Sophie’s fashion visionary and Tom’s waiters are notorious. Culinary, beauty, art or fashion: here URBANAUTS-guests find more than ordinary hotel services. They are all companions to explore the city therefore we simply call them ‘Fellows’. Together, we are the hotel. So for example the Aromat restaurant is recommended for dinner: Simply delicious: we recommend AROMAT wholeheartedly, as we test their menu practically every day ourselves. Olli serves unique menus as a perfect basis for his irresistible vodka. A place for young Viennese originals. Top quality on just a few square metres – so frequently booked out. Call us, and we’ll get you a table! So urbanauts have all the ingredients of contemporary creative tourism – they offer a relational network, featuring pop-up facilities, with a mix of tourism and creative industries, making use of the new opportunities provided by technology. The accommodation: Our COMFORT offers even more historic living space and an extra bathroom in its 35m². Coffee- and minibar are of course free of charge. Saint Charles body care and city bikes are included as well as all URBANAUTS-comfort: King-size bed, rain shower, movies, music, internet and Wi-Fi, safe, hairdryer and URBANAUTS-district tips. The pop-up examples listed above show that the use of space is a key element in creative projects. Essentially most creative tourism projects rely on a new way of using, thinking about or designing space. This is something that Kostopoulou (2013) discusses in an article entitled “On the Revitalized Waterfront: Creative Milieu for Creative Tourism Sustainability”: Waterfront open-door creative spaces offer to visitors the freedom to decide if and how they want to make use of the facilities available and participate in a diversity of creative activities. Waterfronts as creative milieus hosting art galleries and design centers, cultural amenities, and creative industries, could 14
Downloaded by the author (author), on June 29th, 2015 thus act as a smart urban development strategy expected to benefit residents, culturepreneurs, and tourists, boosting the local economy and improving the urban environment and quality of life. Tne example is the roof of the Oslo Opera House, which has been specifically designed to provide panoramic views of the city, and the angled roof offers a perfect environment for skateboarding. As the website of the Opera House notes: The building is as much landscape as architecture and thus fosters public awareness and engagement with the arts. Generous windows at street level provide the public a glimpse of the scenery workshop activities. The building still finds an audience with public who are not opera, ballet or orchestra fans. The cafes and gift shop, with their access to the waterfront are destinations which offer opportunities to generate revenue for the institution while providing a general public amenity. But other more intimate spaces can also provide opportunities for creative tourism. Woody Island Resort in Newfoundland offers visitors the chance to sample a “Kitchen Party”, a traditional form of self-organised entertainment: Get ready to party. There will be live entertainment and you can dance the night away or sing along to your heart’s content. You may learn how to do the “Virginia Reel” or you may just wish to sit and relax in front of the fireplace and listen to the music. Please feel free to take along your own musical instruments and join the “kitchen party”. This Newfoundland spree is a lot of fun and a lot of laughs. So let loose and unwind. Maybe you'll discover the entertainer in you. Even casinos are becoming creative space, it seems. An article by Simon Tait in the Guardian in March 2014 highlighted the transformation of the casino experience through creativity. The Hippodrome Casino in London has commissioned a digital artist-in-residence, whose task is to capture "the spirit" of the Hippodrome. The listed building has been restored to its original glory with a £50m investment, which includes a 57-panel digital artwork by Thomas D. Gray. The artwork is based on a medley of hundreds of images produced by a team of six people filming and editing. 3.6
Urban Sketchers
The Urban Sketchers movement has a mission to: raise the artistic, storytelling and educational value of location drawing, promoting its practice and connecting people around the world who draw on location where they live and travel. We aim to show the world, one drawing at a time. The non-profit organisation provides sketching workshops around the world. Sketching is done on location, and provides a record of time and place and a link between the places where people live and where they travel. Part of the Urban Sketchers’ Manifesto is: We show the world, one drawing at a time. 15
Downloaded by the author (author), on June 29th, 2015 The Urban Sketching technique was used in the Creative Tourism Conference in Barcelona in 2010. 3.7
OECD recognises the creative tourism wave
Creative tourism is beginning to attract attention from national governments, regions, commercial companies and the media. So it is not surprising that the OECD report on Tourism and the Creative Economy (2014) pays a lot of attention to the development of creative tourism. The aims of the report are to: • Better understand the relationship between tourism and the creative industries, including an analysis of current and potential demand, potential markets, and economic, cultural and creative impacts. • Examine the potential role of tourism and the creative industries as a catalyst for local and regional development. •
Examine strategies and methods to build a strong creative tourism offering.
• Share experiences, innovations and good practice to enable national/regional tourism organisations to develop active policies to maximise the potential economic and other benefits associated with the creative industries. The report, written by Greg Richards, examines the rise of the creative industries as an area of government policy and economic development before tracing the more recent convergence with tourism. Although the potential of blending the tourism and creative industries is clear, this has yet to be fully recognised by the policy makers, who tend to stick to their traditional “silos” or sectors. An analysis is made of the developing relationship between tourism and the creative economy, particularly linked to a number of case studies developed specifically for the report from countries including Australia, Austria, China, Finland, France, Italy, Japan, Korea, The Netherlands, Portugal and USA. Recommended actions to support the development of creative tourism in the report include:
Linking actors and resources by developing integrated policy approaches that link tourism and the creative industries and allow the synergies between these two sectors to be better exploited. Strengthening creative clusters as important nodes in tourism and creative networks. Measures should be taken to support cluster development, including identifying key agents, spaces and events where creativity can flourish. Establishing networks to link tourism and creativity to support knowledge dissemination, business support and innovation. The current fragmentation of the tourism and creative sectors underline the need for new governance structures and network support.
Developing creative tourism by stimulating tourism innovation through national or regional innovation systems, encouraging collaboration between different tourism and creative sectors to stimulate new crossover concepts. Promoting entrepreneurship through new policy approaches and forms of business 16
Downloaded by the author (author), on June 29th, 2015 support, including facilitating access to finance, business skills and marketing support. Utilising technology and new media to deliver and market creative tourism experiences. Support should be provided for the application of new technological solutions, content generation and distribution. Building ‘soft’ infrastructure to support place regeneration and regional development, developing the qualities of place as well as tangible cultural assets. But there is a tension between the essential bottom-up generation of creative assets and the need for top-down designation and direction of creative places to aid identification and marketing.
Supporting creative tourism by branding places and experiences using the symbolic content generated by the creative industries, in terms of generic creative activity strategies or sectoral based links to music, gastronomy, design, etc. Developing creative and tourism knowledge in this new and rapidly developing field creates a need for awareness-raising measures such as network development, mapping, research and skills and knowledge development. Sustainable financing mechanisms are needed to reduce the perceived higher level of financial risk and to increase the viability of new creative tourism experiences.
Alain Dupeyras, Head of the Tourism Unit at the OECD Centre for Entrepreneurship, SMEs and Local Development, said in a recent interview with the Institute for Cultural Diplomacy: Developing creative content is key to creating interesting and engaging content to link creativity. .. we need to find ways to link creative tourism experiences to a place, because otherwise they may be consumed indifferently of a place. We need to work on creative branding, storytelling and creative tourism offers a very good opportunity to develop story telling about the issue. Some countries for example like Nordic countries have been doing it very well around food issues, promoting stories, which are very appealing for the tourists and that support a high quality tourism experience. Because the tourist is … looking for an enriching tourism experience, and this is where I think creative tourism can bring a lot and by developing this story telling about some of its products you can really raise the demand, increase your revenues and make sure that the economy grows and the added value is there. We need to develop new sources of growth from creativity by developing new products across different boundaries … in order to create a different atmosphere and a modern city as a tourism product. We also think this world of creative tourism offers a big opportunity for stimulating local development and regeneration and here we need to work with regional and local authorities to exploit this potential. The full speech on "New Sources of Growth Through linking Tourism and the Creative Industries" is available on YouTube. A conference to launch the report and discuss its findings is being organised by the OECD in Linz, Austria in September 2014, hosted by Linz Tourist Office and the ARS Electronica event.
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4.
Creative clusters and tourism
One of the trends noted in the OECD report is the growth of creative clusters related to tourism. 4.1
Argentina
The neighbourhood of Palermo in Buenos Aires has become a major cluster of creative industries activities, particularly in areas such as film and TV, fashion and design. The city joined the UNESCO Creative Cities network in 2005 as a City of Design (Stocker, 2011). There are now specific events aimed at visitors. For example the Argentine Experience offers visitors the opportunity to make their own empanadas and other local delicacies: The Argentine Experience started life as a ‘closed doors restaurant’ in the apartment of founder Leon Lightman and even after the move in 2012 to more restaurant-like premises in Palermo Hollywood it has retained an intimate atmosphere. The new building is modern and light with a sleek downstairs bar area and an upstairs dining room, with two large chunky wooden dining tables and shelves of colorful mate gourds serving as decoration. The communal dining tables are the first clue that the Argentine Experience is very much a group effort. Socializing with your fellow guests is compulsory, and the first act of team bonding is to put on a checked apron and chef’s hat, ready for action. Our first task was to prepare empanadas (the ubiquitous little savory pastry pies that are usually filled with minced beef). With bowls full of slow-cooked beef stew, onions cooked in Malbec, vegetarian ratatouille and cheese in front of us it was difficult to heed our host Richard’s advice not to overfill the empanadas. He showed us how to seal them and fold the pastry in the traditional way. One of the hosts is an expat who “understands how strange such idiosyncrasies first seem to outsiders and a local who offers an insider’s view.” This underlines one of the common features of creative tourism, that ex-pats or other “para-locals” are often responsible for developing creative tourism programmes or, for providing the link between creative tourists and the destination. This is because they are usually conversant with both the host and the tourist culture, allowing them to function as effective creative intermediaries. There is also the “City of Fashion” event that “invites you to discover Buenos Aires from the point of view of one of its most important creative industries: fashion & clothing design.” 4.2
China
A number of Chinese cities have developed creative clusters in order to cater for the growing middle class and tourists. One example is the city of Shanghai, which as the OECD report Tourism and the Creative Economy (see section 3.7) indicates, now attracts more than 5 million visitors a year to over 100 creative clusters in the city. 18
Downloaded by the author (author), on June 29th, 2015 The OECD report also includes a case study of Hangzhou, which has developed clusters around creative activities such as animation. Another example is the Beijing Creative Industry Tour. This takes in a number of different creative sites: The Zhongguancun district in the northwest corner of Beijing not far from the Summer Palace is often dubbed "Silicon Valley". It is already inhabited by thousands of high-tech companies, ranging from local firms large and small to international companies like Microsoft, Sun, Siemens, Nokia, NEC. The Zhongguancun district is composed of seven parks, covering an area of about 100 square kilometres. The 798 Art Zone, or Dashanzi Art District “accommodates a thriving artist community, nestled in the over 50-year abandoned military factory buildings featuring typical Bauhaus style with a combination of practicality and style. Because of the typical modernist style of some factory buildings, the planned courtyard and the distinctive architectural style, more and more artists are attracted to settle here and have formed the present 798 Art Zone. Now it is often likened to New York's Greenwich Village or SOHO.” Songzhuang Artist Village comprises “several villages around Songzhuang town in the east suburb of Beijing. There are over 1000 artists living in these villages within Songzhuang town, forming the largest art community in the world. Supposedly this area is being developed into “the international culture creativity industrial park and creation culture and tourism district with its own unique feature.” Gaobeidian Classical Furniture Street “with 300 workshops and shops, making and selling Ming and Qing dynasty-style furniture. Most of the furniture made here is sold to the international market.” Keane and Wen (2013) have analysed the Songzhuang district, which had 316 artists in 2004, but which now houses over 4000. The establishment of an arts festival stimulated rapid growth in galleries and art museums, which in turn have attracted many tourists. The location of artists in the region helps to stimulate economic activity and rehabilitate empty buildings. This effect is clear in the neighbouring village of Xiaobao, where average incomes increased from under RMB8,000 in 2002 to over RMB13,000 in 2006, largely as a result of arts-led development. 4.3
Dubai
In Dubai the Design District is being developed by TECOM Investments at a cost of $1bn (AED4bn). The 150,000m2 site, including offices and workshop spaces, is expected to be ready for tenants in early 2015. The 1km waterfront will feature international and niche hotels, a pop up shop area, and a convention centre. Tecom has started accepting space bookings for various types of use including creative offices, ateliers and workshops. This reflects the emphasis the Emirate is placing on the design and fashion sector as it aims to diversify the economy and boost talent.
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5.
Creative tourism around the world
5.1
Argentina
Foto Ruta, which was launched in Buenos Aires is about “bringing the city and its streets to life though photography. We believe the greatest way to see and explore a place is with your camera in tow. And it’s not about snapping pictures so you can remember moments later. Actually, for us, it’s all about the journey, and the moment itself.” The strapline for the project is: Explore the city creatively. Foto Ruta promotes ‘creative seeing’ through tours, events and workshops, using photography to “explore away from the well-trodden tourist routes, uncovering the genuine side of the city, and capture it on camera.” First launched in Argentina at the end of 2011, it now runs events in Santiago, Chile and New York. These provide experiences for beginners to professionals, and are designed to appeal to “everyone and anyone who wants to enjoy a sociable, fun and memorable urban adventure.” 5.2
Australia
Tasmania The Tasmania Arts Tourism Strategy sees creative tourism as part of Arts Tourism. This includes visitor experiences that are based on: • Performing arts, visual arts, literature, craft/design and music • Creative tourism – the active participation in the creative process of the arts. One of the important aims of the arts tourism strategy is to increase awareness of the arts in Tasmania. Research by Tourism Tasmania identified “Arts and Island Culture” as the tourism sector with the lowest awareness. Around of 60% of respondents possessed no or low awareness of Tasmania’s arts offer and only 11% of respondents high or very high awareness. The tourism sector will work with arts institutions to develop behind-the-scenes tours and private showings, and encourage and support the engagement of local artists to generate innovative and unique creative content for marketing and promotional activities. Great Southern Region Great Southern in Western Australia has developed a policy for “Iconic and Creative Tourism”. This aims to develop the icon tourism product and support the growth of a dynamic arts and creative sector with links to the tourism industry. This is being done because: The Great Southern has a wide range of high value tourism assets. Developing tourism products, events, activities and attractions will grow the economy. There will be social benefits as people take part in culture and arts. 20
Downloaded by the author (author), on June 29th, 2015 Planned actions include:
Enhancing facilities in iconic national parks, Attracting investment in the Albany Waterfront, Improving the Middleton Beach precinct, Developing cultural and heritage assets, Setting up a regional wine trail and hubs, Expanding the festivals and events programmes, Linking cultural and biodiversity trails
Vivid Ideas Vivid Ideas in Sydney is an annual celebration of innovation, creativity and community, including a programme of conferences, workshops, panels, talks, showcases, exhibitions, creative product launches, award presentations and networking functions. Vivid Ideas has quickly become a platform for the best and brightest creative minds from Australia and overseas to connect, collaborate and create, and in 2013 Vivid Ideas included 300 speakers at over 180 events showcasing creative talent. Sandra Chipchase, Destination NSW Chief Executive Officer said: “Last year 800,000 festival-goers including 11,000 international tourists who came on Vivid Sydney travel packages came to experience Vivid Sydney and marvel at our city in lights and snapped up over 51,000 tickets for an impressive program of concerts, conferences, creative product launches and exhibitions at Vivid Ideas and Vivid Music (including Vivid Live).” The latest edition has been spiced up with “an even bigger and better Vivid Sydney experience, with exciting new light installations, an expanded line up of contemporary and cutting edge music, and world renowned creative industries events”. 5.3
Austria
Creative Tourism Austria offers a wide range of creative tourism experiences, covering arts and culture, crafts and tradition and food and gourmet. In Salzburg, for example, they provide tours of the Stiegl Brewery, where the highlight is a tasting of "mixed beer specialties", including five different tasting beers from the in-house and international range. Wine seminars and tastings are offered at the Gartenhotel & Weingut Pfeffel, offering the opportunity to join a harvest week and learn more during a walk through the vineyards in the Tyrol region. Other workshops are offered in carving, wood turning, modelling, sculpting, stone work, carving with chain saws, barrel painting and gold plating. Creative Tourism Austria also offers the opportunity to purchase creative experience gift vouchers. 5.4
Bahamas and other islands
The global spread of creative tourism is also seen in the Bahamas, where the concept was brought home by Jackson and Pamela Burnside of Doongalik Studios, 21
Downloaded by the author (author), on June 29th, 2015 on their return from the Creative Tourism conference in Santa Fe in 2008. Creative tourism has been integrated into the activities of Creative Nassau, which is convinced that this is the way forward, as Pamela Burnside explained in January 2014: We must embrace our tradition bearers and master craftsmen, give them the respect they deserve, and invite them into centres of learning in order to pass on these important elements of our heritage. By using what we have, to do what we do best, we can appreciate and enhance our quality of life whilst inviting our visitors to come and celebrate this authentic experience with us. She also emphasised the importance of making links between different sectors, such as agriculture, crafts and tourism. She highlighted the example of straw plaiting, which uses agricultural “waste” to produce souvenirs (see also the Japanese straw sculptures – see section 5.14). The Bahamas is also home to the People to People cultural exchange programme, which has tapped into a new source for attracting visitors – referrals from travel agents. Francine Lowe, a travel agent from Atlanta, visited the Bahamas on a cruise and met People to People Ambassador Lovern Wildgoose, who treated her to a home-cooked meal in her home and spoke to her about the Bahamian culture. Francine realised that this was a way for her clients to see another side of the islands: I will definitely recommend it to my clients when they come to The Bahamas. I learned that it is not only share a meal. It was also going to church or to a function. It is obviously a program the travel agents should know more about. Her host says she loves entertaining guests via the programme: “Most of my guests, once I bring them to my house for dinner, they want to come back”. The Bahamas developments also underline the importance of creative tourism in destinations such as islands where alternative development strategies may be limited. Small islands are certainly a good example of this. Recent creative tourism programmes have included many small islands, including Lewis in the Scottish Highlands (McLean, 2006), Prince Edward Island and Labrador in Canada (Hull and Sassenburg, 2012) and Crete. Perhaps not surprisingly, therefore, creative tourism featured among the development strategies outlined in the final statement of the Third International Conference on Small Island Developing States (SIDS), under the heading ‘Local And Traditional Knowledge And Culture And Sport’: SIDS possess a wealth of culture, which is an enabler for sustainable development. In particular, indigenous bio-cultural heritage recognizes the deep connections among people, culture, knowledge and the natural environment, and can meaningfully advance sustainable development. Measures to protect and preserve the natural, tangible and intangible cultural heritage practices and traditional knowledge of SIDS have been inadequate, and efforts capitalizing on SIDS strong capacity in sport can be enhanced. We will therefore seek to: 22
Downloaded by the author (author), on June 29th, 2015 a) Increase resources for the development and strengthening of national and regional cultural activities including through the UN Education, Science and Culture Organization’s (UNESCO) networks of sites, such as the World Heritage sites, which reinforce local capacities and promote awareness in SIDS. b) Encourage the development of creative industries and creative tourism that capitalize on the rich capacity of SIDS in music, performance and art. 5.5
Brazil
A number of creative tourism initiatives have been developed in Brazil. From the public sector, the city of Porto Alegre has taken the lead in developing and marketing the concept. The Secretary of Tourism for Porto Alegre, Luiz Fernando Moraes, explains: We wanted to bring new strategies to the region when we found this approach to creative tourism in late 2012. It was then that we noticed the absence of reference on the subject in the ministry as well as the existence national literary productions on the subject. With the help of the Creative Tourism Network, based in Barcelona, we went in search of adapting this formula to Brazil, creating a specific methodology for Porto Alegre. The 1st Brazilian Conference on Creative Tourism was held in October 2013 in Porto Alegre and was attended by 600 delegates drawn from an extensive network of national and international partners. The meeting discussed many of the issues surrounding the development of creative tourism, particularly in a Brazilian context, and produced a Declaration on Creative Tourism at the end of the conference. The Declaration sets out principles for the basis, aims and forms of creative tourism, stating that “creative tourism strives to:
Enable people to see with new eyes, examining the details of everyday creativity. Enable people to realise their creative potential. Create mutual respect between people through creative exchange. Create new value(s) through shared creativity. To increase the quality of life for all.”
The Municipality of Porto Alegre has developed itself into a creative tourism hub, offering: Workshops, courses and activities in visual and performing arts, crafts, music, tradition, literature, fashion & design, multimedia, quality of life, food and drink, education and social technology, among others, will put you in perfect interaction with the history, traditions, folklore and way of life of the Gauchos, as the inhabitants of this very peculiar region of Brazil are called. Creative tourism was also being offered to fans visiting the FIFA World Cup in 2014. They had the opportunity to participate in workshops and short courses in addition to the regular programme of creative tourism activities. There was a special edition of one of the biggest folk festivals in Brazil activities during the games. The Camp 23
Downloaded by the author (author), on June 29th, 2015 Farrukhabad festival celebrates the independence of the Rio Grande do Sul region from the Portuguese Empire in the 19th century. In a park located between the city centre and the World Cup stadium, about 400 stands showcased the work of artisans and the creative community. At the special celebration held during the 2014 World Cup, about 150 stands presented the concept of creative tourism, including workshops on regional cuisine, costumes and dances, beliefs, legends and customs. Porto Alegre currently has about 40 workshops, which were incorporated into the programme after a mapping exercise to identify potential creative tourism experiences. The themes range from crafts, fandango, making and drinking mate to the traditional churrasco or barbeque of the region. The idea is that the tourist will interact in various ways with these experiences, for example by learning traditional dances or preparing traditional food themselves. Porto Alegre has been sharing its experience with a number of other destinations in Brazil, including Paraíba in northern Brazil, and nearby Rio Grande do Norte and Paraná. In the commercial sector, the School of Creativity (Escola de Criatividade), in Curitiba, Paraná, has been developing the concept of creative tourism in Brazil since 2009. The School undertakes consultancy, organises conferences on creativity and tourism and creative events. As Director Jean Sigel outlines, “We want to show that any city, region, hotel, tourism product or business can benefit from creative activities and projects for the development of the sector, attract tourists and generate income.” The basic assumption that the School of Creativity makes (as many others do as well) is that creative cities and regions attract more tourists. In order to do so, however, destinations need to be innovative and change traditional ways of thinking about tourism. Regions should also think and plan tourism in innovative and creative ways all the time. In their products, destinations, equipment, history, architecture, festivals, care for the environment, culture, everything that can bring innovation. … The first step is the discovery of their origins and essence (which are) often erased. Where are the authenticity and creative differentials of a city or a single tourism product or project? Where is the obvious creativity that in many cases is not seen by locals? What are the stories that describe a region, or a hotel? How can I sell a package tour creatively? There is no single ingredient or specific answer that can explain how creative tourism can manifest itself. Brazil is also home to Sabiar, which offers a range of creative experiences around the world (see section 12.1). 5.6
China
Chuzhou has just signed a contract with Zhejiang enterprises for a 2-billion-yuan ($0.32billion) project in its Science Education Park. This "Film and Animation Tourism Creativity Park" will cover 120.06 hectares, and there will be replicas of famous ancient buildings, such as the E-pang Palace, the Weiyang Palace and the Daming Palace.
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Downloaded by the author (author), on June 29th, 2015 According to the contract signed in April, 2013, the creativity park will include three "cities", two parks and a base. Chuzhou, itself, sits in the central area of Nanjing metropolitan coordinating region and the core cooperation area of the Yangtze River Delta region, and it is a pioneer in Anhui province's development. The city attracts investors, with its advantageous position and traffic conditions. Construction of the project's entrance area is almost finished. A number of eyecatching Hui-style buildings are already present in the film studio. One major construction there is the Chinese Millennium Avenue. Along this 2096-meter road, ten zones themed with different historical periods will be built. Typical examples include replicas of the E-Pang Palace and the Wei Yang Palace during the Han Dynasty the Daming Palace of the Tang Dynasty, and the more contemporary Tian'anmen Square and Monument of People's Heroes. In addition to the film studio, there will also be an "animation city", a cultural heritage exhibition park and a Langya Mountain Buddhist cultural park. The project aims to take the lead in Chuzhou's cultural tourism industry and create a platform linking Anhui's culture and creativity industry with that of Suzhou, Zhejiang and the Shanghai Delta area. Over 300 businesses and over 20,000 film professionals are expected to enter this creativity park within the next three years, and it is expected to receive over three million tourists and five billion yuan income. 5.7
Croatia
In Zagreb the Institute for Development and International Relations has been running the Cool Industries for the Creative City (CICC) project. This research – consultancy project examined cultural/creative industries of the city of Zagreb with a view to:
increasing the income from cultural/creative industries, stimulating urban development and cultural tourism development, increasing the vibrancy of the city diversification of the tourism offer, increased economic competitiveness of the city developing new creative products.
As part of the project a database has been developed mapping the creative potential of the city, and the external competitiveness of the city will be measured against other creative cities. It is hoped that the project will also raise awareness of the creative industries among residents of Zagreb. Both the tourism sector in the city and tourists visiting the city are seen as beneficiaries of the project. 5.8
Ecuador
The “Orange tourism” cultural creative tourism programme is being led by Jordi Tresserras, director of Lab-Patc (Laboratorio de Patrimonio y Turismo Cultural) of the University of Barcelona and the Ibertur network, with support from the Ministry of Tourism of Ecuador. The programme looks especially at cultural heritage, artistic production and the cutural and creative industries. According to Tresseras, gastronomic tourism has a particularly high potential as a link between agricultural landscapes and the food sector. 25
Downloaded by the author (author), on June 29th, 2015 5.9
France
Marseille was European Capital of Culture (ECOC) in 2013, and as part of the programme it developed a number of creative tourism products (as did partner ECOC in 2013, the city of Kosice in Slovakia). During the Marseille ECOC a Round Table was held to discuss sharing heritage, creative tourism, and local culture. This particularly emphasised the importance residents’ living culture as a resource for cultural development and responsible tourism. The event drew on the experience of the Hôtel du Nord association in Marseille and Vitrolles and creative tourism initiatives across France and Europe as blueprints for putting the residents and citizens at the heart of local development projects. Speakers included Gigi Guizzo (Trànsit Projectes, Barcelona), Julie de Muer (Hôtel du Nord, Marseille), a representative of the Comité départemental du tourisme de la Seine-Saint-Denis, and Martine Derain (artist and photographer). Creative Paris offers a wide range of courses and experiences in the fields of Visual Arts, Arts & Crafts, Performing arts, Music, Photo, Cinema, Multimedia, Art of the garden, Flower arranging, Culinary arts, Fashion, Design, Science & Technology, Writing and Philosophy. Although these experiences are aimed at both residents and ‘temporary citizens’, many are provided in English and therefore accessible to tourists. This is particularly true of gastronomic experiences such as: French macarons class If you are obsessed by the beautiful Macarons you see in the windows of Pierre Hermé and Ladurée, our French Macarons Class is made for you! You will learn the special technique to make these elegant and colorful pastries. A World in a Pan Take a stroll about a Parisian farmer’s market with Marie, buy freshly picked flavorsome produce from local producers and learn to become a full-time or part-time Locavore. In Marie’s studio, learn to transform, sublimate, and enjoy preparing hands-on a three course meal… then sharing it around a delightfully dressed table. Market cooking class Our French Market Cooking Class are a 4 hour experience that focus on exploring the local Markets here in the city of Paris. We begin the Market Class directly at the Market where you will tour with your guide/chef – during the time spent on the Market, you will be learning about the products : seasonal vegetables, meats and poultry, cheeses, etc… The French Market tour and cooking class has the special benefit of a non established menu – this means that the group decide with the chef on the Market what products and dishes you want to create when you return to the school.
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Germany
Kreativ saison Mecklenburg. Creative season means: “to shape together the sustainable and responsible tourism for our region and to make Mecklenburg shine with its cultural and creative resources.” The creative season starts as a pilot project between the two Hanseatic cities Wismar (which is also UNESCO heritage site) and Rostock. It was initiated by smARTourism (www.smartourism.net) and is being developed with the artist association Roter Pavillon (Bad Doberan) as a network consisting of artists, cultural organisations, associations, local authorities and tourism enterprises. The network provides:
Creative Courses & Packages Tours & Routes Events Food experiences
Courses include ‘upcycling’ of old materials, wood turning, building designer lamps, pottery, graffiti painting, wicker art and free expression painting. The food experience is provided by amateur cooks in Mecklenburg who open their homes to vacationers who would like to eat well in a family environment, while sampling local produce and getting to know people from the tourist area. 5.11
Greece
In Crete, the Vakantieacedmie (HolidayAcademy) organises philosophy courses with highly qualified philosophers, cooking workshops, art workshops and hiking weeks. At present all courses are in Dutch, but the organisers plan to offer courses in English from 2015. The courses are run on the Greek island of Crete, and are based on a combination of learning and enjoyment. 5.12
Iceland
The Creative Iceland programme1 founded by “creative explorer” Nicolas Barreiro allows visitors to: Experience authentic Icelandic culture by connecting with local craftsmen, designers, writers, scientists, musicians, photographers, chefs, writers, and more by participating in cultural and creative activities. Discover Icelandic hidden culture directly from local creators and their way of living. Bring home a truly unique and memorable moment. Creative Iceland is interesting because it is a private initiative. This is evidence that new forms of creative tourism development are beginning to emerge alongside the more ‘traditional’ creative tourism products that are often promoted by destination organisations. 1
http://creativeiceland.is/
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Downloaded by the author (author), on June 29th, 2015 Iceland may not seem the most obvious place to start a creative tourism venture, but then it has been touted as: “The Most Creative Place on Earth”.2 This is based on the fact that: They have more professional musicians per capita than any other country in the world. More authors, more poets, more screenwriters, more directors, more playwrights per capita than anywhere else. One in every ten Icelanders will publish a book in their lifetime - in Reykjavik the percentage is even higher. 5.13
India - Anjos Creative Holidays
Anjos Creative Holidays is based in Bangalore, and promotes tourist participation in the country’s long standing customs, traditions and culture. Creative packages introduce visitors to the way of life of the vibrant indigenous folk of urban and rural India. The experiences on offer include the ancient art of pottery making and Tanjore painting, the classical form of south Indian painting, traditional dances and wellness. 5.14
Ireland
In Ireland Gaelic Games and Irish dance are being developed as creative tourism experiences. At Experience Gaelic Games3 visitors to Dublin have the opportunity to learn hurling and Gaelic football. This experience has been rated number 1 out of 285 attractions in Dublin on Trip Advisor. The thing that makes this experience stand out is the interaction with local people and the integration of sport and culture. 5.14
Italy
PugliaOnTheRoad4 bills itself as “The official website for the development of Creative Tourism in Apulia.” The programme is run by the Cultural Association PoR, which has developed creative tourism programmes in this southern Italian region. The programme offers the opportunity “to live a creative holiday, in which art, fantasy, cooking and the desire to get involved join the pleasure of a stay at a condo or a farm or a b & b where to find the ultimate in comfort and lots of cutting-edge services to measure.” PugliaOnTheRoad offers many creative workshops, including photography classes in the countryside and in historic cities, local cooking classes and cake design. Culinary tourism is particularly emphasised on the website, because the table is “a fundamental point of sharing and being together”. There is also a clear link made with Lecce’s bid for the European Capital of Culture in 2019,5 which promised to “re-invent utopia”. The Route of the Carmelites is seeking to develop a new sustainable model of food production by linking the city to rural areas. A creative tourism itinerary will be developed in the City of Palermo in order to emphasise the inseparability of landscape, tradition, culture and food production. The route will involve history, spirituality, art and gastronomy.
2
http://adrianmckinty.blogspot.com.es/2013/06/the-most-creative-place-on-earth-iceland.html http://www.experiencegaelicgames.com/ 4 http://www.pugliaontheroad.com/ 5 http://www.lecce2019.it/2019/index.php 3
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Downloaded by the author (author), on June 29th, 2015 A special menu has been created around traditional dishes produced by the Carmelites and Carmelite wine. Guided tours along the route will be accompanied by an expert in cultural tourism. 5.16
Japan
One interesting example of creative tourism in Japan is the "straw art festivals", which feature giant straw sculptures. Kagawa Prefecture and Niigata Prefecture have the most famous festivals, which hare held after the harvest period in autumn. These regions have a tradition of making thatched roofs, but now straw is being used to create giant landmarks. Straw art can also be found in other parts of the world, such as New England in the United States. 5.16
Portugal
The Casas Brancas Association in Southern Portugal has developed a “Creative Tourism Network”, which will be launched in April 2015. The aim is to “develop and provide commercial consistency to new products and services in the network, which integrate agents, cultural values and the heritage of the region.” The project is aimed at the international market, where creative tourists are looking for culture, traditions, nature, history, creativity and innovativeness. The network will develop a Manual of Good Practice to inspire and guide other entrepreneurs and potential investors in the region. Casas Brancas brings together about 60 micro-entrepreneurs in the region (accommodation, restaurants and activities) to improve and promote their services. It has developed the Rota Vicentina, a long distance path along the south west coast of Portugal. Comprising the Historical Way and the Fishermen’s Trail, it covers 350 km between the city of Santiago do Cacém and the Cape of St. Vincent, the most southwestern point of Europe. The “Casas Brancas - Rede de Turismo Criativo” project is a QREN initiative supported within the framework of Inalentejo, with FEDER co-financing of approximately €110,000. Loulé in the Algarve region in southern Portugal has become a member of te Creative Tourism Network, and was recently visited by creative traveller Elena Paschinger. Elena reported her experience of the “TASA” project, which includes lots of different initiatives to encourage creative travel in and around Loulé. The town is trying to position itself as a “capital of crafts” for the Algarve region, and is conserving local creative techniques and gastronomic resources.
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South Africa
Creative Ignition Workshops offer visitors the opportunity to “Move though the city, look at and engage with Cape Town as a creative tourist.” These three hour tours allow people to: Learn to appreciate the historical heritage, beauty and grittiness of our city. Connect profoundly in an inspirational way and open your eyes to new possibilities that can fuel your work. No previous experience or aptitude in drawing required. Creative Walks offered include: 1.
The East City (includes Castle of Good Hope)
2.
The Bo Kaap (includes local stories and the BoKaap museum)
3.
Historical Cape Town (includes entry to one museum)
4.
Sights of fancy (route undisclosed)
5.19
Spain
The public-private partnership Andalucialab, which focusses on tourism innovation, ran a ‘focus group’ on creative tourism trends and opportunities in April 2014. The session was aimed at discussing the plans and projects of companies and entrepreneurs in the Andalucia region. The objectives were: 1. Identify trends and opportunities in creative tourism 2. Learn to apply creativity in tourism to develop business 3. Co-create tourism experiences Also in Andalucia, there are experiences on the patios of Cordoba, where storytelling, drama and animation are used to bring these intimate spaces to life for visitors. Plan a trip to Spain offers a range of packages in four thematic categories; Grand tour experiences, Outdoor activities, Creative activities and Gourmet tours. For example, the Seville pottery and tile workshop offers two days of ceramic workshops taught in English. The Barcelona Photowalk tour includes a four day photographic course taught by professionals in English, and excursions to Cadaques and Montserrat. 5.20
Taiwan
The National Property Administration, the Ministry of Finance and Taichung City Government aim to develop cluster of buildings and public-owned land in Audit Village as a “cultural and creative tourism industry cluster”. The cluster will provide space for cultural and creative industries, provide advice for young micro30
Downloaded by the author (author), on June 29th, 2015 entrepreneurs, allow for the integrated promotion of the cultural and creative industries, and create a more favourable climate for aspiring young creative entrepreneurs. The total investment of NT$21 million is expected to generate an output of NT$ 100 million and create 100 jobs. 5.21
UK
In the UK many destinations are developing creative tourism as a form of short break. In Cornwall, the St. Ives School of Painting runs art holidays. In Devon, The Garden House in Yelverton runs arts workshops using the gardens as a resource; they combine their resources with anything from cooking to botanical photography and jewelry making. Ways with Words runs a number of literary festivals as well as creative holidays abroad. The basic experience is developing creative skills with like-minded people in a relaxed atmosphere where you can also enjoy the local culture, atmosphere and food. In Scotland felt maker Liz Gaffney runs workshops for visitors at her Heartfelt studio based in the Dalmally Railway Station. Liz has a great interest in the natural beauty of the landscape around her and uses many local plants to dye her wool for felt making. Workshops are held throughout the year at the Studio on a wide range of textile skills. 5.22
USA
Taos, New Mexico, is developing creative tourism products based on its reputation as an arts centre. The town has three art museums and the Taos Art Colony produced many important modern and contemporary works. The creative tourism workshops being offered include:
Cooking Studio of Taos Outdoor Photography Workshops Art Workshops Geraint Smith Photo Tours Historic Taos Trolley Tours Mabel Dodge Luhan House Seven Directions Tours Taos Art Calendar Taos Clay & Wannamaker Pottery Gallery Taos Pueblo Tours
In Washington D.C., Adventures for Creative Tourists offers tours for “the person who wants to have a unique experience of Washington, D.C. culture.” The small group tours take in museums, galleries, and different neighbourhoods and each adventure ends with a three course meal. The length of the tour is between 3.5 to 4 hours. The cost of a museum tour is $79.00. ArtFields is a 10 day art festival in Lake City, South Carolina, modelled on the international ArtPrize in Grand Rapids. Both events are experiments in how throwing 31
Downloaded by the author (author), on June 29th, 2015 an art festival can revitalize a community though creativity and tourism. Both events have been successful, arguably because of a combination of “enlightened people” and “enthusiastic sponsors”. The prize money in ArtPrize is more than $500,000, while ArtFields awards $100,000. This attracts a raft of creative people wanting to exhibit, but also a large number of visitors eager to see their products. Asheville North Carolina hosted the fourth annual Creative Sector Summit, a series of panels, workshops and events designed to “create economic vitality through arts and tourism.” The summit brought together representatives from more than a dozen diverse arts, tourism and civic organizations, including the Asheville Chamber of Commerce, the Buncombe Cultural Alliance and the Asheville Convention and Visitors Bureau. There is arguably a “disconnect” between artists and tourists in the town, which has now been addressed by the development of a web portal, Asheville Arts Alive, which connects tourists with artists.
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6
Technology watch
6.1
Creative Tourism Limes
The Creative Tourism Limes programme was initiated in 2013 as a new prototype of touristic offers, marketing and regional cooperation with the LIMES Large Scale Demonstrator in the state of Rhineland-Palatinate Limes region. The Creative Tourism Limes programme began in cooperation with approximately 90 regional businesses, artists and tourist agencies. In its first year the programme could only be offered in German. Creative Tourism Limes works together with Creative Tourism Austria (www.creativetourism.at – see section 5.3). The programme for 2013 was sponsored by:
The Romantic Rhine Tourism Association mbH The Koblenz Chamber of Commerce and Industry The Rhein-Lahn Commerce Support Association mbH The Bad Hoenningen community Association, Creative Tourism Austria The State of Rheinland-Pfalz Project Development Association mbH (PER)
The LIMES Large-Scale Demonstrator develops mobile services for sustainable tourism in all 10 European countries along the Roman limes. A “role model” for applications will be developed with representatives of seven additional limes countries in order to connect all limes sites via mobile services. The Limes Creative Tourism project provides consumers with “holiday with sense(s)”: More and more people want to spend their holiday doing something special, such as taking cooking or drawing classes or learning how to carve with a chainsaw. The combination of accommodation, gastronomy and a creative experience is what makes your holiday special. Together with Creative Tours Austria the Limes region in Rheinland-Pfalz in Germany has developed Creative Tour packages. They have also added mobile services to the creative tourism experience, such as the application “LIMES Mobile 3D”: Experience life at the Limes in 3D! Watchtowers and border walls are visible again and Roman soldiers on patrol can be observed – via augmented reality. Currently, a total of six locations are equipped with 3D content. 6.2
Creative tourism content generation
One of the major challenges for destinations today is how to manage the vast amount of content that is available via new media. As more and more of this content becomes user-generated, there is a growing need to enable, direct and manage the production of new content. The fact that tourists themselves are increasingly the producers of content for other tourists, means that ways have to be found to link these creative content producers together. 33
Downloaded by the author (author), on June 29th, 2015 An interesting example of how to do this is the Remote Control Tourist project in Melbourne. Tourism Victoria launched this project in October 2013, when four cyclists travelled 109 kilometers through the city, and recorded over 80 hours of video footage. According to Tourism Victoria Chief Executive Leigh Harry: During the five live activation days people from over 158 countries and 3,888 cities checked out the website, attracting more than 103,000 hits and over 150,000 views of YouTube videos. The campaign has also received extensive international media coverage for its innovation and uniqueness which has helped further promote Melbourne as a desirable travel destination. Positive sentiment for the campaign in social media was also exceptionally high at around 96% with consumers tweeting comments about how much they liked the campaign and how much it made them want to visit Melbourne. The campaign has generated unique images of the city that will now be used in ongoing marketing campaigns. 6.3
Discover the Other You
Although the Remote Control Tourist campaign has been very successful, it still has a long way to go to match the Discover the Other You campaign developed by Thailand to showcase creative tourism. This generated 24 million visits to the website by offering people the chance to visit Thailand and do something creative. The campaign promoted learning about Thai culture through creative tourism and offered a chance to win one of three 7-day creative tourism experiences worth USD 10,000. The campaign won the Pacific Asia Travel Association’s marketing award in 2013. The creative tourism portal offers a wide range of creative experiences to tourists, including Thai Cooking Classes, Thai Massage, Therapist Training Courses, Thai Massage and Aroma Oil Massage in Theory and Practice and Thai boxing. 6.4
Bosch Art Game
The Bosch Art Game is a serious digital art game based on the life and work of the painter Hieronymus Bosch, as part of the marketing campaign for the 500th anniversary of the medieval painter’s death in 2016. The game is being developed through an international competition organised by the city of Den Bosch in the Netherlands. The seven finalists took their games to festivals in Europe and the U.S. and the winning game will be produced commercially. According to a review of the winning game Cave! Cave! Deus Videt! (Look out – God is watching!): follows a young man called 'Hoodie' on his school's field trip to the National Art Museum of Lisbon, Portugal. From the bits and pieces we learn from him it seems that the young lad is quite the loner: often minding his own business while listening to punk rock. Things take a turn for the bizarre however when Hoodie disappears while looking at Hieronymus Bosch's Triptych of the Temptation of Saint Anthony. Now alone, Hoodie must travel through a strange, twisted universe and make sense of the visions inspired by the painting if he wants to escape with his sanity...if any of it is left.
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Downloaded by the author (author), on June 29th, 2015 I am not an art student and before I played Cave! Cave! I didn't even know who Bosch was. This game was made for the International Bosch Art Game Competition where young people take Bosch's work and try and translate it to the gaming medium...and one of the ones chosen for it was a visual novel. The principle behind the development of such games is that it helps to give a modern dimension to the work of the medieval painter, and the hope is that it will also stimulate people to visit the city. The OECD report on Tourism and the Creative Economy (see section 3.7) notes that there is a growing tendency for tourists to visit the locations in which video games are set, just has been the case with films and TV series in the past. The Bosch Art Game has been received well by the gaming sector, and has been presented by the makers We Are Müesli at 47 times at different events in Europe and America in the year since the launch. 6.5
Creative Lighting
Creative lighting has long been used to enhance tangible heritage, for example with son et lumière displays, or the more recent light projection displays on heritage buildings. But lighting itself is now becoming an attraction. There are a number of creative lighting events around the world, many of which have taken inspiration from the Glow Festival in Eindhoven, Holland. As the design capital of the Netherlands and the home of Philips Lighting, Eindhoven has led the way in applying lighting design solutions to urban problems, and has turned this knowledge into an event. Glow features spectacular lighting displays and innovative and experimental light art. Specific tourist products have been developed by the city, including lighting routes and guided tours. The event attracted some 520,000 visits in 2013, a significant increase on the 450,000 visits recorded in 2012. Bevolo (2014) describes how Glow has become an iconic design event for Eindhoven as well as an export product. Other cities, such as Łódź in Poland, have successfully copied the Glow model in the development of their own lighting festivals. In Chicago, Mayor Rahm Emanuel has a vision of transforming the Windy City into a “city of lights” to attract visitors in winter. So an international lighting competition has been staged, which the city argues will “provide tourists more opportunities to enjoy the city and presents another reason for people to visit Chicago.” The competition will solicit ideas from artists, architects, planners and designers from around the world.
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7.
Creative tourism policy
7.1
Thailand
Thailand has been highly involved in the development of creative tourism since the government decided to link tourism with the development of the creative economy. A number of projects are now underway, including the development of a series of village-based programmes for creative experiences. As Wattanacharoensil and Schuckert (2014) note: In early 2012, it promoted itself as part of a creative tourism campaign launched by the Tourism Authority of Thailand (TAT) which was driven by the concept of “the first creative tourism destination in Asia”. This campaign was linked to efforts by Thailand to develop the creative economy in general. Ten provinces were selected as “creative city prototypes” to pioneer the development of the creative economy. The TAT also launched the “Discover the Other You” campaign (see section 6.3) to market creative tourism opportunities for foreign tourists. This campaign responded to the overall policy drive towards the creative economy, as well as growing demand from tourists for special-interest products. A number of creative tourism projects have also been coordinated by the Designated Areas for Sustainable Tourism Administration (DASTA), which is a public sector development organisation. In 2012, DASTA was initially funded to develop creative tourism in three designated areas, including Sukhothai-Srisatchanalai-Kamphaengphet Historical Park and Loei province. DASTA also funded the Faculty of Sociology and Anthropology, Thammasat University, to carry out research on creative tourism. The main purpose of this project is to determine the definition of creative tourism and to develop a creative tourism protocol in the designated areas, by identifying potential activities that can be used as the basis for sustainable community development through creative tourism. Since then the Tourism Authority of Thailand (TAT) has allowed Facebook users to choose the Top 20 Creative Villages in Thailand. Villages are seen as places where genuine interaction with locals can take place and where the transfer of skills can be facilitated through workshops in arts, crafts and cooking, or even working in rice fields or elephant-handling. The tourist gets to take away either a handmade souvenir or newly acquired skills that they can use after returning home. One of the 20 villages selected is Sukhothai, where the Ban Rim Klong Community Enterprise, Samut Songkhram specialises in growing coconut trees. These produce coconut palm sugar, a critical ingredient in a number of superb Thai desserts. Visitors can learn to make a variety of different Thai desserts and taste the results. The Working Group defines Creative Tourism as being “tourism to encourage tourists to exchange and learn to develop a profound understanding of the social, cultural and environmental values in tourist attractions, through a direct experience 36
Downloaded by the author (author), on June 29th, 2015 with the owner or owners of culture.” Creative tourism in this project is based on destination features and process elements (Sindecharak and Sangsnit, 2013). The destination features are: 1. Diversity and profile of cultural or natural resources. 2. Awareness of the community value by the owners of culture. The process features are: 1. 2. 3. 4.
Sharing and learning across cultures. Promoting direct experience of culture. Stimulating a profound understanding of the destination area. Preserving the value of the community and creating a balance of economic, social and cultural factors.
The major challenge for the development of creative tourism in Thailand, as noted by Wattanacharoensil and Schuckert (2014) is that there is an institutional vacuum, created by the divided responsibilities for creative tourism policy between different government bodies. They identify an urgent need to develop leadership and vision in the implementation of creative tourism policies. 7.2
Indonesia
In an interview with the Australian National University’s magazine Margin, Indonesia’s Minister for Tourism and Creative Industries, Dr Mari Elka Pangestu, underlines the ways in which the country is combining tourism and creativity. What draws tourists from around the world to visit a country is a combination of geographical and cultural appeal - the latter that complex blend of heritage and creative activity that represents the national identity. When one talks about the creative economy, it is in many ways a shorthand for the wide range of factors that make a particular nation's economy unique. Mari sees the creative economy as a means of creating value-added from existing knowledge, which includes cultural heritage. In this “fourth wave of economic development”, the rich cultural heritage of Indonesia is seen as a strong comparative advantage in tourism. However, growth can only be facilitated by enabling people to be creative. This enables Indonesia to reach out to the world as well as welcoming the world through tourism. The Minister particularly emphasised gastronomy, which she sees as a source of 'culinary diplomacy' or 'soft-power diplomacy'. Food, along with fashion, film and music can be a good means of promoting the country abroad. A promotional campaign has been developed around 30 iconic Indonesian dishes, which have been promoted by embassies around the world. The challenge really is how can we take our comparative advantage - our creative and productive people, a lot of whom are also very young (50 per cent of our population is below 29 years of age) - and channel that into more economic value so that being creative can also mean earning a decent living? We want to focus on growing our talent and our creative people. Indonesians are inherently creative because of their lifestyle and their culture. From a very 37
Downloaded by the author (author), on June 29th, 2015 young age, children in the regions learn dancing and music. Arts are a part of their way of life - it's an inherent part of their nature. But we need to nurture this talent. People need to know that if they want to be the best in anything. It takes discipline, and it needs good management and a good business model. Given this lead from government, not surprisingly, “creative tourism is the new mantra” and there is a “paradigm shift” in tourism policy, according to recent articles. For example Atmodo (2013) reports that: The Indonesia Tourism Promotion Board (BPPI) has indicated that it will facilitate closer cooperation and engagement between the tourism and creative sectors to ensure that each would be able to produce high quality products, as well as to penetrate larger markets. The board also plans the establishment of the Indonesia Creative Tourism Forum. The Indonesia Tourism Promotion Board) and the Ministry of Tourism and Creative Economy will also speed-up creative tourism as a way to strengthen competitiveness among Indonesia's tourism regions. Sapta Nirwandar, Deputy Minister of Tourism and Creative Economy, spoke about "The Strength of Creative Tourism" at a recent meeting in Bandung: Creative tourism is a new perspective that is still possible, and will grow in supporting Indonesia's tourism sector. Its potential is extraordinary and it is certainly part of the country's tourism promotion. Indonesia is a rich country with a lot of creativity that can support regional tourism. Our diverse culture, rituals as well as art and culture, along with the region's culinary offerings provide extraordinary attractions — only some of which have been explored. There are indeed many that remain unexplored and the time will come for further exploration. In many ways this mirrors the community development approach to creative tourism outlined in section 2. The Deputy Minister emphasised using the human capital and creativity available locally: “Culture becomes creative tourism, and community, academicians, government and other stakeholders are also urged to develop new perspectives on how to maximize our tourism's potential." Bandung is seen as a good example of a creative tourism destination, with the potential to develop culinary tourism, handicrafts, fashion and the performing arts. “We urge regional governments to remain enthusiastic in advancing their own tourism by supporting local wisdom and their potential for creativity so that they can create value for regional tourism." The rise of the Internet was also identified as a threat to traditional tourism distribution models by Wiryanti Sukamdani, Chairperson of BPPI. “Tourism that sells only the destination without a creative touch will lose in competition. … clever tourists who are able access borderless information .. have higher expectations — not only enjoying tourism-based activities but also wanting to engage actively, getting prime service but also expecting a creative touch. Especially with culture based tourism, tourists want more to experience and seek to be actively involved with local creative activities. Tourism must therefore be dynamic."
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Downloaded by the author (author), on June 29th, 2015 Bali was designated as a pilot project for the development of creative tourism in Indonesia together with West and East Java. Bali and two other provinces have each been allocated funds amounting to Rp 1 billion (US$88,389) to implement the project Bagus Sudibya, a member of Bali Tourism Promotion Board (BPPD),. “We are optimistic about our capacity to properly develop creative tourism due to the abundance of resources at our disposal to support the creative industry,” noted Sudibya. Bali is now touting itself as the “Gateway To Indonesia’s Creative Tourism”. The current concept of creative tourism in Indonesia is still what might perhaps be seen as “Creative Tourism 1.0”, where producers design creative experiences (and in this case mainly observing the creative process, rather than active participation) for the tourist. 7.3
Latvia
As part of the Latvian sustainable development strategy, intangible heritage is being used to stimulate creative tourism. According to the strategy document: Creative tourism allows tourists to experience the authentic environment of the community culture, environment, traditions and even for a moment to feel like a local citizen. Creative tourists are involved with intangible heritage, changing the local community into "teachers" and the tourists into “apprentices". Creative tourism, it is argued, increases mutual respect, cooperation, and intercultural dialogue. It is also seen as a boost for the local economy just as the development of tangible heritage for tourism has been in the past. In particular, creative tourism is seen as an opportunity to promote Latvian rural cultural heritage, helping to promote the development of the creative industries in rural areas. Much of the current creative tourism offer is located in rural regions, and relates to traditional crafts and food. For example in the Ogre region there is a Centre for Cognitive and Creative Tourism, which offers a range of creative experiences, including star gazing, ceramic making, visits to local birch sap cellars (where tourists can learn about everything that can be made out of birch sap: fresh birch sap, lemonade, syrup, wine, sparkling wine, and birch sap vodka), homemade cheese and gingerbread baking. In the village of Aglona, craftspeople offer visitors a variety of creative workshops, including soap casting, jewellery making, decoupage decoration, weaving, crochet, and knitting. 7.4
European Union
Uno Silberg, President of the Committee of the Regions' European Alliance group has argued that creative tourism can create much-needed jobs across Europe. At a presentation at the 2013 European Open Days in Brussels he emphasised that the tourist quest for ever more authentic and fulfilling experiences was moving away from the mass tourism experience. Although the definition of creative tourism is not always clear, he argued:
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Downloaded by the author (author), on June 29th, 2015 At the core of creative tourism there are two key issues: the active participation of travellers in the community they are visiting and the acquisition of informal learning experiences from that exchange. The logic is simple: tourists can acquire authentic and fulfilling experiences by being actively engaged in the development of the place they are visiting. For the consumer, creative tourism puts them in the role of a creator of historical, social, cultural and economic value. For local communities, the development of creative tourism provides cities and regions with an opportunity to profile themselves and stand out in an increasingly saturated and competitive global market. And to do that, they only need the already existing resources, such as their cultural heritage, natural environment, knowledge and entrepreneurial spirit. Silberg underlined the sustainability of creative tourism, which: stimulates small and local businesses and does not produce any negative impact on the local culture and environment. On the contrary, it stimulates the growth and diversification of economic activities in the region and provides opportunities for the development of cultural and creative sectors, services, industries related to the cultural heritage and environment and many other fields depending on the local context. Furthermore, it stimulates the consumption of local goods and development of businesses operated with the use of local knowledge and by local people.
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8.
Destination focus: South Korea
South Korea has been one of the most dynamic destinations in the development and marketing of cultural and creative tourism over the past decade. In 2009 the Koreans stimulated the OECD study on the Impact of Culture on Tourism (OECD, 2009), which identified the basic shift from comparative advantage to competitive advantage in tourism development. The report also contained a case on the development of the “Temple Stay” programme in South Korea, which is an iconic example of creative tourism developed on the basis of traditional culture (eng.templestay.com). But in recent years there has been a major shift in policy emphasis from cultural and heritage tourism to creative tourism on the part of national government. One of the main drivers for this has been the success of the “Korean Wave” or Hallyu that has seen Korean films, TV series and other creative content taking many Asian countries by storm. This has gradually been turned into the basis for “Hallyu Tourism” in South Korea, with many specialist film and TV-related attractions being developed. This has now been extended to cover other contemporary creative content, such as cartoons and Korean street culture (OECD, 2014). Hallyu contents have been made available abroad through broadcasting, internet, mobile media and theatre to generate increased interest in Korea, ultimately increasing the number of visitors. The economic effect of Hallyu tourism was estimated to be around USD 6.4 Billion in 2012, supporting 67,000 jobs. This was a considerable increase on 2010, when an economic impact of USD 1.5 billion generated over 25,000 jobs. According to a survey on ‘the economic effects of Korean wave and its utilization of Korean enterprises’ conducted by the Korea Chamber of Commerce and Industry, among 300 major companies, 83% agreed that the Korean wave had improved the image of Korea and Korean products. Hallyu tourism was stimulated initially mainly by Asian tourists wanting to experience Korean film, TV and pop music (K-Pop). However, this basic driver also developed a demand for many different Korean creative products, such as food, fashion and language. The Korean Tourism Organisation gradually realised that visitors were looking for a more holistic experience of Korean culture and creativity, based on different aspects of Korean lifestyle: Eat what Koreans eat Play how Koreans play Visit where Koreans go Wear what Koreans like to wear
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Downloaded by the author (author), on June 29th, 2015 Figure 8.1: Number of Hallyu tourists visiting South Korea 1000000,0 900000,0 800000,0 700000,0 600000,0 500000,0 400000,0 300000,0 200000,0 100000,0 ,0 2007
2008
2009
2010
Following the development of Hallyu Tourism at the turn of the century, South Korea began to integrate the growing cultural tourism sector with new areas of creative tourism. In contrast to the relatively small-scale creative tourism projects developing elsewhere, this government-led initiative has resulted in mainstream creative sectors such as animation and music being harnessed for tourism marketing and development. In Korea, a broader convergence of tourism and the creative economy was recognised, stemming initially from the growth of Hallyu tourism, but later embracing a wide range of creative sectors related to Korean lifestyles, language, music and culture. The South Korean government also came up with a new definition of this form of creative tourism, which they saw as including: the creation of new directions in tourism through the application of creativity and imagination; the development of new tourism services through integration across industries; the creation of creative tourism products through the use of creative networks; and the discovery of high value-added tourism resources through linkage and integration between tourism elements. Creative tourism should have the following features:
Creativity: Contributing to tourism through differentiation from existing tourism products and services. Innovation: Increasing efficiency, for example through realizing cost reductions by integrating advanced technology within tourism. Convergence: Expanding tourism areas by producing products and services based on the linkage between tourism and other industries. Technology: Enhancing the efficiency of tourism-related services through convergence with the latest technologies. Economic impact: Creating jobs and contributing to economic growth at both national and local levels by attracting tourists and promoting tourism. Sustainability: Producing sustainable growth without government support. (OECD, 2014) 42
Downloaded by the author (author), on June 29th, 2015 One of the interesting aspects of the government role in developing creative tourism has been the incubation of new projects. For example the “Creative Tourism Contest Project” initiated by the KTO aims to “create jobs and secure the innovation and competitiveness of domestic tourism by fostering tourism venture companies that can create new values and synergies through collaboration with existing tourism businesses through creativity, innovation, openness and technology” (KTO, 2012). In 2013 the Korea Tourism Organization (KTO) ran its third competition for creative tourism start-ups. More than 1,000 contenders participated in the competition in 2013. Since its inception in 2011, some 170 innovative firms have benefited from the programme. Some 86 ideas have been transformed into bona-fide businesses, employing some 284 new workers. The winners of the competition receive funds in the range of KRW30 million to KRW50 million (€21,000-€36,000) to help them establish their own business. Training sessions to reinforce each business’ potential, mentoring and consulting services follow. Once the new business has been successfully established, the top 15 will receive additional funds, so that the support will be ongoing. 2013 creative tourism prize winners included: The “Makgeolli Sommelier Education” programme, which trains people in the art of tasting and serving this traditional Korean rice wine. There are more than 1000 kinds of local rice wines in Korea, and over 800 Japanese Sommeliers graduated from the programme in 2013. The two and a half-hour course is now being offered in English. The course costs 70,000 WON (€49) and classes are held every Second Sunday of the Month. The class introduces participants to the hitherto hidden Makgeolli culture and successful participants are granted a honorary certificate of Makgeolli Sommelier. A guest house in Hongdae, Seoul, My Hongdae, which provides customized cultural services. In addition to accommodation, it offers cultural events and lectures on K-pop and K-game. K-pop fans can enjoy musical audition programmes and a free shuttle service is provided between concert halls and the guest house. More than 1000 entries were received, and the eventual winner was a pedicab company called Ride Artee. “Artee” comes from the Korean word atti, which means “an old friend”, emphasising the relational creativity on which this creative tourism product is based. Ride Artee offers pre-designed pedicab tours for history buffs and romantic couples, while also allowing tourists to create their own route. In September, Ride Arttee registered as a corporation, and business has been thriving ever since, with 400 to 800 passengers per week, 20% of whom are foreign tourists. Another new creative tourism attraction for visitors to Seoul is the Simone Handbag Museum, which explores how a functional complement to the wardrobe emerged as a key driver in the fashion business. The handbag collection was assembled and curated by Judith Clark, Professor of Fashion and Museology at the London College of Fashion. The collection was assembled at a total cost of $1 million. Most of the handbags are European in origin, with some contemporary bags from the United 43
Downloaded by the author (author), on June 29th, 2015 States. As well as the display of handbags, there is a workshop in the museum’s basement, where for a fee, a master craftsman assists guests in designing and constructing a handbag, from cutting the leather to sewing the creation into its final shape.
Figure 8.2: Change in arrivals to Korea compared with world tourism 20
% change
15
10 World arrivals Arrivals to Korea 5
0 2009
2010
2011
2012
2013
-5
The development of creative tourism in South Korea has to date been stimulated in a top-down fashion. The funds for the Creative Tourism Contest Project are provided by the Tourism Promotion and Development Fund, and the KTO supports start-up funds for office lease and IT based infrastructure or app construction to the selected tourism business entities. For an existing tourism company, the KTO supports part of its initial operational funding requirements from government subsidy.
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9.
Creative tourism demand
Because of the diverse and grass roots nature of creative tourism, it is very difficult to obtain information on the growth or structure of creative tourism demand. A number of individual studies are slowly starting to appear giving some indications of what is happening in particular locations, but there is still no overview. 9.1
Thailand
A recent report from Thailand entitled a Study of Creative Tourism Investment Promotion (Information Provider and Consultants Co., Ltd., 2013), set out to gather information on creative tourism demand to aid the development and marketing of creative tourism in Thailand. The study was based on analysis of creative tourism projects and attractions and expert interviews. On the basis of previous studies by UNESCO, Charles Landry, Richards & Raymond and DASTA, creative tourism was defined as: travel with an authentic experience, to learn about the history, arts, cultures, lifestyles, heritage, or special characters of a community or place, through participation, getting closer to local people, and sharing good experiences by chatting, doing, and spending time together. The report summarises that “the main idea of creative tourism is to learn cultures through hands-on experiences”. The types of experiences offered by creative tourism are divided into heritage, lifestyle, arts and functional creations (Meditation, Thai culinary classes, Thai boxing classes, Thai massage classes, etc.). The business models for creative tourism are seen as comprising a commercial model and a community based model, which provides a number of different combinations for developing creative tourism products. Looking at the Thai market for creative tourism, the report finds that males tend to travel for learning more than females, while teenagers and retirees tend to travel for learning more than those of working age. Research by Tourism Authority of Thailand indicated that for foreign visitors, experiencing the local way of life was the 4 th most popular activity, after seaside, shopping and historic attractions. The report concludes that “vague creative tourism promotion direction and weak government promotion confused the private sector in planning or designing the appropriate tourism products and services to serve the market needs.” The main outcomes of a SWOT analysis conducted by the authors indicted that: The most important or main point of creative tourism is providing authentic travel experiences through participatory learning activities. In order to do this, a number of measures are needed, including:
The unique identities of the tourist destinations such as traditional cultures and skills should be traced, preserved, and promoted. In addition, the local 45
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administrators are able to add value to their destinations by using creative thinking or ideas and also focus on maintaining their own traditions as well. Develop a pilot project based on stories, identities, legends, history, and unique experiences, to guide or inspire both entrepreneurs and communities to apply the creative ideas to their own products, services, or business.
Based on this analysis, the report makes a number of recommendations for the development of creative tourism in Thailand. More detailed consumer research was conducted by Sindecharak and Sangsnit (2013) surveyed Thai tourists in the Meaung-Kao district, Mueang, Sukhothai, where people produce the Sangkhalok (Celadon). The study was conducted with a sample of 300 Thai tourists who travelled to the target area in May 2013, although after rejection of incomplete responses, only 122 surveys were retained for analysis. They found that the majority of ‘creative tourists’ were female (59%) and that the largest employment group was entrepreneurs (39%). The average age of the interviewees was 31, and around 70% had a Bachelor Degree or postgraduate education. Over half the sample (52%) had a monthly income of 20,000 Baht (€486) or less. The respondents generally saw creative tourism as something ‘new and fun’, although they seemed only to have a vague idea of the concept. Most however supported the idea of creative tourism, seeing it as a potential means to develop the uniqueness of destinations and community tourism (Table 9.1).
Table 9.1: Attitudes of Thai tourists towards creative tourism % 1. Convenience
Strongly Agree -
Agree
Neutral
Disagree
Strongly Disagree
1.6
25.4
41.0
32.0 -
2. Unique Product
24.6
47.5
27.0
0.8
3. Culture Learning
34.4
48.4
16.4
0.8
4. Joining Activity
20.5
41.0
35.2
3.3
-
5. Engagement\
23.0
49.2
26.2
0.8
0.8
6. Expecting Unique Place 48.4
37.7
13.1
0.8
-
7. Community Tourism
40.2
18.9
-
41.0
46
-
-
Downloaded by the author (author), on June 29th, 2015 9.2
Taiwan
Fieldwork was conducted by Siow-Kian Tan (2013) at four different creative tourism businesses in Taiwan: a leisure-farm, a ‘story house’, a pottery-making museum with a workshop, and a wooden furniture museum with a workshop. Depth interviews were held with a total of 32 respondents with ages ranging from 18 to 60, with the majority between 25 and 45. There were 18 females and 14 males; 17 were Taiwanese, six were Malaysians, four were Singaporeans, and five were from Hong Kong and Macau. Fifteen respondents travelled with family members (nine were parents with children, and six were adult children with parents/relatives). Fourteen respondents travelled with friends, three were teachers/instructors who were leading groups of students. Analysis of the interviews revealed four themes: “consciousness/awareness”, “creativity”, “needs”, and “learning and interacting”. Creativity in creative experience is composed of multiple dimensions, such as “novelty”, “usefulness”, “challenge and controlled risk”, “experiential” and “existential”. The term creativity often confused the tourists, and the respondents gave their own definitions which can be integrated under these five dimensions. For example, most respondents stated that creativity means “interesting” and “new”, which can be categorized under “novelty”; whereas some focused on the “usefulness or functionality” of the product they made, or the experience they had. 9.3
Creative tourism in Santa Fe
In the OECD report Tourism and the Creative Economy, a case study is presented on the development of creative tourism in Santa Fe, New Mexico in the USA. This describes how the programme was developed by creating links with local artists and creative entrepreneurs in order to create a new offer for tourists alongside the city’s existing cultural attractions. A report on the impact of the City’s Creative Tourism programme by Brent Hanifl shows that it has experienced tangible results in a short time. In 2012, the programme generated USD 62,782 in direct economic benefit for artists, compared with USD 40,790 in 2011. In total, the programme has generated USD 134,166 in reported income for participants since 2010. Since 2011, over 300 people have participated in business development classes and/or received personalised consultation to develop creative tourism experiences. The number of offerings by participating artists has grown by nearly 600%, from 40 workshop activities in 2009 to over 235 ongoing workshops in 2013. However, if the creative tourism activities offered by other providers in the city are also taken into account, then the total creative tourism turnover for Santa Fe is estimated to be in excess of $1 million. 9.4
Creative Tourism in Barcelona
In Barcelona, considerable investment in culture and creativity in recent decades has helped support a significant growth in growth in tourism, and particularly tourism related to the cultural and creative attractions in the city. Richards (2007) also found a strong correlation between tourists having an image of Barcelona as a creative city 47
Downloaded by the author (author), on June 29th, 2015 and the desire to live in the city. This link between creative experiences and the attraction of longer staying tourism and repeat visitation was one of the reasons for developing the Creative Tourism Barcelona programme in 2005 (Couret, 2012). Turisme de Barcelona now views tourists as ‘temporary citizens’ who stay for a shorter or longer time in the city and interact with all aspects of local life. This in itself is a creative reframing of tourism, which attempts to transform the experience of visiting a place for tourists and locals alike. A study of creative tourism experience providers in Barcelona in 2010 indicated that cultural organizations associated with the Creative Tourism Barcelona programme had hosted almost 14,000 creative tourists in 2010, only five years after its launch. Many of these tourists are repeat visitors to the city, which underlines the importance of creativity as a potential motive to return to the destination. 9.5
Creative economy and tourism in Malta
A report on Malta’s Creative Economy and a strategy for the Cultural and Creative Industries underlines the value of tourism for supporting the cultural and creative industries. Data on tourist expenditure in 2008 and 2009 provides a picture of the composition of tourist expenditure in Malta, especially with regards to culture-related expenditure. The total tourist expenditure on the CCIs sectors amounts to around €47.5 million, which makes up over 6% of total tourist expenditure. In contrast, residents of Malta only dedicate 3.4% of household expenditure to cultural and creative products and services. The total expenditure spent by tourists on cultural activities (attractions, events and popular entertainment) was around €24.8 million in 2009, or 3.2 per cent of total tourist expenditure. Spending on cultural products (including souvenirs, maps, postcards, guidebook etc.) by tourists amounted to around €22.7 million, or 2.9% of total tourist expenditure. Data from the Maltese Household Expenditure Survey suggest that Maltese households spend less than €300,000 in total on visits to cultural sites. In 2007 the cultural sites sub-sector generated a turnover of around €7 million, suggesting that most of this turnover was consumed by tourists visiting Malta and thus represents exports. In the crafts sub-sector, Maltese households spent around €20 million in 2008. Tourists spent around €21 million on souvenirs. This indicates that the export market, primarily the tourist market, represents a sizeable share of the output of the crafts industry. This indicates that tourists are an important support for creativity in destinations like Malta. 9.6
Global youth tourism
Research by the World Youth Student Educational Travel Confederation (WYSE) among 34,000 youth travellers in 2013 indicated that just over half of the respondents indicated that “developing my creativity” was important or very important to them as a travel motivation. The research also indicated that those who travelled with a creative motivation were likely to spend more and to stay longer in the destination. Creative travel was also strongly linked to relational travel, with creative travellers more likely to be interested in experiencing everyday life in the 48
Downloaded by the author (author), on June 29th, 2015 destination and staying in other people’s homes, for example through hospitality exchange schemes such as Couchsurfing.
Total spend (euro)
Figure 9.1: Expenditure by creative youth travellers and other youth travellers
4000 3500 3000 2500 2000 1500 1000 500 0
Creative tourists 9.7
Other travellers
Design exhibitions
The review of museum exhibition attendance by the Art Newspaper indicates that exhibitions related to the creative industries are becoming increasingly important in attracting large numbers of visitors.
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Downloaded by the author (author), on June 29th, 2015 Table 9.2: Creative Industries Exhibitions and Visitor Numbers 2012 (Arts Newspaper 2013) Exhibition
Venue
City
Visitors
The Art of Video Games
SAAM/Renwick
Washington, DC
686,406
Santiago Calatrava: the Quest for Movement
State Hermitage Museum
St Petersburg
430,000
Harry Potter: the Exhibition
Powerhouse Museum
Sydney
382,739
California Design1930-65
LACMA
Los Angeles
363,589
London 2012 Olympic & Paralympic Posters
Tate Britain
London
314,422
Bugs, Daffy, Silvestro and Co
Museo Nazionale del Cinema
Turin
208,272
Little Black Jacket
Saatchi Gallery
London
161,176
Design with the Other 90%:Cities
Cooper-Hewitt
New York
151,493
New Nordic Architecture and Identity
Louisiana Museum of Modern Art
Humlebaek
143,964
British Design1948-2012
Victoria & Albert Museum
London
135,868
Top Designs2012
Melbourne Museum
Melbourne
123,238
Towers and Skyscrapers: from Babel to Dubai
Caixa Forum Barcelona
Barcelona
84,273
MadeinLA2012
Hammer Museum
Los Angeles
81,000
Deoksugung Project
NMoCA, Korea
Seoul
69,159
Graphic Design: Nowin Production
Cooper-Hewitt
New York
63,760
Skyscraper: Art and Architecture Against Gravity
Museum of Contemporary Art Chicago
Game On
Centro Cultural Banco do Brasil
Brasília
56,740
Rotterdam Design Prize
Museum Boijmans-vanBeuningen
Rotterdam
49,435
61,510
In 2012, the Harry Potter Exhibition at the Powerhouse Museum in Sydney delivered AUD 46.9 million (USD43.2 million) in economic impact for New South Wales and generated 260 000 additional bed nights, with almost half of visitors to the exhibition (48.3%) travelling from outside Sydney. The Smithsonian American Art Museum, for example, invited the public to help select the video games to be included in the Art of Video Games exhibition, based on a short list selected by an advisory group 50
Downloaded by the author (author), on June 29th, 2015 consisting of game developers, designers, industry pioneers, and journalists. Votes were cast by 119 000 people in 175 countries. The exhibit is being shown at ten other venues across the United States between 2013 and 2016.
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10.
Sector watch: Accommodation
Creativity is becoming a major factor in the development of tourist accommodation. This ranges from the development of designer accommodation to the growth of ‘relational tourism’ (Richards, 2014) as part of the sharing economy. 10.1
Airbnb at Sundance
Companies such as Airbnb and Couchsurfing have pioneered global peer to peer tourism, which many have labelled as a form of creative tourism. It is therefore interesting that Airbnb was featured at the Sundance Film Festival in Park City, Utah in 2013. According to Amy Curtis-McIntyre from Airbnb: Airbnb was founded by two designers renting out their living room - our roots are pure creative hospitality. Since then, Airbnb has been home to filmmakers on shoots, musicians on tour, and allowed artists to make ends meet by sharing their space. Airbnb Haus at the Sundance Film Festival is a new way for us to connect with, and support, the creative community we believe in so deeply. It will be a privilege to offer the warm and inspiring hospitality that is uniquely Airbnb to the Festival participants this year. The growth of companies such as Airbnb based on peer-to-peer networks has been spectacular. It now has 800,000 accommodation listings and has catered to 20 million guests in 190 countries. The potential stock market entry of Airbnb is forecast to produce a capitalisation of €10 billion, compared for example, to the value of travel giant TUI, valued at €7 billion. 10.2
Arts events and fashion shows in hotels
There is increasing convergence between hotels and fashion, as artists and fashion designers use hotels as venues to exhibit their products, and arts and fashion event help to fill hotel beds. For example, for the Los Angeles Fashion Week the W Hotel offered pop-up spaces for fashion shows: Terrace Space: Imagine sipping cocktails on a rooftop terrace surrounded by Hollywood landmarks in elevated surroundings. Opening a pop-up shop at The W Hotel Hollywood’s 450 square ft. Terrace Room will not only give your brand immediate clout and interest, but will also become a destination during Fashion Week Los Angeles. In London, although the main venue for London Fashion Week is Somerset House, numerous hotels are also used for fringe shows. 10.3
Design value in accommodation
The design hotel concept is well established, and particular destinations have become design accommodation hubs. For example Miami, Milan and Helsinki all have their design quarters and a liberal dose of design hotels.
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Downloaded by the author (author), on June 29th, 2015 In Milan, new hospitality concepts are being developed by architects, such as the “Public Camping” and the “Bed Sharing” projects by Esterni (a non-profit cultural association whose aim is to develop and produce cultural projects in Italy and worldwide) and the concept-brand “TownHouse Street” developed by Alessandro Rosso and the architect Simone Micheli. The first TownHouse Street opened in 2010, and is designed to accommodate both leisure and business travellers. The “Permanent Hospitality Spaces” face directly onto the street, use ecological materials, LCD monitors and borderless furnishings to “ensure continuous visual stimulation.”
Other designer-led accommodation initiatives include the “Camping House in Barcelona, developed by local designer Esther Rovira. The accommodation has been developed to give an experience of “camping indoors” in the heart of Barcelona. Guests are also encouraged to be creative by being given vouchers that they can only exchange at local shops. In Miami, there is growing convergence between hotels and the art world. The Royal Palm hotel has linked with the Museum of Contemporary Art North Miami (MOCA), New World Symphony, the Public School fashion line and National Young Arts Foundation. MOCA produced permanent art installations within The James, and guests of the hotel have VIP access to special events at the museum. Miami is also gradually establishing itself as the winter hideaway for the art world, staging the Art Basel Miami Beach exhibition. Design hotels can become destinations in their own right, as illustrated by Frank Gehry’s City of Wine complex for the Marques de Riscal Winery in Elciego, northern Spain. The hotel features a wavy metallic exterior meant to reflect the colours of the winery’s signature bottles with their silver foil and gold mesh covering. The five-star, 43-room hotel has a spa offering ‘wine therapy,’ a wine shop and a viticulture museum. 10.4 Accommodation for creatives Bon Moustace Hostel in Barcelona markets itself to young creative by proclaiming: Barcelona, the fourth most creative city in the world Only San Francisco, London and New York come above Barcelona, according to a survey of a hundred top international professionals carried out by the Barcelona Design Centre. The survey’s participants also affirmed that creativity is one of the big attractions of establishing a business in the city. http://www.bonmoustachehostel.com/ Many other hostels in Barcelona also profile themselves via creativity or art, such as the ARTHOSTAL, “a small artist/tourist-residence in an 18th century building in the historical centre of Barcelona near the Cathedral, the Picasso Museum and the Borne Quarter.” The Equity Point hostels group also runs the “HostelArt” project, which “creates in its hostels an alternative cultural space, which offers room and opportunities to new creators, new ideas, and new ways of propagating art and culture, by developing a non-profit-making project open to all creative artists who wish to show their work in a context in which the artists themselves, the public, and the hostel all benefit.” 53
Downloaded by the author (author), on June 29th, 2015 10.5 Accor discovers creative tourism The Accor Group communication department recently drafted an article on Travel Trends: Creative tourism or the future of cultural tourism. This was then posted on a number of websites, including 4hoteliers.com. Although the article provides little new information beyond that provided by the Creative Tourism Network, it is interesting that multinational companies are now taking an interest in the creative tourism trend.
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11.
Sector Watch: Gastronomy
Gastronomy is not usually one of the sectors identified in the creative industries, but this is slowly changing, particularly because of the growing importance of gastronomy in culture and tourism. This is one of the major trends being monitored by the International Institute for Gastronomy, Culture, Arts and Tourism (IGCAT), which seeks to identify the most innovative and interesting ideas emerging from the convergence between gastronomy, culture and tourism, and provides policy advice in order to support local development in these areas. One of the areas that IGCAT is working on is the European Region of Gastronomy Programme, which seeks to highlight the gastronomic culture of different regions in Europe for cultural, economic and social development and the attraction of tourists. This programme is designed to highlight the strong links between gastronomy, culture and creativity. Nine European regions are already developing projects for the programme, and the first of these candidate regions will run their events in 2016. From 2020 the programme will be open to regions from around Europe. A good practical example of the way in which these fields are converging is the current project of Ferran Adrià, one of the ‘gastro-stars’ of global cuisine. His Michelin three-star elBulli restaurant in Spain was for five years running ranked the best restaurant in the world by Restaurant magazine. Having shocked the gastronomic world by closing his restaurant in 2011, he began looking for new ways to express his gastronomic creativity. One new development is a project for a gastronomic Research and Development centre. The new centre will conduct research into avant-garde gastronomy, promote gastronomic culture and providing high level training. He is now developing the elBulli Foundation to carry on his work developing creative ideas outside the restaurant. A museum and visitor centre themed around the restaurant will be called elBulli 1846, reflecting both the 1,846 dishes created at elBulli and the year that Auguste Escoffier was born. Adria aims to attract some 200,000 people a year, far more than could eat at the restaurant when it was open. The elBulli Foundation will draw inspiration from sources such as the Cirque du Soleil, Salvador Dali and his museum in nearby Figueres, and MIT's Media Lab. when it opens in 2015. The project is due to open in 2015, after an investment of €9 million. It will then cost €3 million a year to run. The creative laboratory elBulliDNA wil employ a team of 30 gastronomy professionals who will experiment for 8 months a year to produce an exhaustive classification of foods, called a “Map of Culinary Process: Decoding the Genome of Cuisine,”. Adrià says it’s about “decoding”: creating a complete gastronomic taxonomy by organizing and classifying foods. The Adrià influence has spread to nearby l’Escala, where the Gastromusical is staged every summer. This event presents a fusion of music and gastronomy, with the combined food and music menu priced at around €80. In nearby Andorra, there is also Andorra RedMusic, “a new festival that combines good music and good wine in exceptional surroundings at the heart of Andorra la Vella’s historical centre.”
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Downloaded by the author (author), on June 29th, 2015 The relationship between gastronomy, food and tourism is increasingly being picked up as a development option by cities around the world. For example, there is now a specific “Culinary Culture Strategy” in Helsinki, which aims to develop the city as a top-quality European culinary city: by promoting business through cooperation between companies, the educational institutions in the city, Palmia (the city’s catering business) and the Wholesale Market. The city sees a role for itself in influencing the entire food chain and as a catalyst for its residents, employees and the hotel, restaurant and catering (HoReCa) businesses in Helsinki. The Culinary Culture Strategy includes a number of areas of direct relevance for tourism, including
Boosting the role of culinary culture as part of the city's international image and tourism marketing and communications Creating the Food District Helsinki map for restaurants, shops and actors, the Helsinki Menu and ethnic shops Creating the Gastronomic Calendar, which highlights using seasonal products according to different seasonal festivities.
The food culture of Helsinki is also directly promoted to tourists by Visit Helsinki, which emphasises a number of different elements that the city has to offer:
The unique, surprising and authentic nature of the city’s food culture Four Michelin-starred restaurants Hundreds of pop-up restaurants Food events at the Abattoir Interaction of food and design Open-air markets and market halls Restaurant Day (see section 3.4) Block parties with programmes including popup restaurants and music. City farming Coffee culture
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12.
Sector Watch: Tour operations
12.1
Sabiar, Brazil
Adriana Lima, a former employee of a multinational company and the author of a travel blog, Adriana Lima bet that many people will trade a ride in a traditional museum or other tourist place for a space where you can learn something new. She set up the company Sabiar, which provides courses and experiences for tourists. The idea behind Sabiar is that “people want to engage with the local culture and learn for pleasure”. Sabiar provides a rich mix of different learning experiences grouped into four categories: photography, gastronomy, sports and art. Prices range from $ 20 for "training in the sand" in Rio, to $ 210 (about U.S. $ 475), for a make-up course in São Paulo. Classes are in English abroad and those in Brazil have teachers who speak English or a translator. The classes can be paid for on the Sabiar website via PayPal. About 200,000 reais (€64,000) have been invested in the project. Currently, the average of courses purchased through the platform is 30 per month. The goal is to close the year selling 30 lessons per day. As in the case of Porto Alegre (section 5.5), a link with the World Cup was made. "Our classes are taught in English and Portuguese. Our plan is to start with strength in the cities hosting the World Cup, " says Adriana. Sabiar is planning to offer 200 courses in 30 cities by the end of the year. Currently there are 30 registered courses in 12 cities, including Manaus, Florence, New York, San Francisco, Sao Paulo, Salvador and Ko Phi Phi, Thailand. To give visibility to the site, Sabiar is developing partnerships with hotels, embassies, expatriate communities and travel agencies. The idea is to offer courses for both Brazilians on vacation to the country as well as for foreigners who are visiting Brazil. The Sabiar philosophy is: “Deep inside, you want to escape, go somewhere else, and learn something new”: But we live in a world of time-and-energy-sucks; the hectic commutes, grumpy bosses, the ambling deadlines, not to mention the proverbial pressure cooker that is our office cubicle. At the end of the day, we just all collapse on our couches, with our creativity zapped and our endeavors dead and forgotten. We still can’t paint, our Samba moves are struggling, and oh, we still don’t even know how to use our cameras in manual mode. Wouldn’t it be nice if you could just have fun, travel and learn something new? We believe that travelling should not only take you to places, but it should let you take something extraordinary back home with you. Adriana says it has tested a number of courses and explains that they all last at most a day and have something to do with the local culture. "Many courses are outdoors, and teachers are residents of the place. A person will not feel wasting time, no way. And she will go home with a piece of travel within it, new knowledge".
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Downloaded by the author (author), on June 29th, 2015 One example of the products offered by Sabiar is a graffiti tour in São Paulo: With nearly 20 million inhabitants, it is natural to expect that the fourth largest metropolitan area in the world – São Paulo – keep some of its gems a hidden secret. Welcome to ‘Vila Madalena’, a middle class neighborhood, known amongst ‘Paulistas’* for its trendy bars and restaurants. Located in a narrow and gloomy alley-way, behind the local cemetery, you will find an open-gallery, born over thirty years ago when many artists took over the area and transformed its quiet dilapidated streets and buildings with bursts of colour on the surrounding walls. And what’s more, this artistic expression is by no means illegal, but a way the community found to occupy the place before it started to degrade. The cooking fast and healthy workshop is also run in Sao Paolo: The Cooking fast and healthy workshop is taught by the Chef Bia Goll, from Otto Bistrot, in São Paulo, Brazil. The workshop is a practical class in which participants prepare their own food and learn one recipe by heart. Bia Goll is not only the chef, but is also the animator of the workshops. She doesn’t teach haute cuisine, but encourages people to be creative with the ingredients that they have at hand. Many other experiences are offered all over the world, with destinations including Thailand, the United States, Spain and Italy. 12.2
Russia: Ecsplora
ESPLORA bills itself as “a new kind of tourism” designed to “develop your tourism potential, expanding your professional horizons.” The aim is to create an international community of professional architects, designers, artists, photographers and other creative professionals. The concept depends on creating a circle of likeminded friends. The company was formed by Russian and Italian architects, who are currently offering tours in Italy. 12.3
USA
Trips2learn is run from Saratosa, Florida by Anna Monka, a ‘global nomad’ who provides access to a range of creative destinations and experiences around the world, including Bhutan, Costa Rica and Vietnam. According to the website: Trips2learn offers you an easy way to connect with the travel resources based on your destination or on the experiences you are looking for to plan your trip. We have included a selection of authentic and interactive workshops, tours, unique or historic hotels and traditional or exquisite restaurants or attractions. We invite you to be a part of our community and share your travel experiences with other members.
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Downloaded by the author (author), on June 29th, 2015 The experiences offered include:
Yoga and Wellness Weekend Getaways Volunteering Vocation Tryouts Sports and Adventure Photography Personal Development Languages Day Trips Culture and Heritage Culinary Art
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13.
Conferences and meetings
13.1
UNCTAD meeting on tourism and the creative sector
In January 2014, experts from developing countries and members of the Steering Committee on Tourism for Development discussed how the tourism sector links with the creative economy and can contribute to poverty reduction. Arguably a relatively high share of tourism expenditure on shopping, particularly handicrafts, reaches the poor. The production and selling of handicrafts usually includes informal sector operators in which poorer and less skilled entrepreneurs participate. The meeting discussed the concept of creative economy and its links to tourism. Then a number of presentations highlighted different aspects of the tourism-creative industries relationship. The Head of UNCTAD's Creative Industries Unit, Ms. Zeljka Kozul-Wright, gave an overview of the importance of creative industries, culture and tourism in development strategies, and highlighted that creativity was a dynamic process and culture a fundamental part of development. Professor Vellas from Toulouse University, discussed how the creative industry can influence tourism innovation, architecture, design, management, distribution, culture and gastronomy, and quality. A presentation from Cape Verde then underlined the importance of the creative economy, and in particular culture, for the tourism sector. There is a need to enable Cape Verdeans to benefit from tourism demand for crafts, which is currently met by imported products. The Ministry of Culture has created a road map for launching a network and distribution of craft products which will enable producers to meet consumer demand. Crafts products will also be marketed through the Casas de Cultura. Country representatives reported that the meeting format brought out a "humanistic approach and dimension" to the importance of culture in tourism and the creative economy. Moreover, the meeting contributed to further enhancing the collegial and constructive partnership amongst agencies, which is crucial for efficient resource allocation and efficient project implementation. 13.2
Creative tourism meeting in Barcelona
ATLAS held an expert meeting on the theme Alternative and Creative Tourism in Barcelona in June 2013. The meeting was attended by 19 delegates from Spain, Portugal, the UK, Italy, Thailand, Hungary and the Netherlands, who presented papers on a wide range of subjects related to creative tourism. Selected papers from the meeting were published by ATLAS (Richards and Russo, 2014). This meeting led to a further line of research on the theme of “new localities in tourism”, which is currently being developed into a publication.
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14.
Education and training
The growth of creative tourism also means that courses are now developing to educate and train people to develop, manage and market creative experiences for tourists. In Belgium there is a course for “Digital Creative Tourism Managers”, who are seen as somebody who can communicate with the new breed of tourist and is a creative expert who can follow and utilise the latest creative trends. “These products are not the obvious trip – (the product) goes off the beaten track and cannot be engineered by three clicks on the internet.” In Latvia, Liepaja University is offering courses in Tourism management and recreation that include specialisms in health tourism and creative tourism industry. Also in Latvia, the "Riga School of Food Producers" was renamed the Riga Tourism and Creative Industries Technical College in 2013. The programme offered includes:
Tourism Management Health tourism Creative industries tourism
In the UK, Goldsmith’s College at the University of London now offers a unit in Cultural and Creative Tourism, run by the Institute of Creative and Cultural Entrepreneurship. This module critically analyses the growth and character of cultural tourism and the growing relationship between the creative industries and cultural tourism. It critically interrogates notions of the creative class, the creative city and the experience economy, which have been used to underpin strategies in cultural tourism development. Ideas about the growing sophistication of cultural tourists and their changing tastes suggest that travellers wish to move beyond consumption to ‘prosumption’. With increasing competition between tourism destinations, the development of timely, attractive and innovative tourism products has never been more necessary – whether using the historic environment in creative ways or exploiting contemporary cultural forms.
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15.
The personal impact of creative tourism
We have always argued that the true impact of creative tourism is not on the economy, or on the development of tourism products or destinations, but the impact that it has on individuals. Because much creative tourism is based on bringing creative people in contact with each other, there are many different impacts that creative tourism can have on both hosts and guests. For example a recent post on the craft blog Cut Out and Keep (www.cutoutandkeep.net ) highlights the experience of Heather Potten. Heather is a designer and artist who works in Edinburgh, Scotland, running courses on felt making and design. Her own inspiration for this choice of career, however, came from her experience at the pioneering project Creative Tourism New Zealand: I started when I was travelling in NZ with my husband and there was a 4 days section in the holiday where you could go on a long trek, but I didn’t want to go. So I was in a place called Nelson in the south side of the Island and they have a thing called Creative Tourism where they have a site offering their courses. I chose glass fusion, wood turning and felt making which interestingly was the one I had the least expectations of My tutor dyed her own wool and had a large garage full of different coloured wool and basically said “help yourself”. I made a bag in the two days of doing the course and when I got back to Edinburgh I immediately went and found some courses at the Edinburgh College of Art and did two terms there and a week in the summer and eventually my tutor said “right you have done enough here now, it’s time for you to go and find your own style”
Heather came home wanting to do more, so she opened a studio and started exhibiting her newly learned skills at markets and exhibitions. Her work is now featured in a number of galleries and she has become a member of the international Felt Makers Association. She now offers workshops “for people to come and have a go at making something and to make something simple, it’s surprising easy.” For more information see http://www.heatherpotten.com/. A blog by Michael on Why Creative Tourism Is Changing the Way YOU Live outlines that “Creative tourism is all about creativity, interconnectedness, and joyous, mindful living.” This blog identifies a number of developing dimensions in creative tourism:
Develop Career Creativity
He argues that creative people should learn to use creativity to make a life, particularly because some creative skills, such as those possessed by web developers, graphic artists, cartoonists, white board artists, voice actors, search engine optimization specialists, pay-per-click gurus are in demand all over the world. They can become “lifestyle entrepreneurs” who can operate from almost any location in the world.
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Creative Tourism: Creative Cities
Creative people of all types are attracted to other clusters of creative people, and that’s why the concept of creative cities makes so much sense. Barcelona, Paris, and Santa Fe are examples of creative cities seeking to attract and inspire creative persons and industries. Of course, bringing many creative people into one place can have a dynamic impact on the local culture, economy, and sense of community. In such a place, creative people feel at home and feel like creating more than ever before.
Creative Tourism and Housing
Relational tourism has particularly grown through hospitality exchange schemes, which also make the cost of travel to another creative city very low. For example, an academic or creative wants to travel to another location. He or she uses house-matching services to swap homes with another creative person traveling to his or her desired location. A musician in Santa Fe wants to visit France. He is offered a house-swap in Carcassonne, the home of a medieval fortress in France. It’s not really close to Paris but the idea of living in a 12th century home for a few weeks inspires him. And the house swap is practically free! The creative tourists “live like locals as creatives in a growing world-wide community.” To find out how the creative tourism bug can really change one person’s life, look no further than Elena Paschinger’s blog, where she charts her journeys I search of creative tourism experiences around the world.
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16.
Creative Tourism Bibliography
The rapid growth of the creative tourism field means that the number of publications and reports dedicated to this subject has also increased significantly in recent years. This bibliography includes a selection of some of the core texts in the field from previous years, and a review of the most recent publications on creative tourism. 16.1
Core bibliography (in date order)
Dodd D., and Annemoon van Hemel (Eds.) (1999) Planning Cultural Tourism in Europe: A presentation of case studies and theories, Amsterdam, Boekmanstichting. A collection of papers on cultural tourism, with contributions from Greg Richards, Diane Dodd, Franco Bianchini and Gerard Rooijakkers. Contains one of the first published mentions of ‘creative tourism’, as well as many references to the link between creativity and tourism.
Richards, G. and Raymond, C. (2000) Creative Tourism. ATLAS News, 23, 16– 20. Recent decades have seen a significant growth in cultural tourism, as tourists have become increasingly interested in learning about the culture, heritage and history of the destinations they visit. The emergence of cultural tourism as a major market has in turn stimulated the development of cultural and heritage attractions as a means of attracting tourists and using their expenditure to support cultural provision for local residents. Although the cultural tourism boom has undoubtedly produced many successful policies and attractions, the very growth of cultural tourism has begun to cause problems. From an environmental point of view, the vast numbers of visitors attracted to major honeypots has begun to be a cause of concern, particularly in historic city centres. The increased commercialisation of cultural objects has also increased concerns about the commodification of local cultures. Many cities pursue cultural development strategies which depend on the serial reproduction of culture through iconic buildings or mega events, and this leads to less, rather than more distinction. We are therefore seeing a ‘creative turn’ in tourism, based on the use of creative as well as cultural resources. A creative approach to tourism has many potential advantages, because of its potential for value creation, innovation potential, sustainability and mobility.
Richards, G. (2001) Cultural attractions and European tourism. Wallingford: CABI. Includes a chapter on the Experience Industry and the Creation of Attractions, which charts the shift from cultural tourism to creative tourism. 64
Downloaded by the author (author), on June 29th, 2015 Raymond, C. (2003) Cultural Renewal + Tourism: Case Study – Creative Tourism New Zealand. http://www.creativenz.govt.nz/assets/paperclip/publication_documents/docum ents/97/original/case-study-creative-tourism-new-zealand.pdf?1322079829 An inside story of the development of Creative Tourism New Zealand, the first structured creative tourism programme in the world.
Richards, G. (2005) Textile tourists in the European periphery: New markets for disadvantaged areas? Tourism Review International , 8, 4, 323 – 338. Cultural products are often used as a means of attracting tourists to areas that currently have low levels of tourism, particularly because of their peripheral location. This article reports on attempts to develop textile-related cultural tourism in disadvantaged areas of Europe. Surveys of 1100 tourists in three regions: the Alto Minho (Portugal), Lapland (Finland), and Crete (Greece) shed light on the motivations of tourists to purchase textiles and other crafts products. Textiles do not provide the prime motivation for tourists to visit a destination, but they can form an important secondary motive. The differences in the textile crafts markets for the three regions are examined, and particular attention is paid to the need to develop products that emphasize the unique nature of local culture, but that also reflect the needs of the tourists in different regions. Examples of specific development and marketing initiatives adopted by the different regions are examined, and the longterm impact of the textile tourism initiatives is considered.
Richards, G. and Wilson, J. (2006) Developing creativity in tourist experiences: A solution to the serial reproduction of culture? Tourism Management 27, 1209–1223. As culture is increasingly utilised as a means of social and economic development, the cultural tourism market is being flooded with new attractions, cultural routes and heritage centres. However, many consumers, tired of encountering the serial reproduction of culture in different destinations are searching for alternatives. The rise of skilled consumption, the importance of identity formation and the acquisition of cultural capital in (post)modern society point towards the use of creativity as an alternative to conventional cultural tourism. This paper considers the development of creative spaces, creative spectacles and creative tourism from the perspective of supply and demand. The need for creativity in developing new products and how to address the challenge of serial reproduction are discussed, and examples of creative tourism projects are examined and contrasted to traditional models of cultural tourism.
Richards, G. and Wilson, J. (2007) Tourism, Creativity and Development. London: Routledge.
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Downloaded by the author (author), on June 29th, 2015 Evans, G. (2007) Creative spaces, tourism and the city. In G. Richards and J. Wilson (eds) Tourism, Creativity and Development. London: Routledge. An analysis of the relationship between cultural tourists and the creative class, and the shift from ‘cities of culture’ to ‘creative cities’. In particular this chapter focuses on the role of architecture and design in public space.
Prentice, R. and Andersen, V. (2007) Creative tourism supply: Creating culturally empathetic destinations. In G. Richards and J. Wilson. (eds)Tourism, Creativity and Development. London: Routledge. Provides an analysis of creative tourism supply in small towns in France, and examines how creative tourism has been facilitated. Particular attention is paid to the role of animateurs in processes of creative tourism development.
Maitland, R. (2007) Tourists, the creative class and distinctive areas in major cities. In G. Richards and J. Wilson. (eds)Tourism, Creativity and Development. London: Routledge. Looks at the relationship between tourism and everyday life and the way in which neighbourhoods which are ‘off the beaten track’ have been developed to attract creative tourists.
Rogerson, C. (2007) Creative industries and tourism in the developing world: The example of South Africa. In G. Richards and J. Wilson (eds) Tourism, Creativity and Development. London: Routledge. Examines the relationship between the creative industries and tourism in a developing world context looking at recent developments in South Africa. It particularly emphasises the policy context that has been developed for the creative industries and tourism in South African cities.
Maitland, R. (2007) Conviviality and everyday life: the appeal of new areas of London for visitors. International Journal of Tourism Research, 10, 1, 15 20. Literature on tourism development in converted cities or new districts of polycentric cities emphasises planned processes to create attractions, often resulting in standardised tourism zones. The demands and experience of tourists themselves have been neglected. Qualitative research with overseas visitors to new tourism areas suggests that character and sense of place that visitors enjoy derives from a combination of unlike elements, ‘lashed up’ to create a distinctive place, in which everyday life plays an important role. Rather than familiar stories of conflict between ‘hosts’ and ‘guests’, the emphasis in some areas is on conviviality among different groups of city users.
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Downloaded by the author (author), on June 29th, 2015 Richards, G. (2007) Introduction: Global Trends in Cultural Tourism. In Richards, G. (eds) Cultural Tourism. Global and Local Perspectives. New York: The Haworth Press. Reviews the global cultural tourism market, and identifies emerging styles of cultural tourism, including creative tourism.
Couret C., (2008) 'Barcelone, pionnière de l'accueil des touristes créatifs ', In: Revue Espace Tourisme. Le programme Barcelone Tourisme créatif vise à permettre, à toute personne désireuse de pratiquer une activité artistique à Barcelone, de le faire dans les meilleures conditions. Cette offre touristique participative originale, qui embrasse de nombreuses disciplines (du design au théâtre, en passant par la gastronomie et la musique), permet de répondre à la demande de visiteurs à la recherche de nouvelles possibilités d’expression. Mais aussi de renforcer l’image culturelle dynamique de la ville.
Ferrari, S., Adamo, G. E. and Veltri, A. R. (2008) Experiential and multisensory holidays as a form of creative tourism. In Richards G. and Wilson J. (eds) From cultural tourism to creative tourism. Part 4. Changing experiences – The development of creative tourism. Arnhem : ATLAS. This paper examines the growing role of sensory aspects of consumption as a driver for creative experiences in tourism. It considers taste workshops in Italy, the History Unwired project in Venice and an olfactory tour of Casoncello Gardens.
Miettinen, S. (2008) Creative tourism as tool for local empowerment. In: G. Richards and J. Wilson, J. (eds.). From cultural tourism to creative tourism, Arnhem: ATLAS This paper presents a case study of the development of creative tourism at a womens’ collective in Namibia, focussing on the development of relationships and skill transfer between hosts and guests.
Binkhorst, E. and Dekker, T. Den (2009) Agenda for co-creation tourism experience research. Journal of Hospitality Marketing and Management, 18, 23, 311 – 327. In the experience economy, suppliers are in search of new ways to distinguish themselves and to fight for the customer's attention. Society's system of social ruling is making way for communicative self-steering. Dialogues between equal partners replace the traditional top down approach. Customers are therefore gaining more power and control. Product and company centric innovations are now being taken over by the co-creation experience as a basis for value and as the future of innovation. Glimpses of the co-creation experience are observed in a variety of 67
Downloaded by the author (author), on June 29th, 2015 realms but tourism is not yet mentioned as one of them. This is remarkable, as for many countries tourism is the number one income generator and for many in the developed world an essential part of their quality of life. Especially during their free time people express their quest for ever more unique experiences reflecting their own personal stories. This article provides an innovative perspective on tourism in the experience economy based on the principle of co-creation with a central role for the human being. It contributes to the debate on tourism development and innovation and does not pretend to answer all questions raised. A research agenda is proposed at the end of this paper to invite both academic and business stakeholders to research and shape the future of the co-creation tourism experience in different project settings.
OECD (2009) The Impact of Culture on Tourism. Paris: OECD. This book reviews national/regional experiences and practices of destinations where cultural resources are driving overall attractiveness. It also examines the development of tourism production and distribution processes in relation to cultural resources. From the analysis, the book identifies some key factors and policy interventions which can maximise the attractiveness of destinations as places to visit, live and invest in. Based on a range of case studies collected by the OECD Tourism Committee as well as external material, the analysis identifies best practice and the most effective policies for enhancing the attractiveness of destinations, capitalising on their cultural resources. Case studies have been provided by Australia, Austria, France, Greece, Italy, Japan, Korea, Mexico, Poland, Portugal, Romania, Slovakia and Turkey. The case studies illustrate different aspects of the relationship between tourism, culture and location attractiveness and the policy interventions which can be taken to enhance this relationship. Some of the case studies mentioned are available at www.oecd.org/cfe/tourism. The book also considers the wider benefits of developing the relationship between tourism and culture, such as enhanced image, social cohesion, support for the cultural sector, increased innovation and creativity.
Pappalepore, I., Maitland, R., and Smith, A. (2010) Exploring urban creativity: Visitor experiences of Spitalfields, London. In Tourism, Culture and Communication, 10, 3, 217 – 230. This article critically examines visitor experiences of a creative urban area, to help explore the relationships between creative industries, consumption, and the development of urban tourism. After reviewing available literature on creative areas and their appeal for emerging types of contemporary tourists, the article concentrates on one creative area in London: Spitalfields. Drawing on 50 semistructured interviews conducted with visitors between November 2007 and March 2008, the article explores the role of the creative industries in developing urban tourism, via an analysis of visitors' perceptions, experiences, and characteristics, as well as the tangible and intangible qualities of an emerging 68
Downloaded by the author (author), on June 29th, 2015 tourism area. The findings suggest that Spitalfields is an established off-the-beatentrack destination that is starting to attract more mainstream tourists with the consequent departure of some groups of visitors. “Atmosphere” appears to be crucial to the visitor experience and is created by a number of elements including independent shops, a high number of young artists, new fashions, and cultural diversity. All these elements contribute to make the area seem distinctive, but at the same time “typically London.” The findings shed light on the complexity of the tourist experience, interrogating some key concepts such as atmosphere, perceived authenticity, and new forms of cultural capital in the context of a creative urban area.
Wurzburger R., Aageson T., Pattakos A. and Pratt S. (2010) (eds) A Global conversation. How to provide unique creative experiences for travelers worldwide. Santa Fe: Sunstone Press. This book is based on the proceedings of the 2008 Santa Fe & UNESCO International Conference on Creative Tourism held in Santa Fe, New Mexico, USA, in 2008. This conference brought together delegates from 16 countries around the world to engage in a global conversation about how best to leverage the tourism sector for community and economic development. In other words, how can tourism be best organised and practiced to enhance economic benefits to cities, provinces, and countries globally? Conceived, in large part, through the efforts of members of UNESCO's Creative Cities Network, the conference upon which this book is based was designed to bridge theory and practice, as well as provide a forum for sharing ideas and best practices. Here you will find not only a collection of essays by some of the "thought pioneers" in the emerging and still evolving field of Creative Tourism, but also a wide array of resources, including many practical examples and illustrations of Creative Tourism in practice from around the world. Richards, G. (2011) Creativity and tourism: The state of the art. Annals of Tourism Research, 38(4),1225–1253. The rapidly developing relationship between tourism and creativity, arguably heralds a ‘creative turn’ in tourism studies. Creativity has been employed to transform traditional cultural tourism, shifting from tangible heritage towards more intangible culture and greater involvement with the everyday life of the destination. The emergence of ‘creative tourism’ reflects the growing integration between tourism and different place-making strategies, including promotion of the creative industries, creative cities and the ‘creative class’. Creative tourism is also arguably an escape route from the serial reproduction of mass cultural tourism, offering more flexible and authentic experiences which can be co-created between host and tourist. However the gathering critique also highlights the potential dangers of creative hype and commodification of everyday life.
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Downloaded by the author (author), on June 29th, 2015 Marques, L. and Richards, G. (2012) Edited journal issue: Exploring creative tourism. Journal of Tourism Consumption and Practice, 4(2). This special issue of the Journal of Tourism Consumption and Practice contains a number of papers developed from presentations at the Creative Tourism Conference held in Barcelona in 2010. More details of each paper are given in the individual entries in this bibliography.
Couret C. (2012) Barcelona Creative Tourism pp 132 – 134, Journal of Tourism Consumption and practice, Special Issue on Creative Tourism, Volume 4 Number 2 Review of the development of the Barcelona Creative Tourism programme.
den Dekker T. and Tabbers M. (2012) From Creative Crowds to Creative Tourism: A search for creative tourism in small and medium sized cities pp 129 – 132, Journal of Tourism Consumption and practice, Special Issue on Creative Tourism, Volume 4 Number 2. Examines the relationship between the creative scene (or ‘creative crowd’) in small cities and tourism, based on a case study of Venlo (Netherlands).
Richards, G. (2013) Tourism and creativity in the city. Current Issues in Tourism. DOI:10.1080/13683500.2013.783794 Creativity has become increasingly important for the development of tourism in cities in recent years. As competition between cities grows, they increasingly seek to distinguish themselves through creative strategies. In the field of tourism, however, such strategies may arguably be counter-productive, as the race to produce distinction often results in cities adopting similar creative development models. In particular, many cities rely on the ideas of creativity ‘gurus’ such as Richard Florida and Charles Landry to provide creative solutions to a wide range of cultural, social and economic problems. However, by following such exogenous prescriptions, adopting forms of ‘fast policy’ and copying ideas from other ‘creative cities’ through ‘policy tourism’, the result is often a form of serial reproduction, unattractive to the very tourists cities seek to attract. This review paper examines the search of many cities for distinction through creativity, and analyses the development of different forms of creativity, including creative industries, creative cities strategies and creative tourism. It argues that the shift away from tangible to intangible competitive advantage is continuing, with a trend towards relational forms of tourism based on creativity and embedded knowledge. These processes are illustrated by reviews of the literature relating to cities around the world.
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Downloaded by the author (author), on June 29th, 2015 16.2
Recent Creative Tourism Publications (in alphabetical order)
Aquino, E. Phillips, R. and Sung, H. (2012) Tourism, Culture, and the Creative Industries: Reviving Distressed Neighborhoods with Arts-Based Community Tourism. Source: Tourism Culture & Communication, Volume 12, Number 1, 2012 , pp. 5-18. Ample attention is paid to the role of arts and culture in community and economic development. however, much less attention is given to its role at the neighborhood area, as well as relationships to local or community tourism. Our goal in this article is to explore how arts and the creative industries influence community-based tourism in neighborhoods needing revitalization. Using an embedded case study analysis approach, two areas were explored: one in the Roosevelt Arts District in Phoenix, Arizona and the other in the South End Arts + Business District in Burlington, Vermont. We find that arts and creative industries do indeed play a role in fostering neighborhood revitalization. Much of the activity centers on fostering capacity building and social interactions, leading to community development outcomes. In both cases, revitalization is occurring. Lessons learned are presented, illustrating the importance of arts and culture in a framework of community-based tourism and revitalisation.
Ayu Lucky and Sriyono (2014) Implementation of creative economy to improve performance based tourism. The 3rd International Conference on Business and Banking (ICBB 2014) Pattaya, Thailand-February 5-7, 2014. ISBN: 978602963193-7 Tourism industry has become critical to the state capital, which provides a large enough foreign exchange. This is because tourism is a source of big income compared with other sectors and the key driver in the world economy. This study tries to (1) identify the Creative Economy in the tourism sector in Pasuruan district, (2) administrative in human resources to improve the performance of the official culture and tourism. By using a qualitative approach, data were collected and then patterned, not manipulative, and live with more detailed look at the problem and research objectives. The results showed that the implementation of creative tourismbased economy in Pasuruan district is still not fully implemented because of considering human resources as well as the low level of awareness of the role of tourism is very less. Therefore creative development economy as a solution for tourism and human resources and creative mind does not necessarily mean introducing a new type of new trend of development but rather knowing how to generate new models of development, which will underline the best destinations for tourists are offered both, nor for the hosts.
Bonetti, Enrico, Michele Simoni, and Raffaele Cercola. "Creative Tourism and Cultural Heritage: A New Perspective." Handbook of Research on Management of Cultural Products: E-Relationship Marketing and Accessibility Perspectives (2014): 367.
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Downloaded by the author (author), on June 29th, 2015 Catalani, A. (2013) Integrating Western and non-Western cultural expressions to further cultural and creative tourism: a case study The term cultural industries was coined more than half a century ago, but at the beginning of the twenty-first century, the broader concept of creative industries, covering a wide range of cultural, design and digital activity, captured the imagination of public policymakers at national and city levels. Paralleling these developments has been the recognition of the phenomenon of cultural tourism and, more recently, the emergence of the idea of creative tourism, that is, tourism programmes designed to engage tourists actively in cultural activity. This paper presents a case study of a creative tourism event which took place in 2012 in the city of Manchester in the UK. The festival, which celebrated West African culture, utilised existing cultural institutions of the city and drew on the talents of local and visiting members of West African community to engage not only tourists but also indigenous and Black and Minority Ethnic (BME) residents of Manchester in a variety of cultural activities. It thus used the focus of creative tourism to seek to foster community and cultural development as well as tourism.
Chang, Lan-Lan (2013) Influencing factors on creative tourists' revisiting intentions: the roles of motivation, experience and perceived value (2013). PhD, Clemson University. As Richards (2008) asserted, creative tourism is a new form of tourism that has the potential to change tourism development and make a significant contribution in differentiating and changing the tourism experience. Reviewing current literature, despite increased attention being given to the conception of creative tourism, there has been little empirical work focused on the tourists' consumption psychology of creative tourism. Thus, this study attempts to reveal tourists' intention to revisit creative tourism attractions by applying the theory of planned behavior, to explore the role of tourists' motivation, experience and perceived value on the influence of their intention to revisit creative tourism attractions. It aims to extend the theory of planned behavior by including the variables of motivation, experience, and perceived value to develop an innovative model for analyzing and exploring tourists' intention to revisit creative tourism attractions. The survey of this study was conducted at three creative tourism attractions in Taiwan. Systematic sampling had been used. The results of this study revealed that the scales of motivation, experience, perceived value adopted from existing literature have been demonstrated with good reliability and validity and the usefulness of the theory of planned behavior on understanding tourists' intention to revisit creative tourism attractions had also been demonstrated. In addition, the regression coefficients and t-test indicated that only experience is statistically significant in predicting creative tourists' revisit intentions; neither motivation nor perceived values were statistically significant enough to explain tourists' intentions to revisit creative tourism attractions. Finally, extended model of the theory of planned behavior, by adding the variables of motivation, experience and perceived value, performs significantly better than the original model of the theory of planned behavior. For creative attraction owners, the results of this study suggest that cooperation with other creative tourism attractions should be a way to attract tourists to visit their attractions. 72
Downloaded by the author (author), on June 29th, 2015 Chang, Lan Lan, Backman, Kenneth and Huang, Yu Chih (2014) Creative tourism: a preliminary examination of creative tourists’ motivation, experience, perceived value and revisit intention:, International Journal of Culture, Tourism and Hospitality Research, Vol. 8 Iss: 4. The ever-growing concept of creativity has been introduced into the tourism field. Creative tourism has been viewed as a strategy to regenerate destinations physically, culturally and socially. In order to develop tourism products and provide services that integrate the concept of creativity to satisfy tourists’ needs by developing a more active and long lasting form of experience, this study examines tourist consumption psychology in the context of creative tourism destinations. Past studies have identified motivation, perceived value and experience as three major antecedents affecting tourists’ revisit intentions. Thus, the purpose of this study is to investigate the relationships between tourists’ motivation, experience, perceived value and revisit intentions to creative tourism destinations. The empirical study was carried out in three popular creative tourism spots, Meinong, Shuili and Yingge, located respectively in the north, centre and south of Taiwan. These creative tourism sites provide pottery, crafts, arts, workshops and other creative activities that integrate authentic local culture to engage tourists with fulfilling and meaningful experiences. The on-site survey was conducted on both weekdays and weekends during March 2012. Self-administrated questionnaires were distributed to participants who were systematically selected at the main gate of the study areas. A total of 417 questionnaires were collected. The results indicated that on-site tourism experience was the most influential antecedent of revisit intention to creative tourism sites in terms of the magnitude of the standardized coefficient. The unique variances of motivation factors and perceived value were too small to be statistically significant to explain revisit intentions. The present study contributes to the ever-increasing tendency for creative industries in Taiwan to develop creative tourism products and services which encompass authentic local culture and art in enhancing tourist experience. For business operators, this study suggests that if owners of creative destinations would like to attract repeat tourists, the tourists’ experiences are surely critical in developing service blueprints to meet the needs and wants of customers; they should pay more attention to understanding what tourists experience when they visit creative tourism attractions.
Cheng-Wen, Lee and Chin-Mei, Chou (2014) The Impacts Of Native Culture On Tourism In Taiwan: A Dynamic Panel Data Analyses. African Journal of Social Sciences, 4(2), 87-98. The main purpose of this paper is to test the impact of cultural creative international marketing on inbound tourism in Taiwan. Data are collected from the databases of the Tourism Bureau, the Ministry of Finance, the Ministry of Culture, the Republic of China statistics database, the International Monetary Fund, and the World Economic Outlook Database. To avoid the possibility of bias and inconsistency in the results due to endogeneity, we adopt a dynamic panel data framework to modify the gravity model for the estimation. The results suggest that a significant positive relationship 73
Downloaded by the author (author), on June 29th, 2015 exists between previous period tourist flow and current period tourist flow, implying the presence of a persistent effect. In addition, the bilateral GDP, bilateral CPI, bilateral trade volume, and distance have a significant impact on tourism demand. Finally, enhancing cultural creative international marketing has effectively increased the number of tourists from these countries to visit Taiwan.
Chiu, V. (2014). Stadium Tour as Sporting Creative Tourism: A Case Study of the Anfield Experience. Paper presented at the conference Sport: Probing the boundaries. August - September 2014, Mansfield College, Oxford. Football stadiums have become intensively stage-managed and regulated as modes of consumption in contemporary society. In the field of sport tourism, sport tourists participate in spectating and venerating attractions related with football heritage somatically. Not only evoked by tangible sites of former sporting glory such as sports stadia, nostalgia can also be awakened by a group of sport tourists who share resembling cultural capital, performing together in a particular experience. The scope of stadium tour as a type of sports tourism is far from a recent phenomenon, but current research pays little attention on how sports and tourism synergise together and package sporting experiences for spectators. The Anfield Experience exemplifies a creative product of sport tourism in a guidedtour setting concomitant with the performance from attendees, guides and stadium. Liverpool Football Club players as tour guides enact deeper roles to fit in the institutional settings and embed authenticity in the experience. The ‘scheduled’ interaction between participants and players reproduces and embodies the essence of football culture explicitly and outwardly. Instilling diversified bodies of discourse and allegiance, the itinerary-scripted stadium tour conduce from the re-appropriation of varied performance and avoid ineluctable fixity in the stereotyped ‘guided tours’ by capitalising fan performativity, and resurrecting the representation of primal appeal about football, the unpredictable excitement. Through field research, interviews, the discourse analysis on media networks, attendees and stadium personnel, staging/representation and historical analysis on the making of Anfield Experience, the article targets on illustrating how stadium becomes a place where football fans converse with and anchor their ardent passion. Also, by delving into the experience, it is worth noting how fan capital is enmeshed in the staged authenticity and Anfield Experience becomes a source of collecting tangible and intangible forms of cultural capital to obtain a holistic picture of how creative tourism is exhibited via fan performativity and “prosumption” by host and guest that moulds Anfield Experience into a unique mode of football consumption that outstands.
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Downloaded by the author (author), on June 29th, 2015 Citarella, Germana and Maglio, Monica (2014) A Systems Approach to Local Territory as a Driver for Creative Tourism Development on the Amalfi Coast. Almatourism 5, No 1. In recent years creativity has become a resource not only in relation to artistic and cultural activities but also in terms of economic growth and development of tourism enterprises and geographical regions. This has determined the diffusion of creative tourism based on principles of sustainability. However, debate on the issue – above all in Italy – is still ongoing as concerns definitions in line with scientific literature. Our research attempts to show that the foundations for the success of this kind of tourism lies in the consolidating of the local economy, based on creativity in a system’s logic. To this aim a case study on the Amalfi Coast area (Salerno) is presented, providing a framework of the characteristics and creative potential in terms of tourism in order to highlight both the dynamics and the most significant elements for the construction of a creative ambience. Our study concludes however, that such a model cannot be considered merely as a solution for all ills, but on the contrary, can be exploited only by territories that enjoy a creative humus. In other words, strategies put in place should exalt what is rooted in the geographical, social and cultural reality, i.e. as the potential base for the affirming of this new niche of cultural tourism. Otherwise, any initiatives undertaken risk becoming useless and a waste of resources.
Churchill, Carmel Gardiner, Raylene & Johnson, Shamine (2012) Junkanoo Festival & Tourism In The Bahamas: Impact & Linkages of the Grand Bahama Rush for Peace Parade & Celebration. Paper presented at 2nd International Tourism Conference Tourism, Culture and The Creative Industries: Exploring The Linkages The Bahamas is an archipelago of 700 islands and cays in the Atlantic Ocean located east of Florida and north of Cuba. Dating back to the 16th century, the expression of culture across the islands of The Bahamas has been celebrated through various activities such as Junkanoo, Homecomings, Regattas, and Community Reunions. In fact, these expressions have defined the Bahamian culture and have led to the proliferation of cultural festivals and events celebrated annually with different islands and cays developing its own signature festival or event. Today these festivals and events are distinctly branded in a way that is indicative of the Island’s identity. For example, Andros Island is known for its abundance of land crabs and, therefore, an annual event, “Crab Fest” is celebrated. The Island of Eleuthera is known for pineapples, hence the annual “Pineapple Festival” and Cat Island is known for its rich heritage and is identified with a “Rake-n-Scrape Festival”. These festivals are also expanded to include Family Reunions and Community Homecomings which now form part of the cultural fabric of life in The Bahamas. These cultural festivals and events are, however, not without impacts on the socioeconomic and tourism development of the country. The increase of inter-island transportation including Ferry Boat and Air Services offered by both the government and local entrepreneurs is, for example, a direct impact of the development of these cultural events and festivals.
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Downloaded by the author (author), on June 29th, 2015 Cruz, A. R. (2013) Tourism as a magnet for creativity: Insights for creative class attraction in a tourism-based region. Talent is seen as the crucial factor for growth and economic capacity. This is a commonly accepted corollary of the ideas presented by Florida in ‘The Rise of Creative Class’. This article explores the possibilities of a Portuguese ‘sun and sand’ tourism destination, the Algarve, to gain economic dynamism by using tourism resources to catch the attention of the creative class. The analysis presents the creative performance of this region in the three Ts, talent, technology and tolerance. An evaluation of possibilities for tourism product differentiation is presented. The high levels of tolerance and the potential of new tourism products anchored in historic, monumental, ethnographic and natural resources enhances the potential to attract the creative class.
Cruz, A. R. (2014). Tourism, creativity and talent: breaking Algarve’s tourism lock-in. Regional Studies, Regional Science, 1(1), 138-144. Over the past decades creative and cultural activities have had modest opportunity to develop and grow in the Algarve (Portugal) due to the tourism specialization in ‘sun and sand’. The regional dynamics based in this specific tourism product created path dependencies and limited opportunities for expansion and consolidation of the cultural and creative sector. Using the model of three Ts – talent, technology, tolerance – this short article presents the relative creative potential of the Algarve, and opportunities to diversify the tourism offer attracting talented people and breaking the regional economic lock-in.
Cueto Pedrotti, F. (2012) Concept design – An innovative approach to learning: The case of Saint James' Way as a playground for meaningful learning experiences. pp 25 – 40, Journal of Tourism Consumption and practice, Special Issue on Creative Tourism, Volume 4 Number 2 Co-creation is increasingly being used as a tool for companies to position their products in the market. The aim is to enhance a dialogue with customers and enhance firm-customer value. In the experience industry co-creation is also increasingly linked with another major trend: storytelling. The aim of this narrative technique is to build a story around a business, a product or a destination. The purpose of this paper is to discuss and highlight the application of these techniques, together with experiential learning, in order to generate a new point of view on the learning process. These techniques are applied to the Saint James’ Way in Spain, a major generator of experiences for tourists and pilgrims. The outcome of this research study is to produce a concept for a research trip based on creative tourism. Dias–Sardinha, I., Ross, D. and Correia Loureiro, S.M. (2014) Rescue archaeology heritage valuation in Europe’s largest dam – Alqueva: ex‑ situ products as elements of creative tourism. Pasos, 12(3), 623-634. This study aims to determine how the knowledge obtained from the study of prehistoric heritage found during the construction of the Alqueva dam and irrigation system (Portugal) can enhance the current tourist experience of the destination. 76
Downloaded by the author (author), on June 29th, 2015 Fernandes, Carlos and Rachão, Susana (2013) Reinventing tourism at a traditional cultural tourism destination: a case study of Viana do Castelo (Portugal) International Journal of Business and Globalisation Because culture's role in tourism is key and usually the primary reason for visiting certain tourist destinations, the development of cultural tourism as a component of cultural economic development is important in that it requires a destination to sell its culture and creativity to the intended market. This paper seeks to explore the attitudes, expectations and motivations of visitors to Viana do Castelo, in Northern Portugal, to determine how the destination can reinvent a tourism product strategy based on its heritage and the emerging trends in the tourism market. A total of 205 usable questionnaires were collected using a convenience sample of visitors. Results of this study indicate that visitors are essentially independent travellers, seeking to explore the natural and cultural heritage of the region. Finally, a series of observations and recommendations are proposed that support a new form of cultural tourism based on the valuation of local know-how and creative skills in the form of creative tourism.
Gordin V. and Matetskaya, M. (2012) Creative tourism in Saint Petersburg: the state of the art. pp 55 – 77, Journal of Tourism Consumption and practice, Special Issue on Creative Tourism, Volume 4 Number 2 Tourism development in St. Petersburg, which is a major cultural centre, has improved in terms of tourist flows; both tourism demand and tourist products have become more diverse. These improvements give grounds for a fairly optimistic prognosis for the tourist industry in St. Petersburg. At the same time, there are a number of factors which may endanger sustainable development of tourism in St. Petersburg. The current situation calls for a more flexible and innovative approach to industry development. Among these factors are the pronounced seasonal character of tourism, the short-term visits of most of the tourists, and the rather conservative, academic cultural image of St. Petersburg, which compromises the city’s appeal as a destination for certain tourist segments. Another critical limitation on the development of cultural tourism in general and of the creative tourism in particular, is the low involvement of the population in cultural and tourist events held in the city. This makes it relevant to look for new approaches for creative tourism development in St. Petersburg as an important tool for the sustainable development of the industry. This article considers the existing and potential competitive advantages of St. Petersburg as a tourist destination on the basis of creative tourism development.
Hung, WL Lee, YJ and Huang, PH. (2014) Creative experiences, memorability and revisit intention in creative tourism. Current Issues in Tourism, 2014 The objective of this study was to identify hypothesised relationships among creative experiences, memorability, and revisit intentions in creative tourism. A face-to-face questionnaire survey was adopted and 399 valid questionnaires were collected in the pottery town of Yingge in Taiwan. The results show significantly positive relationships among creative experiences, memorability, and revisit intentions. Structural equation modelling analysis verified that memorability fully mediated the effect of creative experiences on revisit intentions. The study suggests that 77
Downloaded by the author (author), on June 29th, 2015 memorability may be a more appropriate predictor to revisit intentions, particularly in the case of creative activities.
Hull J. S. and Sassenberg U. (2012) Creating new cultural visitor experiences on islands: Challenges and opportunities pp 91 – 110, Journal of Tourism Consumption and practice, Special Issue on Creative Tourism, Volume 4 Number 2 Cultural tourism is increasingly recognized as an important motivation for international travelers in search of experiencing the cultural heritage, arts, philosophy and institutions of another region or country. The UNWTO reports that 37% of all international trips include a cultural component and that cultural tourism is growing at 15% annually. Creative tourism, a subset of cultural tourism, is one of these new forms of tourism. While cultural tourism is considered a passive observation of things of the past such as artifacts, creative tourism is the transfer of the past into the present and the future via communication between locals and visitors. This interest in participatory experiences is creating many challenges and opportunities for island destinations who have had to focus on their uniqueness to create ‟attractions that attract visitors. On the island of Newfoundland, Canada, the French Shore Historical Society are developing new creative tourism products through local craft traditions in an effort to make connections on an emotional, physical and intellectual level with visitors. On Pašman Island, Croatia, the support of international tourism consultants is resulting in the development of four traditional, theme-based villages that will offer an authentic and traditional visitor experience that represents the Mediterranean way of life. This article will explore the challenges and opportunities in island destinations of planning and promoting creative tourism using participatory action research. Results will illustrate the important role of the public sector in providing assistance to creative tourism development, and the importance of island residents in taking advantage of local cultural and natural resources to generate local benefits that foster sustainability. For both the Island of Newfoundland and Pašman Island, creative tourism is providing a potential opportunity for a win-win-situation for local residents, if it is planned and developed properly.”
Ihamäki P. (2013) Geocachers' creative experiences along coastal road in Finland, in Int. J. Leisure and Tourism Marketing, Vol. 3, No. 3, 2013. Recent developments in information and positioning technologies, increasingly more available on portable devices, offer new opportunities not only for tracking tourist movements but also for interactive description and development of experiences. Geocaching is a worldwide treasure hunt game that requires technological devices to play. Geocaches can be found anywhere, from distant mountains and parks to the urban environment, which is why it is also well suited for travelling. This paper reflects how geocachers utilise their hobby in collecting creative experiences when travelling. The paper looks at geocaching from a perspective of creative tourism experience. The goals of this research are (1) to understand users' creative experiences when engaging in geocaching and (2) to examine how users' creative experience of geocaching applies to adventure tourism solutions. The conclusion 78
Downloaded by the author (author), on June 29th, 2015 presents geocachers' creative experiences along Coastal Road in Finland and shares new ideas to develop geocaching games for adventure tourism solutions.
Jelinčić D. A. and Žuvela A. Facing the Challenge? Creative Tourism in Croatia pp 78 – 90, Journal of Tourism Consumption and practice, Special Issue on Creative Tourism, Volume 4 Number 2 In the last decade, creativity has become a buzz word in developmental context, from creative industries, creative classes, creative economy, creative cities, creative business, creative governance to creative tourism. Creative industries have often been used in the context of creative cities’ development creating their image internationally especially through tourism. In order to attract visitors, a new type of tourism has been developed: creative tourism. The article questions its definition as it also questions the need of cities to be re-branded through creative tourism. Two Croatian case studies are featured as to re-think the position of creative tourism in local development: the city of Dubrovnik which relies on heritage as it main resource and the city of Zagreb which still needs to define its main tourism resource but has a lot of potential in cultural/creative industries. The article argues that creativity does not always mean introducing new types of trendy developments in the destination.
Jelinčić, D. A. (2009) Splintering of Tourism Market: New Appearing Forms of Cultural Tourism as a Consequence of Changes in Everyday Lives. In Collegium Antropologicum 33, 1, 259-266. Within the concept of cultural tourism, this article defines relatively new concepts of creative and hobby tourism, which are detected as recent niche markets. Cultural tourism is a narrow specialized market, while creative and hobby tourism relate to even more specialized segments. Even these particular forms of tourism have their market whose growth is a very probable taking into account changes in everyday work as well as changes in the values of human activity in general. These changes reflect also the sector of tourism, which is obvious in the ever growing splintering of tourism market as well as of tourism forms. The article reviews theoretical concepts of cultural, creative and hobby tourism as to prepare the basis for applied tourist programmes. It looks into the history of cultural tourism as to see what changes occurred and brought it to life. Changes which have taken place in everyday lives of people and the impact of everyday free time activities on tourism are also analysed. Further splintering of the cultural tourism sector is noticed and cultural tourism subforms are detected by analysing some of the leading home style and creativity magazines. The article also proposes possible application of push/pull factors to creative/hobby tourism.
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Downloaded by the author (author), on June 29th, 2015 Jusztin M., Creativity in the JoHari window: An alternative model for creating tourism programmes. pp12 – 24, Journal of Tourism Consumption and practice, Special Issue on Creative Tourism, Volume 4 Number 2 Alongside the recent cultural tourism trends of edutainment, active participation, learning, and the interest in the ‘unique’; the desire of tourists to get involved in the creative process has been steadily gaining popularity. The final aim of this desire for involvement is not necessarily the creation of an artwork, but rather the process of experiencing. This is where creativity and creative activities play an important role, even in tourism. This paper examines the forms and perspectives of participation and creativity in tourism supply by developing an alternative JoHari model; exploring creative tourism from the perspective of co-creation between tourists and hosts. The model developed is based on the so-called JoHari window, a socio-psychological tool used to describe human interactions. The model shows the degrees and possibilities of creativity provided for tourists, which might help to make an element of tourism supply more refined and attractive. The model provides opportunities for exposing tourists to a varied range of positive impulses within a single programme. A literature is supported by primary research conducted with a focus group to examine recent demand trends in festivals and museums. The model is intended to serve suppliers, showing how they can better adapt to recent consumer trends and needs, and how creativity can be utilised across different cultural forms.
Kostopoulou, Stella (2013) On the Revitalized Waterfront: Creative Milieu for Creative Tourism. Sustainability 2013, 5(11), 4578-4593; doi:10.3390/su5114578 The purpose of this paper is to discuss the role of revitalized historic urban waterfronts as potential creative milieus attracting creative tourists. Waterfront redevelopment raises issues concerning an extensive range of urban planning and management perspectives, extending from space design to economic, environmental, cultural, and tourism considerations. The paper first reviews the ways in which the relationship between waterfronts and urban functions of port-cities has evolved over time, before turning to the examination of historic waterfronts’ redevelopment as creative milieus to host creative industries. The agglomeration of creative industries, cultural organizations and venues, and recreational facilities in urban spaces is widely recognized to generate a dynamic urban culture attracting a new wave of “creative tourists”, which do not fit to the mainstream cultural tourism behavior, and prefer to visit lively creative spaces based, not only on heritage, but also on contemporary culture. In this paper, the analysis focuses on how historic revitalized waterfronts can act as creative milieus, based on port-cities’ genius loci as cosmopolitan places of intercultural communication, offering a new alternative approach to urban cultural tourism and hopefully functioning as a spin wheel for the regeneration of the urban economy.
Leng Khoo, S. & Badarulzaman, N. (2014) Factors Determining George Town as a City of Gastronomy. DOI:10.1080/21568316.2013.874365 In line with UNESCO's Creative Cities flagship, cities around the world are strategising to be branded as creative locations to regenerate their urban places and 80
Downloaded by the author (author), on June 29th, 2015 spaces. Under this flagship, cities are branded according to the niche activities and attractions that best exemplify their locale to the world. Innovative and creative place-brand labels have emerged such as City of Fashion, City of Literature, City of Design and, as in the present case, City of Gastronomy. The purpose of this paper is to examine the factors that determine and shape George Town, Penang as a creative “City of Gastronomy”. More specifically, the study explored the role of Nasi Kandar—a local George Town heritage gastronomic dish—in contributing to the city's successful branding. A standard survey questionnaire was distributed to 412 respondents in George Town to gather the perceptions of local and foreign tourists alike towards branding and harnessing the city's gastronomic competence. The findings from this study provide empirical evidence by ascertaining the perceived image and satisfaction levels of local and foreign tourists alike towards Nasi Kandar. The way George Town has acknowledged and leveraged Nasi Kandar as urban gastronomy can be emulated by other key cities in Malaysia (i.e. Ipoh, Bandar Melaka) or further afield.
Leue, M.C., Han, D. and Jung, T. (2014). Google Glass Creative Tourism Experience: A Case Study of Manchester Art Gallery. World Hospitality & Tourism Forum, Seoul, 26-28 June 2014 Due to the novelty factor of Google Glass, specifically in Europe, only few research attempts were made of the potential of Google Glass. The present study aims to explore visitor’s first time usage behavior of Google Glass within the cultural context. In total, 29 Art Gallery visitors tested the Google Glass prototype application “Museum Zoom” and took part in an interview. The data were analyzed using content analysis and revealed that among all age groups, the majority of visitors had a favourable opinion regarding the usage of Google Glass within Art Gallery settings. This exploratory study revealed that users were able to quickly adjust to the novel interaction and generally perceived the device to enhance the Art Gallery visitors’ experience, though the provision of additional content and easy to use as well as social networking functions. Although technological issues remained, participants were curious to interact with the device.
Long, P. and Morpeth, N. (2012) Critiquing Creativity in Tourism. In Smith, M. and Richards, G. (eds) Handbook of Cultural Tourism, London: Routledge. A critical examination of the relationship between tourism and creativity, examining issues of definition and the practical implication of creative tourism programmes. Sheffield (UK) is analysed as a case study.
Maitland, R. (2010) Everyday life as a creative experience in cities. In International Journal of Culture, Tourism and Hospitality Research, 4, 3, 176 – 185. This paper aims to explore how overseas visitors experience off-the-beaten-track areas and everyday life in London. Initially scoped through quantitative research using visitor surveys involving some 400 respondents, the study was subsequently 81
Downloaded by the author (author), on June 29th, 2015 developed through qualitative research: 49 semi-structured interviews with visitors from a wide range of countries. The research finds that these areas offer city visitors opportunities to create their own narratives and experiences of the city, and to build a cultural capital in a convivial relationship with other city users. At the same time, visitors contribute to the discovery of new areas for tourism - and in some sense the creation of new places to visit. This indicates that subtler forms of tourism marketing are required to develop the potential of areas like these, and that some tourists and residents enjoy a convivial and complementary relationship in area development.
Marques L., Boosting potential creative tourism resources: The case of Siby (Mali), in Richards, G. and Marques, L. (2012), Exploring Creative Tourism, Journal of Tourism Consumption and Practice (4) 2, pp. 111-128. This paper further develops the conceptual framework for creative tourism, discussing the co-creation of experiences and the identification of potential resources for creative tourism development. The case of the village of Siby, in Mali, West Africa, illustrates the development of tourism and creativity in a non-western, rural environment, where creative tourism experiences can emerge spontaneously. The impacts of creative tourism are analysed and the need for more specific policies is highlighted, particularly in view of the inherent risks in creative tourism development.
Messineo E., Tourist creative processes and experiences in the European Cultural Itinerary 'The Phoenicians' Route', pp41 – 54 Journal of Tourism Consumption and practice, Special Issue on Creative Tourism, Volume 4 Number 2. Cultural itineraries represent a favourable context for the development of creative processes and experiences. This paper examines the creative activities and projects of a European Cultural Itinerary, The Phoenicians’ Route. The aim was to explore the creative features related to the production and development of the cultural-tourist offer, through a survey of participants in a pilot project, and on a network of local partners that co-operate in running the itinerary. The results of this research provide a rating of the total potential of itinerary itself, contributing to its definition as a ‘creative system’.
Ngamsirijit, Wuttigrai (2014) Evanescent Cultural Communities: Developing Creative Tourism Services in Bangkok. World Academy of Science, Engineering and Technology International Journal of Social, Business, Psychological, Human Science and Engineering, 8(6), 1532-1537. Creative tourism is an ongoing development in many countries as an attempt to move away from serial reproduction of culture and reviving the culture. Despite this, in the destinations with diverse and potential cultural resources, creating new tourism services can be vague. This paper presents how tourism experiences are modularized and consolidated in order to form new creative tourism service offerings in evanescent cultural communities of Bangkok, Thailand. The benefits from data 82
Downloaded by the author (author), on June 29th, 2015 mining in accommodating value co-creation are discussed, and implication of experience modularization to national creative tourism policy is addressed.
OECD (2014) Tourism and the Creative Economy. Paris: OECD A study of the developing relationship between tourism and the creative economy, drawing on case studies and recent research from OECD member countries. For more details, see section 3.7.
Ohridska-Olson, Rossitza Vassileva and Ivanov, Stanislav (2010) Creative Tourism Business Model and its Application in Bulgaria. Proceedings of the Black Sea Tourism Forum 'Cultural Tourism – The Future of Bulgaria’. A proposed business model for creative tourism is analyzed in the framework of cultural tourism. Although creative tourism is generally perceived as a form of cultural tourism (Ohridska-Olson 2010), it is essentially different from the mainstream cultural tourism. In addition, the paper analyzes how this business model can be applied to the cultural tourism for small towns and cities in Bulgaria to fully utilize their creative and cultural heritage potential. The article also points out how creative tourism can bring sustainable and profitable development to small communities in the country.
Pappalepore, I., Maitland, R. and Smith, A. (2014). Prosuming creative urban areas. Evidence from East London. Annals of Tourism Research, Volume 44, January 2014, Pages 227–240 This research explores the role creative clusters play in the development of tourism. It involves an in-depth study of characteristics, motivations and experiences of visitors to creative urban areas using qualitative analysis of 142 interviews in creative, non-central locations in East London. The data show that the concentration of creative industries affords opportunities for consumption and for the accumulation of cultural capital, leveraging the presence of creative producers and other creative visitors, who are themselves perceived as an attraction. These factors, combined with a particular urban morphology and the presence of everyday activities, contribute to the areas’ perceived authenticity, bohemian atmosphere and cool image. The paper develops typologies of visitors to creative areas and concludes with a discussion of Bourdieu’s notion of cultural capital applied to a contemporary urban context.
Richards G. and Marques, L. (2012) Exploring Creative Tourism: Editors Introduction pp1 – 11, Journal of Tourism Consumption and practice, Special Issue on Creative Tourism, Volume 4 Number 2. This paper provides an overview of the contributions to special issue of the Journal of Tourism Consumption and Practice entitled „Exploring Creative Tourism‟. Creative 83
Downloaded by the author (author), on June 29th, 2015 tourism has grown rapidly in the past decade, reflecting the growing desire of consumers to develop their own creative potential and to attach themselves to creative networks, as well as the need for creative producers, cities and regions to profile themselves in an increasingly crowded global market. The case studies in the special issue examine creative tourism in a range of different contexts and present a range of models of creative tourism development in fields such as music, art, heritage and crafts. Creative tourism can therefore be viewed as a form of networked tourism, which depends on the ability of producers and consumers to relate to each other and to generate value from their encounters.
Richards, G. (2010), Increasing the attractiveness of places through cultural resources, Tourism, Culture & Communication, Vol. 10. Culture and tourism have a symbiotic relationship that has the potential to make places more attractive and competitive. This review of the OECD report on The Impact of Culture on Tourism analyzes the ways in which culture and tourism can act as drivers of attractiveness, paying particular attention to the role of potential policy interventions to strengthen this process, including the development of partnerships, funding issues, product development, and marketing. A number of key future issues are identified, and evolving debates in the relationship between culture and tourism are outlined.
Richards, G. (2011) Cultural tourism trends in Europe: a context for the development of Cultural Routes. In: Khovanova-Rubicondo, K. (ed.) Impact of European Cultural Routes on SMEs’ innovation and competitiveness. Strasbourg: Council of Europe Publishing, pp. 21-39. This paper examines macro trends in tourism, particularly in relationship to European Cultural Routes. It covers the major drivers of tourism, the development of cultural tourism and the current cultural tourism market. In the field of creative tourism the emphasis shifts from tangible to intangible culture, and the basic experience consists of an exchange of knowledge and skills between host and guest. This produces a more locally-driven, equitable and arguably more 'authentic' form of cultural tourism. The development of creative tourism is evident in rural areas (where creativity is needed to combat a lack of economic alternatives) and in cities, which are viewed as the engines of the creative economy. Rural creative tourism is being developed in many rural areas of the UK, Scandinavia and France. In major cities such as Barcelona, Paris and Rome, creative tourism is now being developed as an alternative to ‘mass’ cultural tourism (www.creativetourismnetwork.org). Cultural routes can play an important role in anchoring narrative in the cultural spaces through which they travel, providing: •
Raw materials for narrative
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Linkage between narrative and place
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Creative spaces for narrative development and intercultural dialogue
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Downloaded by the author (author), on June 29th, 2015 Richards, G. (2010) Tourism development trajectories: From culture to creativity? Tourism and Management Studies 6, 9-15. This paper traces the development of creative tourism as new form of cultural tourism. This trend has been stimulated by the growth of new consumption patterns, by more involved and skilled forms of tourism activity, and by changes in the production of tourism, such as the development of the experience economy. Arguably creative tourism also provides some answers to the increasing problems experienced in cultural tourism development, which is rapidly becoming another form of mass tourism. The paper outlines the different forms that creative tourism can take, ranging from interactive workshops and learning experiences to creative backdrops for tourism activity. Illustrations of creative tourism forms are taken from creative tourism networks, workshops, creative spaces, cultural itineraries and creative events.
Richards, G. and Wilson, J. (2007) Tourism, creativity and development. London: Routledge.
Richards, G. (2012) An introduction to creative tourism: The effects of human exchange: being together, an anthropological constant. Paper presented at the Creative Tourism Conference in Paris, December 7th 2012. This presentation examines how creative tourism enriches exchanges among people. In the contemporary network society, organising social encounters becomes a major challenge. Although we are constantly in touch via email and smartphones, time pressured agendas make personal contact more difficult. Therefore such contact has become more valuable and important, and travel becomes an important mechanism for facilitating such contact. Creative tourism is a response to the need for social and cultural exchange. It focusses on creativity as a means of exchanging the embedded knowledge that both residents and tourist carry with them, enriching the lives of all. Destinations that develop creative tourism are effectively facilitating such exchanges and helping to build a new sociality for the network age.
Richards, G. (2013) Creative and relational tourism in Barcelona. Paper presented at the ATLAS Cultural Tourism Group Expert Meeting on Alternative and CreativeTourism, Barcelona, June 2013. Barcelona presents an ideal-typical case of the development of creative tourism. The city has become a leading player in creative tourism development for a number of reasons, including:
the current model of mass tourism development has begun to falter, stimulating a search for alternative models that articulate with everyday life and local creativity the relatively closed nature of the cultural sector in the city has positioned creative tourism as a potential avenue for networking and knowledge exchange 85
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frequent repeat visits have stimulated tourists to seek out new areas of the city and new ways of experiencing the city. This has also been a source of contact between locals and tourists, which has been an important factor in introducing local creativity to visitors.
This paper analyses the development of cultural and creative tourism in Barcelona, particularly emphasising the crisis caused by the success of the original cultural tourism model. The emergence of creative tourism is analysed as a movement stimulated by, and positioned in opposition to, the traditional tourism model and established tourism regime.
Richards, G. (2013) Tourism development trajectories- From culture to creativity? In Smith, M. and Richards, G. (eds) The Handbook of Cultural Tourism. London: Routledge, pp. 297-303. This chapter traces the development of creative tourism as new form of cultural tourism. This trend has been stimulated by the growth of new consumption patterns, by more involved and skilled forms of tourism activity, and by changes in the production of tourism, such as the development of the experience economy. Arguably creative tourism also provides some answers to the increasing problems experienced in cultural tourism development, which is rapidly becoming another form of mass tourism. The chapter outlines the different forms that creative tourism can take, ranging from interactive workshops and learning experiences to creative backdrops for tourism activity. Illustrations of creative tourism forms are taken from creative tourism networks, workshops, creative spaces, cultural itineraries and creative events.
Richards, G. (2014) Creating relational tourism through exchange: The Maltese experience. Journal of Hospitality and Tourism, 12 (1), 87-94. Tourism, like many other cultural and social phenomena, is based on exchange. It is perhaps not surprising that Malta, long a centre for trade and social exchange, has become a focus for the social exchanges promoted by tourism and other forms of long-term mobility. Exchange is also a major theme for the European Capital of Culture in Valletta in 2018. This paper looks at the ways in which the concept of exchange has changed in a globalising world, particularly as it problematizes traditional concepts of ‘host’ and ‘guest’. In particular, attention is paid to how the concept of ‘local’ culture is replacing ‘authenticity’ as the touchstone of real tourism experience. What does it mean to be local, or to ‘live like a local’ in Malta, or anywhere else?
Richards, G. and Russo, A.P. (2014, eds) Alternative and creative tourism. Arnhem: ATLAS. This ATLAS publication stems from a joint meeting held by the Association’s Cultural Tourism Research Group and the City and National Capital Tourism Research Group in Barcelona in 2013. Both of these groups have an active research interest in 86
Downloaded by the author (author), on June 29th, 2015 the development of tourism in cities, and in particular the way in which culture, creativity and tourism interlink.
Saiphan, P. and Sangsnit, N. (2013) Innovation of Cultural Creativity in the process of Creative Tourism in Thailand. DASTA, Thailand. Attention on creative tourism in the global process with anthropological views of cultural creativity, we have seen and been concerned with the ‘local thought’ in specific areas and communities that show diversity of innovations of cultural creativity, in the process of creativity tourism in Thailand. The paper will provide the represent cultures in the process of creative tourism, using cultural material from field-study, which uniquely experience tourists from three tourism places in Loei and Sukhothai province. The cases contribute how local people create nature to dimensions of variety cultures that supply for the sustainability in tourism. The “cotton blanket” handmade in ChiangKhan, Loei, is local unique cultural product that people present their local wisdom of using local natural material, cotton, to create local handmade style of cotton blanket used in their living since long time ago. Tourists and travelers can be now experience the process of making the blanket not only to get the product but the understanding in the spirit of people and place of Chiangkhan. Natural material as bee’s wax has been used by the people of Dansai, Loei. They create “wax flower tree” donated for the sacred of local spirits and Buddhism stupa. The community of Dansai has a unique network of sacred leaders, shaman, who manipulate the process of the ritual of wax flower tree ritual and festival which are now in everyday life of local people and they do welcome travelers to pay the respect on the tradition with the process of experiencing wax flower tree individual rite of donation. In the case of the ceramic community in the old quarter of Sukhothai historical park, people create their tourism product and place with the story composed of nature, culture and nation. The unique celadon of Sukhothai ceramic is originated from the earth, where the place located is significant to the origin city of Thai history. This also point out that there is a negotiation between local cultural identity and national identity throughout the historical relationship between the local area and the state. It could be clearly seen that the ‘local thought’ of cultural creativity could play a very significant role to compose their tourism identities of each locale giving the reconstruction an understanding of their spirit of place, related to local history and local culture. It comes up with the innovation of cultural creativity in the process of creative tourism by the local people who try to conduct the tourism programme to teach tourists by practicing, meanwhile tourists learning with experiencing their cultures. Local thought and people in the community are the fundamentally important factor of creative tourism which will leads to sustainable tourism we concern.
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Downloaded by the author (author), on June 29th, 2015 Saiphan, P., Teparakul, O., Sangsnit, N. and Pathomwaree, S. (2014) Innovation in Sustainable and Responsible Tourism Practices through Creative Tourism in Thailand. Paper presented at Tourtravel ’14 conference, Istanbul, Turkey, April 2014. In response to a global ongoing trend in sustainable and responsible tourism, Thailand is seeking out the best tourism practices through the innovation of "Creative Tourism Thailand" project, launched by the Designated Areas for Sustainable Tourism Administration (Public Organization) or DASTA. Creative Tourism is seen as a powerful tool in creating sustainable and responsible community tourism. The concept has underlined the idea that tourists can gain authentic experiences through participation in various activities provided by the local communities they visit, in order to feel connected to the history, culture and way of life. Conceptualizing this idea, researchers have conducted the research which included several site visits and travel demonstration to find out the model of creative tourism activities in Thailand. Successful model can be seen as the bright future in tourism and hospitality in Asia and worldwide. This paper will present creative tourism activities and highlight uniqueness of each tourist place using materials from field studies. Case studies demonstrate how local people create tourist activities from natural and cultural heritage available in the community resulting in the sustainability of the community itself. Examples of creative tourism activities in Thailand from 6 Designated Areas (in 7 provinces) include Koh Chang Islands and related areas, Pattaya City and related areas, Sukhothai – Si Satchanalai – Kamphaeng Phet Historical Parks, Loei province, Nan old city, and U-Thong ancient city. Each area is differently characterized by its nature, history, local culture, local art and people's way of life. One of them, remarkably, Sukhothai was said to be the first national capital of Thailand and was designated by UNESCO a World Heritage Site. Creative tourism is seen and proposed as a means to promote sustainable tourism. Our research also points out that sustainable tourism is actually generated from local people and communities. Whenever people realize and appreciate their local history and culture, they will be proudly willing to share new and unique experiences to tourists. This can be seen in such creative tourism activities as fishing with local fishermen in Pattaya, spirit mask making in Loei, textile weaving in Nan and celadon ceramic making in Sukhothai. These examples show innovation originated from local communities trying to design the suitable program for visitors to feel the spirit of place. We also found that the process to sustainability needs cooperation from both tourists and local communities. This paper concludes that the very fundamentally important factor of sustainable tourism can be practiced through the innovation of creative tourism activities.
Sindecharak, T. and Sangsnit, N. (2013) Creative Tourism: Perception of Tourists, the Availability of Ownership and Possibility of Creative Tourism in Thailand. DASTA, Thailand. This article aims to present a survey of the tourist’s perceptions, the ownership’s availability and the possibility of creative tourism in Thailand. Creative tourism has 88
Downloaded by the author (author), on June 29th, 2015 become a new tourism interest and with support from both the public and private sectors in an effort to make it happen in Thailand like in other countries, under the initiative and drive of Designated Areas for Sustainable Tourism Administration (Public Organization) or “DASTA” The study will not only explore the relevant literature and policies of government, as well as the support of the private sector for creative tourism in Thailand, but also it will include a quantitative survey of 300 the visitors who joined the activities. In addition, this study will be supported by in-depth interviews with the owners of the creative tourism offers. The selected creative tourism activities are the celadon at Suthep shop in Muang Koa district, Sukhothai province. This is in accordance with the rules of the so-called creative tourism activities. The primary interest of this study found that there are few tourists who actually understand creative tourism. The results show that there are gaps among the perception of tourists, the preparedness of owners of creative tourism offers, and also support from both the public and private sectors to make creative tourism actually happen in Thailand.
Stipanović, C., & Elena, R. (2014). Development Concept and Strategy for Creative Tourism of the Kvarner Destination. Tourism & Hospitality Industry 2014 Trends in Tourism and Hospitality Management. This paper explores the current condition and the possible development perspectives of creative tourism in the tourist destination of Kvarner. The research starts with a broadened conceptual definition of creative tourism which denotes meeting the tourists’ needs within the development of a creative potential in the acquisition of knowledge and new experiences relating to the holiday destination. Based on the research of new creative tourism trends and the analysis of the current state of creative and cultural offer in the Kvarner destination, the paper aims to set the goals and define the means to innovate the operational strategies in order to reposition Kvarner as a creative tourism destination. The research is based on an analysis of the current situation (surveys, focus groups, confronting attitudes of stakeholders) and the perception of the future, as well as the author's situational analysis and development scenario analysis. The subject has been insufficiently explored and represents a development of the Kvarner cultural tourism development concept and strategy. The main limitation of the research lies in the small sample of the surveyed management attitudes, due to a lack of creative tourism awareness, which in turn results in the lack of Kvarner creative tourism strategies and management. With the development of creative tourism, the Kvarner destination can become recognizable as a destination providing a new, differentiated offer on the market, based on authenticity and creativity all in accordance with the specific needs of contemporary tourists and new tourism market trends. The research both raises new questions and offers qualitative solutions with the goal of qualitative transformation of Kvarner tourism through a continuous improvement of all segments of creative tourism. It further raises the question of synergy of different micro- destinations' offer in branding Kvarner as a destination of creative tourism. The originality of the work stems from theoretical determinants, the authors’ attitudes, and the results of tourists and management research.
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Downloaded by the author (author), on June 29th, 2015 Tan, SK (2013) A Model Of ‘Creative Experience’ In Creative Tourism. Annals of Tourism Research, 41, 153–174 This study explores the essence of ‘creativity’ in ‘creative tourism’ from a tourist perspective. Creative tourism is receiving an increasing amount of attention, although the concept remains rather vague, and more research is needed. Data was collected using in-depth interviews with tourists and observations at four ‘Creative Life Industry’ sites in Taiwan. Grounded theory approach was employed, and the findings show that ‘outer interactions’ and ‘inner reflections’ construct the model of tourists’ creative experience. The former refer to tourists’ interactions with ‘environment’, ‘people’, and ‘product/service/experience’, while the latter refer to ‘consciousness/awareness’, ‘needs’ and ‘creativity’, and these dimensions ‘interact’ in tourists’ inner-self throughout the experience. Moreover, ‘consciousness/awareness’ is a prerequisite for ‘creative experience’, differentiating it from other types of experiences.
Tan, SK Luh, DB and Kung, SF (2014) A taxonomy of creative tourists in creative tourism. Tourism Management, 42, June 2014, 248–259. This study aims to characterise creative tourists and their perceptions of creative experiences at tourism sites. Creative tourists are active co-creators of their experiences; hence, they should be treated as a heterogeneous group of coproducers who have subjective opinions and feelings toward their creative experiences. The existing literature suggests that a creative experience is constructed by ‘inner reflections’, which include not only ‘consciousness/awareness’, ‘needs/motivations’ and ‘creativity’, but also ‘outer interactions’ which refer to ‘environment’, ‘people’ and ‘activity’ (Tan, Kung, & Luh, 2013). However, how a particular mix of factors interact and define an individual's perceptions of a creative experience may vary among different types of creative tourists. The methodology was used to reveal the tourists' inherent subjectivity of creative experiences with regard to the constructions of personal meaning. Five distinct groups of creative tourists were identified: novelty-seekers, knowledge and skills learners, those who are aware of their travel partners' growth, those who are aware of green issues, and the relax and leisure type. Each consists of a different composition of factors which can provide new insights into how different creative tourists construct their personal creative experiences at these sites.
Teparakul, O. and Sangsnit, N. (2013) Creating and Maintaining Sustainable Rural Community through Creative Tourism: Experience from Thailand DASTA, Thailand. Over the past 30 years, tourism is considered increasingly by the government and its proponents as an important source of income and employment for many developing countries, including Thailand. At the same time, several studies, reveal negative social, cultural and environmental impacts of tourism on the local communities. Apart from debates on tourism, an emerging alternative form of tourism so-called “Creative Tourism” was recently introduced in Thailand by the Designated Areas for 90
Downloaded by the author (author), on June 29th, 2015 Sustainable Tourism Administration (Public Organization) or DASTA. Since it emphasizes on authenticity of the community, value creation of everyday culture such as lifestyle, local wisdom, art and history, creative tourism offers tourists interactive experiences with the local hosts and opportunity to learn new skills through various activities such as workshops. Consequently, this creates crosscultural experience and deep understanding of the communities. In terms of the supply side, creative tourism also benefits the local communities as it helps preserving culture and creates awareness among local people. This paper explores creative tourism concept and examines how Thailand adopts this concept compared to the Western world. Sukhothai province, one of the designated areas for implementing creative tourism model in Thailand, is selected as a case study. The paper suggests that, appropriately managed, creative tourism can be an important mechanism in creating and maintaining sustainable rural communities in Thailand.
Thimm, T. (2014). The Flamenco Factor in Destination Marketing: Interdependencies of Creative Industries and Tourism—the Case of Seville. Journal of Travel & Tourism Marketing, 31(5), 576-588. This study builds on the concepts developed by Florida in his work “The Rise of the Creative Class”. In doing so it seeks evidence for the claims made that the creative arts address deficiencies identified in the terminology of ‘cultural tourism’. The case relates to flamenco performances in Seville. The art complex of flamenco survived on the one hand as a symbol of Andalusian culture. On the other hand it depends strongly on the international tourism market. Additionally, flamenco is used in destination marketing to differentiate Seville from other Spanish cities.
UNESCO Creative Cities Network (2006) Towards Sustainable Strategies for Creative Tourism: Discussion Report of the Planning Meeting for 2008 International Conference on Creative Tourism Santa Fe, New Mexico, U.S.A. October 25-27, 2006. Discussion of the development and definition of creative tourism in the run-up to the first global creative tourism conference in Santa Fe.
Wattanacharoensila, Walanchalee & Schuckert, Markus (2014) Reviewing Thailand's master plans and policies: implications for creative tourism? Current Issues in Tourism. This article contributes to an understanding of how creative tourism is perceived on a national level, by using Thailand as a case analysis. The primary objective of this article is to investigate Thailand's plans and policies for the creative economy at both national and ministry levels in relation to creative tourism. It also identifies how a national strategic plan can provide a blueprint for individual agency master plans to provide policy support for the development of the creative economy in the tourism sector. Thailand is chosen as an example of how government and related agencies can contribute to a national creative tourism movement in the country, especially in the light of the Tourism Authority of Thailand branding campaign to stimulate creative 91
Downloaded by the author (author), on June 29th, 2015 tourism to the destination. The qualitative research methodology through content analysis is used to scrutinise the plan and policy contents from the selected government agencies. The results demonstrate a better view of how creative tourism is positioned in the Thailand context and contributes to a policy study on the creative economy in the tourism sector as well as in creative tourism.
Whiting, J. and Hannam, K. (2014). Journeys of inspiration: Working artists’ reflections on tourism. Annals of Tourism Research, 49, 65-75. While much recent research has been focused on aspects of creative tourism, relatively little has paid attention to the views of creative residents. In this paper we argue that romantically informed modes of travel are important to working artists. The findings, generated through qualitative research, suggest that many working artists adopt anti-tourist perspectives informed by romanticism and based upon temporal, spatial and behavioural touristic distinctions. The desire to ‘not be a tourist’, however, becomes challenged by a desire for an integrated and inspirational engagement with the elsewhere developed from their educational experiences. This is demonstrated as a core aspect of the identities of working artists as creative residents in Newcastle-upon-Tyne, UK.
Wisudthiluck, S. and Sangsnit, N. (2013) Buddhist Votive Tablets as Cultural Heritage in Tourism: a Challenge and Opportunity in Creative Tourism of Thailand. DASTA, Thailand. Cultural tourism, particularly creative tourism, has grown rapidly. It has been considered as an important tool to share knowledge and to dialogue between different cultures. Richards and Raymond (2000) have defined that “tourism which offers visitors the opportunities to develop their creative potential through active participation in courses and learning experiences which are characteristic of the holiday destination where they are undertaken.” Creative tourism is a new direction which conforms to the new generation of tourists as they are looking for new experiences. Their interests have shifted from tangible heritage to intangible cultural heritage. They desire participations in activities involving art and craft works of the local community in order to obtain a deeper understanding of the cultural characteristics of the place and people they have visited. The paper has examined the meaning of Buddha images in the form of terracotta votive tablet in the context of tourism in Nakornchum district, Kamphang Phet province. Nationally, Nakornchum is well known for their particular models of ancient votive tablets. Apparently, these tablet models have been involved in creative tourism. This can be seen as a challenge of which the value of votive tablets has shifted from cultural heritage to souvenir. This paper has explored the meaning of ‘sacred’ and ‘profane’ of the cultural heritage in the context of creative tourism as to how the community has adapted to the current socio-cultural situation.
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Downloaded by the author (author), on June 29th, 2015 Zegers K., COLIN's creative tourism experiences: The opportunities for the province of Noord-Brabant, The Netherlands. pp 139 – 141, Journal of Tourism Consumption and practice, Special Issue on Creative Tourism, Volume 4 Number 2 A case study of creative tourism development in the Netherlands.
ZENG Qi jie, LV Li, LU Lin, ZHU Fu biao. An Analysis on the Demand for Cultural Creative Tourism and Its Differences [WT]——Taking Shanghai World Expo as An Example. TOURISM TRIBUNE, 2012, 27(5): 103-108. Mass demand for cultural and spiritual consumption has provided broad market prospect for the development of cultural creative industries. Currently, the tourism industry is confronting with the upgrade of cultural taste and transition of the development model. The World Expo is a product highly agglomerated with cultural creative tourism industries in a peculiar space. The paper, based on the questionnaire survey from tourists, makes an analysis of the demand for cultural creative tourism and its differences from the two aspects of core content and derivative products. The results show that the demand for tourists’ cultural creative tourism presents the trend of diversity, entertainment, symmetry, practicability as well as virtual experiences. In terms of the demand for core content, tourists’ demand ranges from exhibition halls, cultural art activities to forums and in terms of the demand for derivative products, tourists have higher demand for some franchise tourism souvenirs such as Expo passport, Haibao and Expo commemorative badges and higher demand for publishing and issuing service is the map. Demand for network cultural service is being gradually improved. The analysis finds that there exist significant differences in tourists’ demand for cultural creative tourism based on different demographic features and tourism behaviour characteristics, which is mainly embodied in the influences of ages and monthly income, while gender, occupation, educational background, entering times and ways of travel have less influences. Hence the development orientation for future cultural creative tourism is discussed.
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