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Creative Tourism: The CREATOUR Recipe Book
Índice
4 Preface
5 About CREATOUR
Basic principles
9 What is creative tourism? A retrospective view
Technical Information 13 How to Boost Creativity / Be Creative
Title: Creative Tourism: The CREATOUR Recipe Book
15 Why creative tourism cannot be disconnected from culture?
Editors: Alexandra Rodrigues Gonçalves / João Filipe Marques / Mirian Tavares / Sónia Moreira Cabeça
18 Pillars of Creative Tourism
Publisher: CinTurs | Research Centre for Tourism, Sustainability and Well-being
University of Algarve 20 Tourism in Small Cities and Rural Areas
Gambelas Campus, Faculty of Economics, Building 9 The CREATOUR Experience
8005-139, Faro
24 CREATOUR: a theoretical-practical approach
cinturs@ualg.pt
26 Our work with the pilots
www.cinturs.pt
Design: Bloco D Design e Comunicação Lda Improving your experience
ISBN: 978-989-9023-12-3 [Format: Printed] / 978-989-9023-13-0 [Format: Digital] 32 What you need to know beforehand
University of Algarve, Faro, Portugal
34 Marketing Creative Tourism Experiences
2020
37 What we’ve learned in fieldwork
Glossary
46 Learn more
2 3
Like cooking, the process of developing and implementing a creative tourism offer involves many About CREATOUR
steps: searching for historic and contemporary sources of inspiration … scanning, observing, selecting,
and combining local elements that catch your eye … mixing, processing, heating (or cooling), and How do you catalyse and develop a creative tourism including development dynamics and patterns,
transforming in various ways … and carefully plating and presenting a decorated “dish” in a perfectly ‘sector’ in non-metropolitan contexts? This is rarely reception experiences, and community impacts,
chosen venue. The resulting creations are diverse, ever evolving, and – when done right – can reveal addressed in the creative tourism literature – there using methodologies and theoretical perspectives
the essence of the place and the people who prepare and proudly serve it. are still many gaps in our knowledge about creative from the fields of tourism, culture, and local/
The vision of creative tourism that has guided the CREATOUR project has been one of active creative tourism development, its evolutionary dynamics, regional development. On the practice side, it aims
activity encouraging learning, personal self-expression, and interaction between visitors and local and strategies for sustainable approaches. With to catalyse creative tourism offers in small cities
residents, inspired by local endogenous resources (place and people), and designed and implemented this as its context, the CREATOUR project brought and rural areas in Portugal, inform and learn from
by local residents. In brief, we have viewed creative tourism as including four dimensions: active together teams in five research centres1 and 40 their development, and link them with each other
participation, learning, creative self-expression, and community engagement. pilot organizations2 to promote, learn, and develop through the development of a national network.
a variety of place-specific, small-scale creative This network-in-formation offers not only visibility
Underlining all these elements is always the place in which the activities are set – its natural features,
its cultures and history, its stories and imaginaries, and the people who have lived there and continue
tourism initiatives throughout the Norte, Centro, through critical mass, but also support through
to give it vibrancy. Altogether, they inspire, inform, and give character to these activities – and enable Alentejo, and Algarve regions of Portugal. research, co-learning, and capacity building. The
the development of distinctive creative tourism offers with local resonance and meaningfulness. project also aims to inform policy development
Launched in November 2016, CREATOUR: Creative
relating to creative tourism.
Creative tourism offers a platform for a wide variety of activities that can, on one hand, meet the Tourism Destination Development in Small Cities
cravings of a diverse public eager for new, unique, and special experiences through which they can learn and Rural Areas (www.creatour.pt) is a national, The CREATOUR project considers creative tourism
skills and creatively express themselves, and, on the other, meet the growing need for communities to 3.5-year, research-and application project to as a bridge between culture and tourism and as a
articulate, experiment with, and build on their distinctive identity(ies). develop and pilot an integrated approach for strategic area for mobilizing endogenous cultural
Of course, the travellers themselves – bringing their own perspectives, knowledges, skills, questions,
creative tourism in small cities and rural areas in resources for local sustainable development –
curiosity, laughter, and fears – also provide sparks and ingredients for these creative activities. Portugal.3 The project interlinks interdisciplinary with initiatives that are envisioned, designed, and
The creative process of making blends well with travel. Creative tourism is the atelier, the bar, the social science research with entrepreneurial and embedded locally … and connected nationally.
restaurant, the party-venue, the gathering place where they can meet. community-engaged practices in creative tourism.
On the research side, the project aims to examine Nancy Duxbury,
Nancy Duxbury,
CREATOUR Project Coordinator and reflect on the creative tourism activities, CREATOUR Project Coordinator
1 CREATOUR involved research teams in five research centres: CES, University of Coimbra; Lab2PT, University of Minho; CIDEHUS, University of Evora, CIEO, University of
Algarve; DINÂMIA’CET, ISCTE-IUL.
2 The 40 CREATOUR pilots are briefly presented in an overview publication, accessible here: https://creatour.pt/en/publications/creatour-pilots-and-projects-2/.
3 The CREATOUR project (no. 16437) is funded by the Portuguese Foundation for Science and Technology (FCT/MEC) through national funds and cofounded by FEDER through
the Joint Activities Programme of COMPETE 2020 and the Regional Operational Programmes of Lisbon and Algarve.
4 5
Basic principles 6 7
What is creative tourism? Tourism which offers visitors the With the Internet’s increase,
A retrospective view opportunity to develop their creative however, destination-based creative
potential through active participation experiences and creative networks
Creative tourism has emerged both
in courses and learning experiences designed to link them began to
as an extension of the traditional
which are characteristic of the appear. The first of these was Creative
field of cultural tourism as well as
holiday destination where they are Tourism Barcelona, which later
an opposition to it. In many ways,
undertaken. (p. 18) spawned the international Creative
creative tourism represents a more
Tourism Network (Couret, 2012). The
active form of cultural tourism, in In retrospect this definition was emphasis of such programmes was the
which the tourist is actively involved fairly narrow, with a relatively formal marketing and distribution of creative
with the destination´s culture and and producer-defined setting for experiences, or what might be termed
creativity and the ways of life of creative experiences. Duxbury and ‘creative tourism 2.0’. Creativity came
the people in it. As Duxbury and Richards (2019) termed this ‘creative to be seen as a means of attracting
Richards (2019) argue, however, the tourism 1.0’, characterised by informal, tourists to specific destinations,
creative tourism field has developed small-scale, personal creative particularly those outside the
dynamically over the past 20 years, experiences, which were generally mainstream tourism markets. These
and in this process it has taken on offered by creative producers, such destinations also tend to be less well
many different forms and functions,
as craftspeople and artists, very often endowed with well-known cultural
which vary according to the creative
as a supplement to their mainstream sites, which helped to fuel a shift in
setting as well as the creative
creative activities. This type of focus from tangible resources (e.g.,
tourists’ skills.
creative tourism was seen very much built heritage, museums, monuments,
Creative tourism is not new, but as a form of ‘niche tourism’, with beaches, mountains) to intangible
was first defined in 2000, when limited demand, and as a relatively resources (e.g., image, identity,
Greg Richards and Crispin Raymond sustainable alternative to the growing lifestyles, atmosphere, narratives,
defined it as: mass market for cultural tourism. creativity, media).
8 9
The growing importance of intangible the global ‘space of flows’ in order to not just the tourists to be creative,
heritage, bolstered by UNESCO direct resources and ideas to locations but also the other actors in (potential)
designations and Creative City that are off the global map dominated destinations. As Richards (2020)
programmes began to increase the by the major metropolitan centres suggests, engaging creative tourism
connections between tourism and and creative metropoles. This is the experiences are not just a question of
the creative economy. This heralded a genesis of the CREATOUR project, creative people and places, but also
further shift towards ‘creative tourism which seeks to develop creative creative design and thinking.
3.0’, characterised by a wider range of tourism in rural and non-metropolitan
creative experiences and more passive References
areas in Europe and beyond. This
forms of creative consumption. In development is part of what could Couret, C. (2015). Collaboration and Partnerships in Practice:
2014 the Organisation for Economic be termed ‘creative tourism 4.0’,
The Creative Tourism Network®. In Gursoy, D., Saayman, M.,
& Sotiriadis, M. (Eds.) Collaboration in tourism businesses and
Co-operation and Development characterized by a shift towards more destinations: A handbook. London: Emerald Group Publishing,
(OECD) re-defined creative tourism as: relational forms of tourism and the
pp 191-201.
Duxbury, N., and G. Richards (2019). A Research Agenda for
Knowledge-based creative activities co-creation of experiences facilitated Creative Tourism. Cheltenham, UK: Edward Elgar Publishing.
that link producers, consumers and through peer-to-peer networks. OECD (2014). The Creative Economy OECD Publishing: Paris.
places by utilising technology, talent or Richards, G. (2020) Designing Creative Places: The role of
In the definition of creative tourism, creative tourism. Annals of Tourism Research.
skill to generate meaningful intangible
the only constant is change. In Richards, G., & Raymond, C. (2000). Creative tourism. ATLAS
cultural products, creative content and news, 23(8), 16-20.
essence, creative tourism consists
experiences. (p. 7)
of a bundle of dynamic creative
relationships between people, places
In the new landscape of mobile and ideas, through which lives can
creativity, it becomes important to be improved and injected with new Greg Richards,
link the local ‘space of places’ with potential. To do so, there is a need for CREATOUR Advisory Board
10 11
How to Boost Creativity / and could easily be part of a country’s of art in an era of mass production
Be Creative export products. In 1993, Antwerp guided by current capitalism. Artistic
was the European capital of culture production moved from the sphere of
Creativity has become a watchword in and chose, as its motto, the question: spiritual consumer goods to primary
contemporary times: being creative, it “can art save the world?” They did not consumer goods, since its production
seems, is the only way to do anything find an answer, but this motto made and distribution did not differ at all
from planting potatoes to running the year of Antwerp, as the center of from the production and distribution
a company. Charles Landry, the the cultural attention of the European of conventional consumer goods. Mass
mentor of the term Creative City, world, quite productive and thought- culture appeared to replace other
said in an interview: “Creativity has provoking. A city with a long tradition possible forms of culture and, for these
become a mantra of our era endowed of trade, with one of the largest ports philosophers, the only way to resist
almost exclusively with virtues. in Europe, has decided to open itself the complete massification of artistic
Cities, regions, and nations declare up effectively to the arts, allowing the thought was to live on the margins, as
themselves creative.” The idea of development of various shows, giving did the avant-garde artists.
creativity, previously associated only
creators a large space to develop
with some sectors, such as the arts, In the 1980s, in the United Kingdom,
bold projects, without imposing an
occupies its space in a new logic of the Greater London Council began
economic limit on artistic creation. If
operation that recognizes the value using the term Cultural Industry
this project did not save the world, it
of those who think outside the box, to talk about cultural activities that
gave impetus to the world of the arts,
or who never fit into conventional generated wealth and jobs and that
whose productions contributed to
norms and models. But let us not were not part of the public funding
other stops in the years that followed.
delude ourselves, as the rise of the system. The term here does not
creative to the level of glory was not In the 40’s, 20th century, the theorists assume the negative aspect that
the result of the recognition of their of the Frankfurt School created a was given to it at birth but serves to
abilities, let alone a surrender of the term to designate the new form illustrate the link between art and
economics universe to the field of the of production of cultural goods: economy, being the first, an important
arts. In fact, it was the discovery, late Cultural Industry. Horkheimer and source of wealth and work. In the
perhaps, that creativity was profitable Adorno sought to define the new role 1990s, in Australia, the term Creative
12 13Industries appeared and it embodied Andersson addressed the context of In the 19th century, urban creativity Why creative tourism cannot
production areas involving creativity, knowledge, creativity, and regional needed was focused on issues such be disconnected from culture?
competence, and individual talent, development, and drew attention to as public health. In the 21st century,
A new perspective of culture emerged
as potential generators of work the role of the creative environment. it is more focused on finding creative
during the last decade, with the
and wealth, especially through the solutions to issues such as tourism
In 1983, Törnqvist coined the concept diversification of cultural taste, the
exploitation of intellectual property. and heritage preservation. Creativity
“creative environment”, formed by fragmentation of cultural production and
requires a highly skilled and flexible
Theorists such as Manuel Castells or four traits: the access to new technologies and social
workforce; dynamic thinkers, creators,
Richard Florida, who have reflected media. Culture 3.0 was the name given to
• information transmitted and implementers, since creativity
on the concept of a creative industry, this new wave that recognises culture as
is not only about having ideas; broad
have as their premise that these between persons; an important platform for creating not
intellectual infrastructure, formal and
industries naturally settle in societies only economic value but also as a way to
• knowledge (based in part on informal and the clear awareness that create identity, stimulate social cohesion
where “capital has an intellectual information stock); without a creative ecology, creativity
base, based on the individual, his and make creativity flourish (Sacco, 2011).
can hardly resist and effectively
intellectual resources, the capacity • competence in certain become a driving force of the Culture, arts and heritage are main
to form social networks and the relevant activities; economy, and of life, of citizens. resources for creative tourism
exchange of knowledge” which, let’s development, so we can’t talk about
• and creativity (the creation of
face it, is not the reality of many References
creative tourism without referring
countries, amongst them, Portugal. something new as a result of the
Adorno, T. W., Horkheimer, M. (1985) Dialética do esclarecimento: cultural resources and offers, and
The idea is fascinating: to foster three other activities). fragmentos filosóficos. Rio de Janeiro: Jorge Zahar.
vice-versa: “The creative use of culture
the creation of industries whose Bendassolli, Pedro F et alii. (2009) Indústrias criativas: definição,
allowed for the development of cultural
limites e possibilidades. RAE -Revista de Administração de
production is based on creativity and Empresas [online], vol.49, n.1, pp. 10-18. resources, cities, territories and tourism
talent. This is a great challenge, to The creative class can only flourish Hartley, John (2005) Creative Industries. London: Blackwell. destinations. [...] that challenged the
create creativity, to bring to the center when public administration is Landry, Charles (2012). The Origins & Futures of the Creative City. public and private sectors” (Carvalho et
the activities and the places that have imaginative, where there are social London: Comedia.
al., 2019: 15).
Montgomery, John. (2017) The New Wealth of Cities: City
always been in a marginal situation. It innovations, where creativity exists in Dynamics and the Fifth Wave. London: Routledge.
is not an easy task, because to create areas such as health, social services, Local culture is always linked to the
Törnqvist, Gunnar. (2011) The Geography of Creativity.
creativity, we need the emergence and even politics and governance. In Massachusetts: Edward Elgar Publishing. result of cultural policies and to citizen’s
short, they can only develop if there is cultural activity and dynamism.
of an environment that promotes Mirian Tavares, Cultural associations are often at the
creativity. Gunnar Törnqvist and Åke a “creative ecology”. CREATOUR Research Team
14 15leading movements for heritage and approach between the tourist and Richards & Marques (2012) explored rural areas), the creative process integrates cultural value (safeguard References
cultural preservation and safeguard, the residents (Richards & Raymond, the models how this creative tourism incubation, cultural mapping methods and knowledge transmission), Cabeça, S., Gonçalves, A., Marques, J. & Tavares, M. (2019)
but also for cultural innovation. 2000), based on immaterial resources supply and distribution occurred and and processes, tourist/visitor profiles psychological value (personal and Mapping intangibilities in creative tourism territories through
tangible objects: a methodological approach for developing
Culture is nowadays a synonym of such as learning, exchange of concluded that creativity could be and impacts evaluation (benefits and collective), social value (community creative tourism offers, Tourism & Management Studies, 15(SI),
diversity and connectivity: “Culture experiences, skills and traditions seen as background or activity, but the constraints). Local cultural agendas pride, identity) and commercial value 2019, 42-49.
has grown beyond its original (integrating workshops, gastronomic biggest drivers of diversity in creative have integrated the subject, sometimes (to producers). The balanced use of Carvalho, R., Costa, C. & Ferreira, A. (2019) Review of the
Theoretical underpinnings in the creative tourism research
socialisation role to become the experiences, co-creation residences tourism seem to be the different with a profound lack of knowledge of resources respecting community field, Tourism & Management Studies, 15 (S1), 11-22.
oil of the new economy and a vital and so on) (Cabeça et al. 2019). ways in which creative producers how to develop these offers. diversity, exchanging ideas and Duxbury, N., & Richards, G. (2019). Towards a research agenda
reservoir of symbolic resources began to contact with consumers, skills are a key issue: “Creative in creative tourism: A synthesis of suggested future research
that feeds tourism production and Creative tourism is a more The barriers between “production” tourism takes into account what is
trajectories. In N. Duxbury & G. Richards (Eds.), A research
and the different types of experiences agenda for creative tourism (pp. 182–192). Cheltenham: Edward
consumption. Heritage has emerged participatory form of cultural and “consumption” disappeared and so special about the place, ensuring
that they developed in response to Elgar Publishing.
as a force for urban and rural renewal tourism that makes use of the gave place to a creative and cultural the involvement of communities Richards, G. (2011) Creativity and Tourism: The State of the Art.
consumer demand (Richards, 2018).
and preservation, become a global intangible resources of the ecosystem, where communities are and tourists, as may contribute to
Annals of Tourism Research, 38 (4), 1225–1253.
Richards, G. & Marques, L. (2012) Exploring Creative Tourism:
industry in its own right. [...] More destination and enables the tourist New social needs and trends arose key participants and where cultural a more sustainable development Editors Introduction, Journal of Tourism Consumption and
recently the growth of the creative to participate actively in leisure, and creative tourism is one of the agents see benefits of integrating and economic and social income for Practice Volume 4 (2), 1-11.
economy has been marked by the cultural and artistic activities, that most important niche markets visitor in their activities, feeling them communities and regions” (Cabeça et Richards, G. (2016), “The Challenge of Creative Tourism”,
Creativity and mediation in tourism and heritage, Ethnologies,
increasing intangibilisation of culture of cultural tourism depending has added value to their work. al., 2019: 44).
reflect the distinctive and uniqueness Vol. 38, n.º 1-2, pp. 31-42.
and heritage, as they have become largely of the exchange of skills and
characteristics of the destination. Richards et al. (2018) draw up a In conclusion the old barriers
Richards, G. (2018), “Cultural Tourism: A review of recent
vital markers of symbolic value.” knowledge between hosts and guests research and trends”, Journal of Hospitality and Tourism
This kind of engagement requires creative tourism toolkit based on 3 S’s between cultural production and Management 36, pp. 12-21, DOI: 10.1016/j.jhtm.2018.03.005.
(Richards, 2016: 31). (Richards, 2018).
necessary conditions for the exercise – Stories, Senses and Sophistication consumption are disappearing with Richards, G., Wisansing, J. & Paschinger, E. (2018), Creating
Creative Tourism: Toolkit, Bookplus Publishing CO., Ltd.
As recognised, many of the adopted of creativity and the participation A research agenda on creative – to which we would like to add creative tourism development, once
Sacco, P.L. (2011), Culture 3.0: A new perspective for the EU2014
definitions of creative tourism of visitors is placed-based, evoking tourism has been growing (Duxbury the fourth “s” of Sustainability, tourists are co-creators of new – 2020 structural funds programming, EENC- European Expert
are linked to cultural tourism, history, local traditions and cultural & Richards, 2019) and some of the because only this way the creative culture, becoming at the same time Network on Culture.
practices, in creative workshops and Alexandra Rodrigues Gonçalves,
considering it as a form of cultural main subjects include cultural and tourism concept will be accomplish. agents and consumers of cultural CREATOUR Research Team, Algarve’s Regional
tourism that allows a more authentic activities (Richards, 2016). creative organizations (cities and Creative tourism development experiences. Coordinator
16 17Pillars of Creative Tourism to residents through participative 4 pillars of Creative Tourism promoter, but in the participants local culture, this type of tourism
learning. Creative travellers want to be and in the context in which their enables artistic and creative activities
In Creative Tourism, the visitor’s connected with their destinations, and interaction occurs. Both local that integrate participants in their
experience combines an immersion develop emotional links with people communities and tourists help to planning. And when destinations
in local culture with a learning and and places. They seek to participate in create a unique moment that is only allow tourists and communities
creative process. Active participation, the communities’ cultural and creative possible because tourists are invited to feel being in a special place,
creative self-expression, learning, and life. Community engagement in these to use their creativity and to express doing special things, memorable
community engagement are tourism experiences is therefore, themselves while participating in experiences that provide a sense of
key elements. fundamental, once cultural identity the learning experiences provided by place can occur.
This type of tourism presupposes an cannot be apprehended without local Creative Active communities.
Through active participation,
effective exchange of experiences,
communities, the driving force of Self-expression Participation creative self-expression, learning,
the production and reproduction of Sincerely engaging in creative
knowledge and skills between parts, activities that are characteristic and community engagement,
cultural goods.
and tourists are involved in events of their destination, tourists meet tourism activities can be adjusted
that also involve the communities.
From the tourist’s perspective, there
Central roles are given to both
residents and tourists in the creative
Creative local communities, learn about to the visitor’s expectations without
turning tourism products into mere
local culture and make use of their
is a shift from just seeing and gazing,
to becoming a part of the destination’s
experiences. There is an opportunity
for self-learning, to learn and to be
Tourism creativity (an opportunity for self- exploitation of the authenticity and
popular creativity that no longer
expressing). To interact, to learn, to
every day; from the resident’s point of taught. Guided by local communities, do, to self-express, are key aspects. mean the social and cultural life
view, the shift is from being a passive tourists learn to do and actually do. of communities. Instead, creative
A creative tourism activity implies
observer of the daily tourism bustle Rather than just learning something Learning tourism safeguards the essential
Community a creative learning path, promotes
towards being an experience provider with the local communities, the characteristics that make a
the interaction with the destination’s
and a key piece in a learning process. tourist creates something along with Engagement destination unique, and disclosures
residents, and generates emotional
the communities. This interaction a place’s identity. Creative tourism
The link between destinations and links. Inspired by local endogenous
generates the tourists’ self-experience, is a place-based touristic offer that
tourists is made through the active resources (place and people), and
an experience in which their own invites tourists to actively participate
participation in creative experiences. designed and implemented by local
creativity and opportunity for self- in local culture, learn and make use of
To experience a creative tourism residents, creative tourism allows
expression is encouraged. their creativity.
activity is to go beyond the purchase destinations to use cultural, social
of commodities, goods and services Each creative experience is unique and human capital as driving forces.
and enter a path of immersion and and not like any other, because Strongly linked with its territory, Sónia Moreira Cabeça,
participation; it is to be connected experiences are not centred in the Source: CREATOUR Team (Duxbury) and providing an immersion into CREATOUR Research Team
18 19Tourism in Small Cities revealing some contradictions and Tourism in rural areas (generic are involved. Galani-Moutaf (2013) A strong awareness of the resources
and Rural Areas overlapping images: the anti-idyllic definition of rural tourism) offers attests to the importance of this available in the community and a
rural, physical and inhabited space; visitors a set of experiences associated involvement: when rural tourism ‘sense of community’ play a key role
Rural and small areas, once perceived the abandoned and disadvantaged with diversified tourism products activities are carried out by individuals in developing trajectories for the
as passive and dependent in the countryside; the idyllic countryside, in rural areas (Loureiro, 2014). The estranged from the places in which future and allow communities to
context of the global economy, are now a space for well-being; the rural challenge for these regions lies in they operate, their ‘aestheticization develop capacities to adapt to the
understood as capable of generating enhancer of socioeconomic being able, in a demanding and of the rural world’ erases the marks changes observed in rural landscapes.
innovation and contributing to development; and the rural, a heterogeneous tourism market, to of the hard work, revealing an idyllic Small places are adapting to new
future development. Although distant natural resource to be explored by develop differentiated offers that view of the countryside that its contexts, new behaviours, and new
from large cultural and financial tourism. The same happens when correspond to the need for unique inhabitants hardly recognize as their forms of communication, using the
centres, new digital technologies and we move our gaze to the tourist, and memorable experiences that world and the tourist’s activities community’s resources and its
other adaptive approaches allow to whose valorisation of the rural world visitors seek and to create positive are seen as ‘out of place’ when cultural capital.
overcome communication barriers also reflects different perspectives emotions and memories that promote viewed from the perspective of the
attachment to the place. References
and to develop more activities in (Loureiro, 2014). The aesthetic resident community. Tourism must
rural places (Roberts & Townsend, dimension - the mere enjoyment incorporate the daily life of the rural Blapp, M; Mitas, O. (2018). Creative tourism in Balinese rural
Having this differentiated offer communities. Current Issues in Tourism, 21:11. 1285-1311
2016). Agritourism, wine tourism, of the stimuli provided by the world into the tourism product and,
means allocating local resources to Galani-Moutaf, V. (2013). Rural space (re) produced – Practices,
biodiversity, heritage, gastronomy landscape, and the contemplation in order to be successful, be based
tourism. Rural tourism, mostly small performances and visions: A case study from an Aegean island.
and local crafts are today marks of and passive observation and on a genuine and mutual interest in Journal of Rural Studies 32. 103-113
scale tourism, may not create many
the territories that contribute to participation in the environment, cultural exchange between visitors Herslund, L (2012). The Rural Creative Class:
jobs or bring broad direct economic Counterurbanisation and Entrepreneurship in the Danish
transform Europe’s rural landscapes using the five senses - presents and residents (Blapp and Mitas, 2018).
benefits, but, by allocating the social Countryside. Sociologia Ruralis vol: 52 (2). 235-255
towards ‘sustainable development’. itself as the most valued dimension.
capital of communities, can play a Loureiro, SMC (2014). The role of the rural tourism experience
Economic strategies, previously But other different type of visitors Creativity can be an answer to the economy in place attachment and behavioral intentions.
positive or even a boosting role in International Journal of Hospitality Management 40. 1–9
based on agriculture, are increasingly is valuing the active intervention social and economic sustainability of
creative economy (Herslund, 2012). Roberts, E; Townsend, L (2016). The contribution of the creative
including tourism. in activities (participating in fairs, small places: individuals and creative
In this sense, creative tourism can economy to the resilience of rural communities: Exploring
learning to do handicrafts, carrying communities can contribute to its cultural and digital capital. Sociologia Ruralis, 56 (2). 197-219
contribute to the community’s
The vision of what the rural world out agricultural activities) or even cultural capital and to the community’s Silva, DS; Figueiredo, E; Eusébio, C; Carneiro, MJ (2016).
development, with local people The countryside is worth a thousand words – Portuguese
is (or represents) has broadened. the possibility of embracing the resilience. Creative practices express
actively participating in the planning representations on rural areas. Journal of Rural Studies 44. 77-88
A study carried out in Portugal lifestyle of the place, its routines, identity and social cohesion, also
and design of tourism offers.
(Silva et. Al., 2016) indicates that schedules, diet and daily life (which contributing to the quality of life of
Sónia Moreira Cabeça, Alexandra Rodrigues
the social representations about is often different from the visitors’ Creative tourism is promising in rural people living in rural areas and small Gonçalves, João Filipe Marques, Mirian Tavares,
the countryside are multiple, usual lifestyle). and small places when communities places (Roberts & Townsend, 2016). CREATOUR Research Team, Algarve
20 21The CREATOUR
Experience
22 23CREATOUR: a theoretical- As known, creative tourism is implementation; its partners, people’s experiences when participating CREATOUR: Research
practical approach inseparable from the territories in the CREATOUR pilots, provide in creative tourism experiences (what is and Incubation Project
which it takes place, linking creativity information by developing real offered/forms/models)?;
Pioneer research demands new to places and providing unique experiences. CREATOUR exchanges »» The Offers: What are the main types
approaches. cultural experiences. It also predicts experience and knowledge with its of creative tourism activities? What
CREATOUR develops and pilots an active roles for communities, the use pilots, creates synergies between makes a quality experience? What
integrated approach and research of local resources and an immersion academics and society, and promotes enables visitors to expand their own
agenda for creative tourism in small into the culture of the destination. So, stakeholders and local communities’ creative potential, beyond learning to do
cities and rural areas in Portugal. It what better way to address the main engagement. something new?
aims to improve the level of knowledge research questions and intervene »» Forms of creative tourism
positively in the territory, developing The Project combines theoretical destinations: What is distinct about
and systematic analysis about creative knowledge and practical knowledge Theoretical
an agenda for creative tourism, than offers in small communities and rural framework
tourism in small cities and rural in a flexible methodology that
joining efforts with the local and areas? How are they contextualized?
areas in Portugal; to understand the implies reciprocity, co-learning and
regional organizations? »» Development processes: How are Baseline
processes (under different conditions inter-knowledge, thus constituting creative tourism offers developed, Knowledge research
and situations) through which creative Knowledge can be transferred from an approach that is a disruptive implemented, and evolve? How can dissemination monitoring
tourism activities can be effectively academics to society and vice versa. By innovation of the traditional research
developed, implemented, and made this process be supported/facilitated?
working directly with the entities that model and an alternative to a
sustainable; to understand how an »» How can creative tourism offers / Pilot’s content
are implementing creative tourism positivist paradigm of knowledge Network
integrated approach to creative organizations be made sustainable? support:
offers in the Portuguese territory – production. and cluster
tourism may provide feasible options Producer/structure: What type of formation Idea Laboratories
the CREATOUR pilots – a sustained
to improve the stability of cultural/ An inclusive approach, strongly linked organization provides the activities?
network can be founded, helping
creative organizations of small cities to the territorial agents through »» How do they secure the initiative’s
researchers to know who the creative Site visits to
and rural areas; and to assess the cooperative processes, is the key to sustainability? Is there a cross-sectoral creative tourism
tourists are and how to reach them,
multidimensional impacts (economic, conduct a research addressing both collaboration? What is the importance of pilot initiatives
and providing experiences that bring
cultural, social, environmental) of the scientific objectives of the project the connections between research and
economic income to cultural and
creative tourism activities in small and the knowledge that organizations practice?
creative organizations and prosperity
»» Impacts: What are the initiatives’
cities and rural areas on cultural/ to regions. need in order to evolve:
impacts in the community? And in
creative organizations, on tourism, and
CREATOUR research team provides »» The creative tourist: Who partnerships and linkages?
on local development in general.
content development and support participates and why? Who Text based on the CREATOUR research project, as prescribed in
to the creative tourism activities’ attends what? What are the application form.
24 25Our work with the pilots information would be less accessible connections among projects. In our joint work, establishing the CREATOUR Research methodology
without their collaboration. It is CREATOUR held several workshops link between creative activities and
CREATOUR is an incubation worth mentioning the importance of (idea laboratories) and conferences, the territories where they occur
project, monitoring an array of this innovative approach. It provided providing opportunities to exchange has proved to be fundamental. With IDEALABS - IDEA LABORATORIES
creative tourism case studies. Workshops held by the research team to help pilots designing their creative
the research team a means to apply experiences and for advanced greater knowledge of their territory,
tourism offers, and to follow its implementation.
Knowledge can be achieved training. Pilots’ activities allowed ideas bloomed. Interaction between
surveys to participants and the
combining multidisciplinary all parties has always been valued as SITE VISITS
opportunity to effectively and actively researchers to monitor and assess To learn how experiences are being developed and who attends them, researchers
theoretical and methodological the development and impacts of well. Working together, researchers
experience creative tourism activities. made site visits and actively participated in the creative tourism offers.
frameworks. Besides theory, work creative tourism. Working along with and pilots traced new paths, were
Due to such collaboration, we know
through experimentation, with the inspired, have participated in each INTERVIEWS WITH PILOTS
now who the creative tourists are the project, they provided important It is important to listen to the promoters, to understand their struggles,
CREATOUR pilots, helps to achieve information: practical knowledge, other’s activities, adapted contents
and how creative activities are opportunities, the challenges that have to be overcome, and the changes in
the project’s objectives. access to tourists, possibility to according to needs. We’ve shared the initial plans.
being developed in our territory.
experience the activities, a better expectations, looked for answers,
A total of 40 pilot initiatives that Due to this group of people, our SURVEY FOR TOURISTS
understanding of the organization’s we’ve learned, socialized, we sought Who attends the CREATOUR experiences? Where they come from, with
offer creative tourism workshops pilots, committed to making their
struggles, the challenges that have to the opinion of others. whom, and why? How they learn about the experience and why they choose
cooperate with researchers during destinations known through their it? Which impacts in tourists and in communities? The survey provides some
the project. They are the CREATOUR community, their heritage, their be overcome. The involvement of research centres answers and traces the visitor's social and economical profile.
co-researchers, local partners that know-how, their traditions, their with local and regional tourism PILOTS AS CO-RESEARCHERS
support the creation, refinement and landscapes; people committed to the By joining CREATOUR, pilots organizations extended the dialogue CREATOUR Pilots are actively involved in the research, applying the survey
delivery of creative tourism offers. CREATOUR project, participating in aimed to obtain greater knowledge beyond the cultural sector and to the participants in their experiences, gathering data and documenting
about creative tourism and more each activity, and sharing their experience.
In turn, the project develops a series the project’s laboratories, attending helped building a broader base for
of contents that might help them our conferences, and gathering information about successful cases dialogue, and the beginning of a SHARING KNOWLEDGE
improving their initiatives. information. in the area, the tourists’ profile, the creative tourism network. CREATOUR organized 3 International Conferences and attended several
cultural and creative sector, the events, disclosing the project and its outcomes. Several papers and books
Working with pilot projects was The research team eased cultural existing offer and the characteristics were writen.
fundamental. In addition to the mapping exercises and further of the market. With their Text based on the CREATOUR research project - as DELIVERABLES
important connection to the development to the pilot ideas; collaboration, we are now prepared to prescribed in the application form - and in the results of the Reports, recommendations, and network analysis are shared amongst
territory thus achieved, much of the and fostered regional and national give further answers. CREATOUR team activity. researchers, pilots academics and general public.
26 27CREATOUR research centres and pilots’ location
Research Centres JOÃO CUTILEIRO ATELIÊ | Évora
CES – University of Coimbra CACO – Associação de Artesãos do
Lab2PT – University of Minho Concelho de Odemira | Odemira
DINÂMIA’CET-IUL – ISCTE-IUL
CIDEHUS – University of Évora CENTRO
x CIEO / Cinturs – University of Algarve ASSOCIAÇÃO DOMINIO VALE DO MONDEGO | Faia
x
x x TECITEX (New Hand Lab) + MUSEU DE LANIFÍCIOS da
x
Pilots Universidade da Beira Interior | Covilhã
ALGARVE CÂMARA MUNICIPAL DE ABRANTES | Abrantes
BARROCA - PRODUTOS CULTURAIS MOSAICO – CONIMBRIGA E SICÓ | Condeixa-a-Nova
E TURÍSTICOS | Silves
RURALIDADES E MEMÓRIAS | Covão do Lobo
LOULÉ CRIATIVO – CÂMARA MUNICIPAL
VIC // AVEIRO ARTS HOUSE | Aveiro
x DE LOULÉ | Loulé
ASSOCIAÇÃO LUZLINAR | Serra do Feital
x ODIANA – ASS. PARA O DESENVOLVIMENTO
DESTINO CALDAS | Caldas da Raínha
x DO BAIXO GUADIANA | Castro Marim
QUICO – TURISMO, Lda. | Nazaré
TERTÚLIA ALGARVIA - CONHECIMENTO
ADXTUR – AGÊNCIA PARA O DESENV. TURÍSTICO
EM CULTURA E ALIMENTAÇÃO TRADICIONAL | Faro
DAS ALDEIAS DO XISTO |Aldeias do Xisto
ASSOCIAÇÃO IN LOCO | S. Brás de Alportel
Centro de CIÊNCIA VIVA DO ALGARVE + Ass.
x x NORTE
PROFESSORES de MATEMÁTICA - Algarve | Faro
VERdeNOVO - MOTIVOS
ESPÍRITO DA TERRA & Co. | Boliqueime
E MEMÓRIAS | Cerva e Limões
PROACTIVETUR, TURISMO RESPONSÁVEL | Loulé
TURISMO INDUSTRIAL DE
EATING ALGARVE FOOD TOURS | Faro
S. JOÃO DA MADEIRA | São João da Madeira
ASSOCIAÇÃO BACKUP | Vila Real de Santo António
x xx GALANDUM GALUNDAINA | Miranda do Douro
x
ALENTEJO CÂMARA MUNICIPAL DE BRAGANÇA | Bragança
MARCA ADL | Montemor-o-Novo CÂMARA MUNICIPAL DE ESPOSENDE | Esposende
CECHAP - CENTRO DE ESTUDOS DE CULTURA, Associação para o Desenvolvimento
HISTÓRIA, ARTES E PATRIMÓNIOS | Vila Viçosa da Terra Quente – DESTEQUE | Podence
MUNICÍPIO DE BEJA | Beja MUNICÍPIO DE AMARES | Amares
x
MUNICÍPIO DE MÉRTOLA | Mértola LRB - INVESTIMENTOS E
MUNICÍPIO DE REGUENGOS CONSULTORIA, LDA | Braga
x x ADRAT (Associação de Desenvolvimento
xxx
DE MONSARAZ | Reguengos de Monsaraz
VAGAR WALKING TOURS | Évora da Região do Alto Tâmega) | Chaves
GENUINE ALENTEJO | Évora ASS. DESENV REGIÕES DO PARQUE NACIONAL
LOOM NEW.TRADITION | Évora DA PENEDA-GERÊS (ADERE-PG) | Peneda Gerês
28 29Improving your
experience
30 31What you need to know physical, symbolic, human and creation, and to have an active role partnerships with the holders initiatives are out there? Can
beforehand spatial. Knowing what is so special on its outcome. That is to say, to of the necessary skills for its they complement yours?
about a place, and how each place is generate their own experience. A implementation. Neglecting Seek for advice, mentoring
It is said that all human behaviour can felt by communities, is essential to creative tourism experience gives all that need, can jeopardize if needed. Design a strategy
be assessed from two point of views: generate topophilia, the emotional participants – residents and visitors an initiative’s success and and define a business model.
in an etic perspective, as an external attachment to place (Casey, 2009). – the opportunity to learn and to to skip a development or an How, when, why? Evaluate
construction indexed to an external Such tourism cannot be a desperate express themselves, whether they implementation phase might your possibilities. What are the
reference system (as seen by others); attempt to capture the tourist’s are participating in an arts festival, be unprofitable. In addition strengths and what can be the
and in an emic perspective, relating to attention. By linking the culture to its whether they are learning and doing a to the purely structural struggles? Seek information.
what is considered by the participants territory and communities, placing traditional piece (giving participants elements, it is necessary Who is the creative tourist?
to be relevant to their behavioural them; significant cultural assets, the opportunity to paint clay or make to take into account the What to do next? If you are
system (Pike, 1954). To apprehend the emerge to create distinctive places, a recipe making use of their own action-oriented dimension: reading this, it might be a
emic dimension is to assess the way and to strengthen local identity (Gu & creativity, for example). information, mentoring, good start.
the participants of a given culture Ryan, 2008). training, partnership.
understand and organize their When you are developing a creative References
relationship with the world around Creative tourism goes beyond tourism experience, please consider to: Seek training and make Casey, E. S. (2009). Getting back into place: toward a
them. And that is essential in creative providing place-based experiences, contacts. Learn with renewed understanding of the place-world. Indiana
Link creative offers with the University Press.
tourism. In this type of tourism, the though. Through experiences, tourism successful entrepreneurs,
territory; Cohen, E. & Cohen, S.A. (2012). Current sociological
two parts of this hermeneutic circle can do more than just disclosure make partnerships that
Use the local resources; theories and issues in tourism. Annals of Tourism
resembles. Tourists are invited to a territory’s history and heritage allow you to acquire new Research, 39 (4), 2177–2202
Guarantee the community’s
participate in the very culture they or promote lifestyles. What makes skills: design, marketing, Gu, H; Ryan, C. (2008). Place attachment, identity
involvement; and community impacts of tourism—the case of a
experience, to have a glimpse of the an experience even more special is promotion, communication and
Create opportunities for Beijing hutong. Tourism Management, 29(4), 637–647.
community’s social construction of the active role activities can give distribution of creative tourism
learning and self-expression; Perkins, H., & Thorns, D. (2001). Reflections on
their knowledge, techniques and ways to visitors. ‘Tourism demands new offers. How is the product sold Urry’s tourist gaze in the context of contemporary
Arouse creativity and experience in the antipodes. International Sociology,
of living. To experience is more than metaphors based on being, doing, and to whom is it addressed?
emotion. 16, 185-2004.
mimicking: it is understanding. touching and seeing’ (Perkin and Reinforce information and Pike, K. L. (1954). Language in relation to a unified
Thorns, 2001, p. 189), and shifting the Cultural mapping and working knowledge sharing and create theory of the structure of human behavior, part 1,
Glendale: Summer Institute of Linguistics.
Creative destinations create a link attention from the tourist’s gaze to with your community are keys to a network. Contact with
between the place and its territorial his all being (Cohen & Cohen, 2012). structure a creative idea. To make experts and organizations in
capital. They are unique and make Creative tourists must be allowed that idea a reality, to operationalize tourism or other relevant areas. Sónia Moreira Cabeça,
use of their specific features: natural, to participate in the activities’ own it, you need to hold or establish What other creative tourism CREATOUR Research Team
32 33Marketing Creative partnerships and networks experiences through local and and payback to sales intermediaries
Tourism Experiences (Magadan et Rivas, 2015) (Yachin, regional tourism offices such as in terms of pricing structures, i.e.
2019) that can add value in three DMOs or Destination Marketing commission basis from 10 to 25 % of
The tourism industry is a complex ways. First, partnering is a way to Organisations (Hristov et Zehrer, the retail price. Limited knowledge of
and giant sector of the economy, get to know more about the natural 2015). One must never underestimate the tourism industry structures must
whose structure revolves around environment, the producers of local the importance of relationship also be considered in working with
supply and demand on local, regional, or regional products, the history marketing through tourism networks a more sophisticated distribution
national and international levels. and the intangible way of life of local (Uğurlu, 2016). network (Simpson, 2008; Tsiotsou et
Poorly understood (Yachin, 2019), this culture. Second, these resources
Furthermore, these experiences are Ratten, 2010; Schott, 2018).
industry is nevertheless necessary bring business opportunities by
to tackle since creative tourism way of packaging various aspects of generally part of a larger tourism Hence, it is more appropriate to start
experiences are part of the product the creative experience. Third, this product for national and international small, build a good performance
offerings by which destinations cooperation aspect combined with visitors and many are sold via sales
history, and engage in smaller
differentiate themselves. the competition, or coopetition (Della intermediates, such as national
marketing strategies geared to local,
Corte et Aria, 2016), can increase and international tour operators as
Understanding the link between the regional and national visitors who in
promotion and marketing budgets well as regional receptive/incoming
supply of an experience or product turn could share their impressions to
while bringing more revenue and tourism agencies. Creative tourism
offering and the demand for such enhance the experience.
retaining visitors for longer periods. endeavours can benefit from the
tourism product from the consumer expertise of those sales intermediates Engaging the local population to
is essential to establish marketing Sometimes, aggregating cultural sites whose knowledge about target become ambassadors, bringing part
strategies. Moreover, creative and association, meaningful historical markets, trends and consumer of the experience at local and regional
tourism experiences address a niche sites and main attractions with preferences is precious in identifying fairs, writing blogs, enhancing
market with specialised interests creative tourism experiences under a and attracting larger markets. tools such as websites, Facebook
(Kiralol’ova, 2017). regional collaborative platform could
However, choosing to work with sales pages, Instagram and YouTube with
help coordinate those marketing
Creative tourism experiences are intermediates also means that the photos and short videos, contacting
aspects when skills when market
mostly embedded in local and creative tourism experience must tourist offices and regional receptive
knowledge and financial means are
regional cultural milieu. It is therefore be market ready, which is usually agencies represent small, low-cost
limited (Simpson, 2008).
important to identify the tourism not relevant for smaller endeavours, but effective marketing activities
and cultural resources that compose The networking efforts represent since there is little track record of (Koudelková, 2017; Tsiotsou et Ratten,
their territory. The inventory of basic means in disseminating the sales, visitor satisfaction, availability, 2010) that must be spread throughout
those resources is key to expanding information about creative tourism market consistency, sustainability the calendar year.
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This is in part an excerpt from the following forthcoming book: Duxbury, rise to trips and collective creation
N., S. Albino, and C. Carvalho (eds.) (Forthcoming in 2021). Creative
Tourism: Entrepreneurship, Cultural Resources and Engaging Creative Marie-Andrée Delisle,
stays that enter into the definition of
Travellers. London: CABI International. CREATOUR Advisory Board Creative Tourism.
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