Creative Tourism Providing a Competitive Edgeby Catriona Campbell Feb 2010

Browse this article:Summary What is creative tourism? Why creative tourism? Is there a market for creative tourism? The market profile Developing a creative offer Conclusion References About the author

http://www.insights.org.uk/articleitem.aspx? title=Creative%20Tourism%20Providing%20a %20Competitive%20EdgeSummaryLearning a creative skill on holiday that is part of the culture or the community is growing in popularity. Creative tourism expert, Catriona Campbell, illustrates the reasons for this new demand. For creative tourism in the UK to be successful it needs to be driven by the tourism sector that has existing routes to market and business development expertise. This article outlines the market profile and provides examples and advice for developing a creative offer that can provide a competitive edge for destinations.

What is creative tourism?Creative tourism is a form of cultural tourism and has been described 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 taken. [1] A further definition, used by Catriona Campbell to describe her creative tourism business [2] is: 'Tourism that offers visitors a creative pursuit (including arts, crafts and cookery workshops), with the opportunity to stay in high quality accommodation, and to connect with local people in a distinctive destination.' Cultural tourism, on the other hand, is described by Susan Briggs [3] as follows. 'Tourism motivated wholly, or in part by interest in the historical, artistic or lifestyle/heritage offerings of a tourism destination and emerged to meet the demand from visitors looking for more than sun, sea and sand mass market experiences. It encourages arts and tourism sectors to work more closely together and it encompasses visits to enjoy visual and performing arts, museums, galleries, heritage attractions, artists open studios, art fairs, auctions, public art and architecture, films, festivals and other cultural events.'

The difference between cultural and creative tourism is that creative tourists participate in a creative activity when visiting a destination whilst cultural tourists are consumers of cultural experiences.

Why creative tourism?Creative tourism is not new, people have been engaging in creative educational and learning experiences on holiday for a long time, but it is growing in popularity. More people are looking for authentic experiences and want to engage with local communities as well as, or instead of, being passive consumers of cultural experiences provided in the destination.

Connection and authentic experiencesResearch sponsored by Enjoy England [4] shows that people want more time, space and energy, and a greater sense of wellbeing and are demonstrating a growing desire to connect with each other and feel more in touch with local communities. A creative tourism break can provide this and also provide people with a sense of achievement through learning a new skill. Also, by creating their own souvenir, whether a painting, crafted object, poem or even a recipe, people are more likely to have a lasting emotional attachment for the creative tourism destination, to talk, blog or tweet about in a positive way and to return again. The roots of creative tourism, as we now understand it, probably go back to the mid-1990s when the European Commission funded the Eurotex project [5] to help craft producers in Portugal who needed to distinguish their handmade goods from those that were mass produced. It was realised that unless people understood what work went into making these goods they would not pay a realistic price for them. As a result the Alto Minho craft trail was developed that allowed visitors to meet the crafters, watch them at work and participate in the making of textiles [6]. Since then many destinations around the world have been considering and developing their own versions of creative tourism products, partly in recognition that people want participatory experiences but also because they are looking for new ways to interact with their visitors to provide differentiation from competing destinations. Cultural tourism has been seen by many destinations as the antidote for low quality mass tourism but many visitors are now becoming disillusioned by traditional cultural mass market experiences. At the Santa Fe Creative Tourism Conference in 2008, Greg Richards stated [7]: 'Trooping through cathedrals or museums or art galleries with hundreds of other people is increasingly being seen as an experience to be avoided rather than desired.' Many visitors prefer to seek out small scale, out of the way places that other cultural tourists have not yet found. What the tourist is seeking in these local places is to experience the destination as the local would, to feel part of the community and to enjoy more contact with real people and engagement with local culture.

Developing creative potentialCreative tourism allows visitors to get even closer to local people through participation in interactive workshops and informal learning experiences that draw on the culture of their holiday destinations and, at the same time, develop their creative potential. Creative tourism experiences offered around the world are diverse:

bone carving with Maori tutors delivered through Creative New Zealand gastronomic breaks in Barcelona where participants learn about and shop for produce in La Boquera, the outdoor market, before being taught how to cook them Native American pottery workshops in Santa Fe to Celas

a music and dance summer school in South Uist, Scotland, featuring tuition in piping, fiddling, singing, dancing and the Gaelic language.

Is there a market for creative tourism?There is a huge growth in interest in undertaking craft activities and a significant number of people interested in participating in the arts. Department for Culture Media and Sport (DCMS) research indicated that 17% of the population took part in a craft activity in 2008/9 [8].

Satisfying environmental and nostalgic needsThe Make Do and Mend movement, last seen in the UK in the 40s, is also being revived, in part due to the recession but also because of (particularly young peoples) concern for the planet. People want to learn skills no longer taught in schools in interesting fun venues (not a description that could be applied to most adult education centres) and businesses are beginning to respond to this demand. The success of The Make Lounge in Islington, London that offers; Contemporary craft workshops with a stylish, social twist perfect for embracing the make do and mend ethic in a fashionable way has encouraged others to provide similar offerings in a variety of locations. These include Craft Guerilla in East London, Craft Mafia which has chapters in Nottingham, Manchester and Glasgow and COW at The Custard Factory in Birmingham. Amongst the top 20 worldwide trends forecast for 2010 [9] is that the Make It Yourself movement will become culturally acceptable across all social groups as people become nostalgic for past times and conspicuous consumption continues to be seen as unacceptable in difficult economic times. The popularity of Kirstys Homemade Home on Channel 4 in 2009 is another example of this.

A short break with a differenceThe recession is also encouraging more people to want to escape from their routines even if only for a short time and to desire a small treat occasionally. A short break away from home that also offers the opportunity to learn a new skill will fulfil this desire and will become increasingly popular. Destinations and operators should look to their existing short break cultural tourism market profiles to find segments within that will respond to a creative tourism message. In addition they should look at creative professionals who are known to want to undertake creative activities outside of the workplace to enhance their existing artistic practice or as part of continuing professional development.

Domestic and overseas visitor appealThere is definitely a market for creative tourism amongst domestic visitors, including those concerned with reducing their carbon footprint, those who are cash rich and time poor (and unable to commit to long courses) and people wishing to take up a creative pursuit or revisit one they have not undertaken since leaving school. There also appears to be a groups market, particularly female groups, for hen parties and girly weekends for example. Creative pursuits are also likely to appeal to single travellers of all nationalities who know that they will share a common interest with the people they meet on a break. In addition to providing differentiation and an added dimension to existing cultural experiences, creative tourism provides destinations and operators with good opportunities to extend their season as it is not usually weather dependent.

For overseas markets, visitors who respond to cultural tourism messages are also likely to be interested in the added dimension that creative tourism offers, particularly the opportunity to meet local people in distinctive settings. Venues like castles, stately homes and other attractions should all consider whether they can add the opportunity to engage in a creative pursuit to enhance the visitor experience.

The market profileResearch undertaken amongst participants of two pilot creative tourism events in 2009 [10] showed that participants were predominantly female, aged 45 plus and likely to have children who are teenagers or who have now left home. The other large group was younger women aged between 22 and 30 with busy full-time jobs and no children. The participants also included creative professionals looking to add to their artistic practice and teachers wishing to be on the other side for a change! This research echoes the findings of segmentation research undertaken by the Art Council [11] into the English populations engagement with the arts. This research identified thirteen arts consumer segments, including those most interested in participating in the arts. Two of the groups identified were:

Urban arts eclectic (5% of English adults) Highly qualified, young half under 35, with no children, living in urban areas, affluent, and in the early stages of their career. One sixth from black and minority ethnic backgrounds. This segment contains the most active arts participants with interests ranging from dance, computer art, photography, music and creative writing.

Traditional culture vultures (4% of English adults) Majority are women, two thirds aged 45 to 74, living with a partner without any children, highly educated, high proportion (25%) living in rural areas and their interest in the arts extends into their participation in textile arts, photography, playing musical instruments, painting and drawing.

It is possible to conclude that those people already interested in and actively engaging in the arts and culture will also be motivated by creative tourism opportunities.

Developing a creative offerBeautiful, unusual and distinctive venues will inspire all sorts of creativity, including painting, photography, sculpture and creative writing. The opportunity to cook with local ingredients is also motivating. As previously mentioned, Barcelona offers gastronomy breaks and, in the UK, Padstow is renowned not only for its fish restaurants run by Rick Stein but also for the cookery courses his business provides at the Padstow Seafood School. These are particularly popular with women looking for unusual milestone birthday presents for their partner or husband. Through looking at the creative tourism development experiences of countries around the world it will help destinations and operators in the UK develop their own offer. Several examples are provided in a book compiled from presentations given at a creative tourism conference in Santa Fe 2008 [12]. A different experience is described by Caroline Couret who is responsible for Barcelona Creative Tourism (BCT). Funded by La Fundaci Societat i Cultura (FUSIC) a non-profit cultural organisation. BCT launched in 2006 and acts as a facilitator, matching creative tourists with cultural and creative activities through www.barcelonacreativa.info.

The organisation develops customised solutions for creative tourists; from those who wish to develop their artistic skills to those with more sophisticated projects, for example an orchestra in London who wishes to organise a concert. Their assistance ranges from providing advice and information to event design and technical production, as well as tailormade creative itineraries. Examples given include those of helping a French band who wished to learn Catalan rumba music originating in Barcelona; BCT created a programme that also included jam sessions with a local group. They also organised a stay for art students who wanted to work with Barcelona creatives, which included an exhibition of their own work. In effect BCT act as a ground handler for creative tourism in Barcelona whilst being subsidised by public funds.

New ZealandOne of the most illuminating examples is the experience of Creative Tourism New Zealand (CTNZ). It was started in 2003 by Crispin Raymond and Greg Richards who are credited with first identifying and naming creative tourism. The creative workshops were delivered by tutors in their own homes in Nelson, on South Island, an area already known for its thriving arts community. Subjects included bronze casting, bone carving and seafood cookery. Despite hard work and persistence and enthusiasm from those who attended, the lack of a clearly targeted marketing campaign resulted in insufficient participants to make the project financially viable in the longer term. CTNZ is currently considering whether to seek additional private capital and work with an established tourism partner with existing tourism distribution or whether to establish a Trust and develop a wider community network and seek more public funding.

Current UK offersSome tour operators already using creative pursuits in the UK as part of their offer and include Warner Holidays, Saga and lastminute.com who are offering a range of creative activities from Strictly Ballroom dancing breaks, to song writing and recording, chocolate making, wine appreciation and safari park photography. There are examples of non-residential Arts Centres providing creative workshops and that appear to be considering and promoting to visitor markets and linking to accommodation and other tourism providers. These include Craft in the Bay in Cardiff, home of the Makers Guild of Wales, offering one to three day creative workshop breaks to a maximum group size of 8 and New Brewery Arts in Cirencester. Residential centres for creative breaks in England include; Farncombe, near Broadway in the Cotswolds and Flatford Mill, close to the Suffolk/Essex border West Dean in Sussex and Missenden Abbey in Buckinghamshire, and other members of Adult Residential Colleges. Whilst some areas of the UK have pockets of creative tourism products, no single destination has yet developed a strong creative tourism profile. However, Herefordshire, on the border of England and Wales, is probably the most advanced in this respect. The Creative Breaks Association was set up in 2000 with the assistance of Herefordshire Council to introduce visitors to Herefordshire to local artists and craftspeople. Creative Breaks in and around Herefordshire offer more than 300 courses, workshops and holidays on topics ranging from crafts and painting to cooking and earth oven building.

Northumberland Tourism is exploring creative tourism and in 2009 worked with Made in Northumberland to bring tourism providers together with artists. Visit Northumberland includes pages devoted to Northumberland crafts and a link to the Northumberland artists and crafters network, some of whom deliver workshops.

Kents Creative CoastVisit Kent is currently working with Campbell on the Create in Kent programme to position the county as the place to be creative in the UK, and in particular to develop the Kents Creative Coast brand. The aim is to encourage positive perceptions of Kents Coast, to increase visitor spend and seasonality, for the benefit of tourism providers, the creative communities and the wider Kent economy. The programme comprises the following. 1. Business training and coaching to support and encourage:

creative individuals and groups who wish to develop taster creative workshops tourism businesses (including food producers such as vineyards) who wish to appeal to visitors interested in creative tourism products.

2. Facilitation to develop creative tourism products. 3. Promotion of creative tourism products through their website, blog, Twitter and other social, e-marketing and media relations. As a first step in the development of the programme, a creative tourism workshop was organised in November 2009, for creative professionals and tourism providers from destinations along the coast to communicate the opportunities presented by creative tourism and to encourage partnership working. The response was excellent from both tourism and arts delegates and training is planned for early 2010 with the aim to have creative tourism products ready for promotion later this year. Some of the ideas being developed include:

hotel accommodation combined with an arts or crafts workshop watercolour painting in a stately home stone carving or sculpture in the grounds of a castle cookery workshops using Kent produce in farmhouses, vineyards or restaurant walking and cycling tours with photography tuition.

ConclusionCreative tourism development around the world, including the UK, shows that it has mainly been driven by arts providers and public funding, and when this money dries up, projects have found it difficult to continue. For creative tourism in the UK to be successful it needs to be driven by the tourism sector that has existing routes to market and business development expertise. The benefits of creative tourism for tourism providers include the opportunities to enhance existing cultural experiences and to provide differentiation from the competition. For destinations it not only offers opportunities to provide local authentic experiences and to extend the season, but also delivers additional economic benefits to creative professionals delivering the learning experiences and for the wider community living and working there.

Even with the current downturn in the economy many people still feel that a holiday is fundamental. A break that combines the opportunity to learn a new skill and take home a unique souvenir, a change of scene in high-quality accommodation in a distinctive location, and the sharing of an experience with people with a common interest, can provide a competitive edge for many destinations.

References1. Raymond C. and Richards G. ATLAS (Association for Tourism and Leisure Academics) Newsletter (2000). Campbell C . www.catrionacampbell.co.uk (2009). Briggs S. How you can benefit from Cultural Tourism. Visit Britain Advisory Guide (2005). What is the Future of Domestic Tourism to 2015? Enjoy England sponsored presentation by the Henley Centre at the TMI Convention. 20-21 September 2005. www.atlas-euro.org/pages/content/pgeurotex.htm Richards G. Developing and Marketing Crafts Tourism (1999). Richards G. Creative Tourism and Local Development. Santa Fe Creative Tourism Conference (2008). DCMS. The National Survey of Culture Leisure and Sport (December 2009).

2.3.

4. 5.6. 7. 8.

9. www.trendhunter.com/trendreports 10. Two Escape to Create events, providing a range of creative workshops for visitors toWhitstable were organised in July and October 2009 www.createinwhitstable.co.uk

11. Arts Audiences Insights. Arts Council (August 2008) www.artscouncil.org.uk

12. Creative Tourism. A Global Conversation (2009). Edited by Rebecca Wurzburger, Tom Aageson, Alex Pattakos and Sabrina Pratt. Sunstone Press.

About the authorCatriona Campbell (www.catrionacampbell.co.uk) started her career with five years at Contiki Travel, an international tour operator. She then moved to the London Tourist Board where she held the position of Marketing Director for ten years. Campbell then established her own marketing consultancy specialising in brand development where clients included England, the Yorkshire Dales, Derbyshire, Cumbria, Rye, Medway and Kent, and many private companies in tourism and other sectors. In 2009 she set up Escape to Create, a business that organises creative breaks. She combines this with creative tourism consultancy and is currently working with Visit Kent to develop creative tourism products on Kents coast.

Creative tourism in destination developmentDocument Information: Title: Author(s): Creative tourism in destination development Kaija Lindroth, (HAAGA-HELIA University of Aleksanterinkatu 20, 06100 Porvoo, Finland), Jarmo Ritalahti, (HAAGA-HELIA University of Aleksanterinkatu 20, 06100 Porvoo, Finland), Tuovi Soisalon-Soininen, (HAAGA-HELIA University of Aleksanterinkatu 20, 06100 Porvoo, Finland) Kaija Lindroth, Jarmo Ritalahti, Tuovi Soisalon-Soininen, (2007) "Creative tourism in destination development", Tourism Review, Vol. 62 Iss: 3/4, pp.53 - 58 Consumer behaviour, Creative thinking, Networking, Tourism development Research paper

Citation: Keywords: Article type:

DOI: Publisher: Abstract:

10.1108/16605370780000322 (Permanent Emerald Group Publishing Limited

URL)

Purpose - The aim of this article is to identify the stakeholders attitudes, values and feelings on destination development in the framework of creative tourism. Design/methodology/approach - The research questions focus on tourist participation, innovative partnership, guest-host meetings and money spent in the destination. The focus group method with snowball sampling was chosen as the research method. Findings - Central outcomes can be divided into ten different categories: sociophysical environment of the destination, service structure, consumer behaviour, information and communication technologies, traffic, logistics and accessibility, networking, tourism demand and supply, local resources, marketing and PR. Research limitations/implications - Although focus group research has many advantages, there are limitations. In this case the moderators did not have full control all the time due to the more topical themes that interested the participants; focus group research is often open-ended. Practical implications - The whole issue of the present case revolves around the question why destinations want to be creative or why they need to be creative in the present competitive situation. Creativity should be an integral part of the tourism offering just as tourism is an integral part of the planning and development of a destination. Originality/value - It can be concluded that the future issues and research topics seem to focus on five themes. Most of what was said can be ascribed to the need for a forum for decision makers and tourism actors to discuss holistic and long-term planning of tourism in the destination

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A Hidden Treasure - The Old Mosque (Eski Djamia) in Stara Zagora Achievements and positive aspects of the Strategic Plan for Cultural Tourism of Bulgaria Branding emerging destinations in Europe light in the tunnel Claiming History - Part I Conclusions: The overall value of the Country Brand Index and Nation Brands Index for cultural tourism strategists, destination management organizations and travel practitioners Contributions: Bulgaria brings the Cyrillic Alphabet to the European Union Country Branding and Tourism Country Branding for Cultural Tourism: Trends for 2009 Country Branding: Arts & Culture and History Creative Cities, capitals of culture, cultural corridors and others Creative or Cultural Tourism? Are they destination-dependent? Creative Tourism - Part Five - Advertising, Promotion and Authenticity Creative Tourism - Part Four - Target Markets, Strategies, Sustainability & Financing Creative Tourism - Part Three - Human Capital & Attitude Creative Tourism - Part Two - Location Cultural Herritage Law - Rossitza Ohridska-Olson Position Cultural tourism and emerging destinations a great combination for the educated, financially affluent and mature international traveler Culture, Tourism and Marketing definitions Economy and Country Branding Kukeri The Bulgarian Carnivals La Tumba Kosmatka: Templo y tumba de Seuth III en el Valle de los Reyes de Tracia La Tumba Tracia de Alexandrovo, Lista Tentativa de UNESCO Managing no-destinations - an interesting trip to Macedonia National Institute for New Technology and Culture Marketing -

Notes on country branding of Bulgaria for cultural tourism, focused on the Thracian Cultural Heritage Rescued treasures of Ancient Thrace from the Vassil Bojkovs collection - an exhibition in the State Museum of the East, Moscow Rossitza's 12 Steps for Creating Cultural Tourism Product Some mistakes in the Strategic Plan for Cultural Tourism in Bulgaria Successful country branding focused on cultural heritage The Cultural Tourism in 2009 The Kosmatka Tomb Seuth III Temple and Tomb in the Valley of the Thracian Kings The rise of travel without boundaries The Strategic Plan for Cultural Tourism Development in Bulgaria Conlusions The Thracian Tomb of

Cultural Realms: A blog about the business of cultural and creative tourism. Creative Tourism - Part Four - Target Markets, Strategies, Sustainability & Financing Cultural Realms - Rossitza Ohridska-Olson's blog about the business of cultural tourism http://www.culturalrealms.com/creative-tourism-part-four-target-marketsstrategies-sustainability-financing.html#ixzz1h5vH9znM Rossitza Ohridska-Olson. All rights reserved.

. http://www.culturalrealms.com/2010/04/nationalgeographic-traveler-confirms-trends-in-culturaltourism.html Creative Tourism: Destinations vs. Passions? Or both | Main | The Day of Cyrillic Alphabet, Slavonic Culture and Enlightenment

April 26, 2010Cultural Realms: A blog about the business of cultural and creative tourism. National Geographic Traveler Confirms Trends in Cultural Tourism - Cultural Realms Rossitza Ohridska-Olson's blog about the business of cultural tourism http://www.culturalrealms.com/2010/04/national-geographic-traveler-confirmstrends-in-cultural-tourism.html#ixzz1h5wDYxpf Rossitza Ohridska-Olson. All rights reserved.

April 26, 2010National Geographic Traveler Confirms Trends in Cultural TourismRarely I like to say I told you so, because it normally involves an advice I gave and somebody didnt follow, in spite the money they paid to me to get this consultation. Or it is my husband for another reason you know how it goes This time I am happy that Nat Geo Traveler confirms my forecast by choosing the 50 Tours of a Lifetime. Here it is why (click on the picture forbigger size. Will open in a separate window):

As you can see from the table above, 32 out of the 50 featured trip are cultural tourism trips. From them, National Geographic Traveler classifies 22 as cultural, the rest are classified as cultural by the tour operator who organizes them. As I underlined, cultural and creative tourism, are recession resistant. In the 2009 edition of 50 Tours of a Lifetime, National Geographic lists 22 trips. If we apply their criteria, there still be an increase of 100% over the last year. It is normal for National Geographic, a global company, to list trips all around the world. Still, emerging destinations are predominant with the most exotic taking leading role, as I predicted in the 2010 Cultural Tourism Trends. As per the geography of these destinations, I struck gold with 10, out of 50 not too bad, view the fact that 22 were named cultural tourism destinations.

Creative tourism take a significant place, view it is a new approach to cultural tourism. It is often mixed with other activities volunteering, cultural travel, etc. Which proves another of my statements: The consumer demand for authentic experiences and more to do at the destinations will pressure change not only the geographies of the cultural tourism, but also the relationships local community- visitors. That is why many of the tours winning the prestigious label of 50 Tours of a Lifetime offer interaction with local people, traditions and cultures, independently the main reason for travel: adventure, wildlife, active or volunteering tours. Europe got it right by offering tours off of the bitten pad and big city cultural tourism. The tour choice shifted, as forecasted to niche sub-destinations: Italy with Piedmont wine tours, which are more cultural experience then typical wine tasting, Pompeii with archaeological tours another trend of niche tourism that I predicted, etc. The most surprising was my comment on religious tourism: from the only one religious trip, among the 50 of National Geographic Traveler, was my certainty that Spain with its Camino de Santiago will take its deserved place among pilgrimage trips. As per the business of cultural tourist, I predicted correctly that small, concierge type agencies would satisfy better the shifting cultural traveler profile towards personalized, responsible travel. Thirty-nine out of 50 trips are operated by travel companies that have in place sustainable, eco- or responsible travel policy. Thirtythree are operated by small travel agencies, offering customizable and personalized, individually designed trips with flexibility in travel dates. P.S. While preparing this blogpost, I went and read about all 50 tour operators | agencies, their tours, destinations, their policies, explored their websites and decided to name my favorites among the National Geographic choices: Best cultural tourism agency: Wilderness Travel: for its rich choice of destinations, a wide array of experiences offered to travelers and user-friendly website, full of information and possibilities for customization of trips. Best creative tourism agency: Cultural Crossroads (http://culturalcrossroads.com) for its highly customized tours and unique creative activities, in addition to incredible insider access to many places and people that other agencies cannot even dream.

Best niche tourism agency: Andante Travels, UK for archaeological tourism. In addition to cover almost all possible interests in archaeology travel from amateur lovers of archaeology to professional researchers, the website of the agency is the only one that offers a search engine that permits the user to search by historic period, in addition to destination, date and other normal travel search criteria. They are the only agency, which gives back directly to the archaeological sites, which can apply for a award, independently if the agency has a tour to the site or not. Best personal discovery: Go Native America - for promoting tribal cultural tourism, preserving the identity and authenticity of the Native Americans across North America, and in the same time providing exciting, educative and spiritual tours. If you want compare yourself both documents, for the National Geographic Traveler 50 Tours of a Lifetime click here and for Cultural realms Cultural tourism in 2010: trends, destinations and business outlook click here. If you want to name your favorite tour operator | travel agency (and say why), please post a comment here, after the blog. Needless to say that if you work for some of these travel company, you cannot name it it is logical, isnt it? Photo: Basket weaving lessons in Jordan Courtesy of Carrie McDougall, with special permission for Cultural Realms Posted by Rossitza Ohridska-Olson on April 26, 2010 at 12:33 PM in Creative Tourism, Cultural Tourism Business, Destination Geographies, News, Travel, Travel Industry Trends, Weblogs | Permalink Technorati Tags: "50 Tours of a Lifetime", archaeology tourism, creative tourism, Cultural Realms forecasts, cultural tourism, cultural tours, culture tours, destinations, National Geographic Traveler, trends Reblog (0) | | Digg This | Save to del.icio.us | |

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corfu villas said... Cultural Realms: A blog about the business of cultural and creative tourism. National Geographic Traveler Confirms Trends in Cultural Tourism - Cultural Realms Rossitza Ohridska-Olson's blog about the business of cultural tourism http://www.culturalrealms.com/2010/04/national-geographic-traveler-confirmstrends-in-cultural-tourism.html#ixzz1h5wSnGa9 Rossitza Ohridska-Olson. All rights reserved.

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Cultural to creativity Culture and tourism were two of the major growth industries of the 20th century, and towards the end of the century the combination of these two sectors into cultural tourism had become one of the most desirable development options for countries and regions around the world. As the recent OECD report on The Impact of Culture on Tourism (2009) noted, cultural tourism accounted for almost 360 million international tourism trips in 2007, or 40% of global tourism. In value terms, the contribution of cultural tourism is even greater, since cultural tourists are estimated to spend as much as one third more on average than other tourists (Richards 2007). However, the rapid growth of cultural tourism from the preserve of the elite Grand Tourists to a major industry in the 20th Century has also caused problems. Growing numbers of tourists at major sites and in small communities has raised questions about the sustainability of this new form of mass tourism. In particular it has become harder for destinations to profile their culture among the welter of products on offer, each desperate to claim their uniqueness. There are a growing number of places in search f new forms of articulation between culture and tourism which can help to strengthen rather than water down local culture, which can raise the value accruing to local communities and improve the links between local creativity and tourism. Many places are therefore turning to creative development strategies, or different forms of creative tourism in the process. This paper examines why and how cultural tourism is being transformed into creative tourism.7KH_JURZWK_RI_FXOWXUDO_WRXULVP_

I n order to understand the origins of creative tourism, we first have t look at th4 rise of culture as a form of tourism consumption. In the past, culture was not something strongly associated with tourism, which was viewed mainly as a leisure activity. In Europe, only small numbers of relatively wealthy people used to undertake cultural tours with specific educational goals the vast majority saw holidays as time for rest and relaxation. This situation gradually changed during the 20th Century, as tourists became more experienced and started seeking new experiences on holiday and more places began to recognise the value of culture as a potential means of generating tourism. A number of vectors of cultural, social and economic change underlay the growth of cultural tourism. These included a fundamental shift in the nature of consumption, changing factors of production and changes in the nature of tourism itself.

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As society has developed, so the basis of human needs and wants has also changed. As we became increasingly able to satisfy our basic needs for food and shelter, we turned our attention to the satisfaction of 'higher order' needs, such as status and self-fulfilment. Scitovsky (1976) has described this development in terms of the shift from unskilled to skilled consumption, or from outer-directed to inner-directed consumption. People are no longer just concerned t accumulate goods, but they also want to develop themselves and their own consumption skills. People want to paint, drawn, design, photograph, sing, do yoga a whole range of activities which will build their own skills and develop their potential. Ironically this growing desire for creativity coincides with a diminishing amount of available time in which to be creative. One route is to be creative in interstitial time at home, via the Internet, another is through travel, as holidays often provide the only significant block of free time that pressured creative class has. They are also demanding more real experiences of everyday life.7KH_WUDMHFWRU\_RI_SURGXFWLRQ__IURP_JRRGV_WR_H[SHULHQFHV_ _

At the same time, the nature of production has shifted dramatically. Pine and Gilmore (1999) have shown that the previous stages of the economy based on the production of goods or services have been replaced by the an economy specialised in the production of experiences. Increasing competition forces producers to differentiate their products by adding value, such as additional features or services. However, over time, competitors can reproduce these features and the value of the product, and therefore productivity, declines. In the experience economy the product is a unique experience for the consumer, which cannot be replicated so easily.7KH_WUDMHFWRU\_RI_WRXULVP__IURP_PDVV_WRXULVP_WR_FXOWXUDO_WRXULVP_WR_FUHDWLYH_WRXULVP"_

Tourism as an industry has also undergone major transformations in line with the rise fo skilled consumption and the experience economy. Tourism is of course one of the phenomena closely identified with the rise of the service industry, and in many countries it is the most important single service industry. Tourism grew rapidly in the latter half of the 20th century because the basic inputs were cheap and easy to mass-produce. The rise of mass tourism also brought about several negative impacts, such as overcrowding, environmental problems, degradation of local culture, etc. Cultural tourism, in contrast, was often viewed as a good form of tourism, which was small-scale, high-spend and low impact. Perhaps most importantly, cultural tourists themselves were perceived as desirable visitors, because they were usually wealthy, wellheeled and well-behaved. I n the past, cultural tourism was also largely based on cultural heritage particularly those elements of heritage, such as museums and monuments, which can be consumed by large numbers of people. In Europe, for example, Europa Nostra has estimated that 50% of European tourism is related to such resources, and the ATLAS research programme has shown that over 50% of cultural tourists visit museums and monuments. The convergence of these different trajectories of change in consumption, production and tourism style served to create a cultural tourism boom from the 1980s onwards. The ATLAS research has underlined how cultural visits have tended to grow as a proportion of tourism consumption, reaching 36% of those surveyed in 2008. This growth, coupled with the perception of cultural tourism as high value tourism, encouraged many countries and regions to develop specific cultural tourism programmes, and to design marketing efforts targeted at cultural tourists.&XOWXUDO_WRXULVP__$_YLFWLP_RI_LWV_RZQ_VXFFHVV"_

There is no doubt that tourism and culture are now inextricably linked, and that cultural tourism is a major segment of global tourism. However, there are also signs that cultural tourism is now becoming a victim of its own success. The work of Paolo Russo (2002) in Venice has underlined how historic city centres can suffer from a 'vicious cycle' of cultural tourism development, in which famous sites attract large numbers of tourists, degrading the quality of experience and driving 'serious' cultural tourists away The falling appeal of the destination forces suppliers to concentrate on new, lower value markets, chiefly consisting of excursionists. Other problems are also evident. There is a certain irony in destinations seeking to develop their uniqueness through cultural tourism. In fact, many places follow similar strategies in order to achieve their uniqueness, which ends up making those places feel and look the same. This is the problem of 'serial reproduction' described by Richards and Wilson (2006). I conic structures Megaevents Thematization Heritage mining These strategies are recognisable in cities across the globe, and the means of consuming these

products are also becoming increasingly familiar: the tourist bus, the city card, the guided tour. The major problem with this process of McCulturization to paraphrase Ritzer (1993), is that the very people targeted by these products are repelled by them. Just as cultural tourists are becoming more experienced, more sophisticated and better able to structure their own tourism experiences, so the cultural tourism product being offered is becoming more standardized, more ridged and less engaging. One cultural creative describes their dissatisfaction with (post)modern existence thus: I was accumulating experiences without changing very much. The ATLAS research has indicated that the experiences enjoyed most by cultural tourists tend to be those small-scale, less visited places that offer a taste of 'local' or 'authentic' culture. Tourists increasingly say that they want to experience local culture, to live like locals and to find out about the real identity of the places they visit. Clearly new types of cultural tourism products are needed. The emergence of this new breed of cultural tourist coincides with the growth in 'prosumption' the process by which the consumer becomes a producer of the products and experiences they consume. We are already used to doing a large element of the work i producing services, as Ritzer demonstrated in the case of fast food and Disney-style entertainment, but as people demand more individualised and engaging experiences, so the level of consumer involvement is increasing. The skilled consumer often knows more about the experiences they are consuming than the people who are supposed to supply them. Not surprisingly, therefore, skilled consumers have begun to take the lead in experience production. Lifestyle entrepreneurs start lifestyle businesses, travellers construct their own itineraries on the Internet, compiling flights and hostel beds and combining these with couches borrowed from friends on social networking sites. These travellers no longer buy the packaged excursion, but creatively shape their own experiences, based on what they want to see, when they want to see it when they want to see it, These experiences usually emphasise active involvement in local culture, rather than the highlights of global culture.)URP_FXOWXUDO_WR_FUHDWLYH_WRXULVP_

Faced with these changes in the nature of experience production and consumption, destinations could continue offering the same mass cultural tourism products they always have, but they do this at the risk of losing a very important part of the market. Admittedly, these new forms of tourism are difficult for the traditional tourism sector to deal with, but there are major opportunities in working with rather than ignoring creative tourism. Richards and Raymond (2000:18) have defined creative tourism 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. This definition has a number of important implications: Creative potential The tourist is provided with the tools to develop their own creative potential, and to take something more than souvenirs home with them. Active involvement The consumer is actively involved in the creative process, and this involvement creates the potential for genuine exchange and engagement with local people and local culture. Characteristic experiences Creativity can happen anywhere, but the important thing is to link the creative process to the destination and to anchor it in local culture, creativity and identity. This requires not just creativity on the part of the tourist, but also the destination. Co-creation The concept of creative tourism implies a level of co-creation, or co-makership between visitors and locals. Co-creation covers an emerging body of knowledge about the way in which products, services and experiences are made jointly by producers and consumers. At its most crude, this concept involves using the consumers knowledge of the product in order to improve it and to provide a closer fits with consumer needs. However, in the context of creative tourism there is usually a much more important dimension of co-creation at work, which involves a reversal of the normal power relationships attached to tourism. This is most evident in projects such as the Opuwo workshop in Namibia, where the Finnish designer Satu Miettinen has run craft workshops for tourists., These workshops are led by local women, who rather than serving tourists in bars or restaurants, or selling them trinkets in the market, now become their teachers and co-workers, guiding them in the skills required to make traditional objects and initiating them into their cultural significance.

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Our research on the relationship between tourism and creativity suggest that there are a number of ways in which they can be linked in order to enhance the tourism product and the visitor experience.

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Learning Workshops Tasting Experiences Open ateliers Seeing Itineraries Buying _ _ Shop window These types of experiences can be delivered in a variety of ways, including the creation of networks, itineraries, courses and events. The summary below provides some examples. Many more examples can be found in Richards and Wilson (2006;2007). Creative tourism networks The most developed creative tourism network can be found in the city of Nelson, New Zealand, where Creative Tourism New Zealand has been established as a network of creative businesses offering products to tourists (www.creativetourism.co.nz). The network provides a wide range of creative experiences, including bone carving, Maori language classes, weaving, felting and woodwork and New Zealand gastronomy. The focus is very much on learning experiences, with a range of hands-on workshops being run by local tutors (Raymond 2007). Creative Tourism Barcelona (www.barcelonacreativa.info) takes a slightly different approach, acting as an intermediary to link creative producers in the city with people from other parts of the world who want to engage in creative activities there. This more artistic approach to the development of creative tourism provides a platform through which potential creative tourists can indicate the types of creative activities they are interested in, and they are then put in touch with local creative sector actors who can provide the facilities or resources to make it happen. More recently, Creative Tourism Barcelona has also been developing more specific creative activities with creative producers which can be offered to groups of creative tourists on demand. Creative Spaces Particular spaces have also been developed to offer creative learning experiences to visitors in different parts of the world. For example the Italian coffee producer illys Universit del Caff provides courses on all aspects of coffee and coffee making at 11 different locations (http://www.illy.com/wps/wcm/connect/us/illy/the-world-of-coffee/universita-del-caffe/). Since 1999, approximately 22,000 students have graduated from this institution. The Valrhona chocolate company provides similar courses for gourmets and professionals in their LEcole du Grand Chocolat in Southern France. I n Barcelona different forms of accommodation have tapped into the creative sector to develop new experiences. The Chic and Basic hotel has staged fashion shows, using its individuallydesigned bedrooms to showcase the products of young local designers. The Equity Point hostels group (http://www.equity-point.com/hostelart/index_es.html) runs a hostelArt programme, giving young artists an opportunity to exhibit their work in hostel rooms and introducing young travellers to the creative sector in Barcelona. The Camping House Barcelona (http://www.barcelona-house.com/CHcast/arquitectostxtC.html) is a new concept in tourist accommodation, providing guests with the sensation of camping in the middle of the city, and adding design value to their stay. Events Cities around the globe are busy developing their 'eventfulness' (Palmer and Richards, forthcoming) in order to utilise the creative power of events to help the city achieve its wider cultural social and economic goals. Many of the new types of events being developed are not just about passive audience attendance, but the active involvement of creative producers and others in the 'co-creation' of events. I n the Swedish city of Umea, for example, the bid to stage the European Capital of Culture in 2014 is being run on an open source principle. Instead of the programme being designed by 'experts' in the cultural sector the event is being planned and programmed with direct involvement of local people. For example, local schoolchildren created a blog which was used as the basic script for an opera performance to which they were later invited. By extending this open source or co-creation concept to the national and international arena, this also becomes a strategy to develop creative tourism. The audience is not there simply to consume, but also to take an active part in producing the experience. The Festes de Grcia is a local festival in a district of Barcelona which has developed into a major celebration for the whole city. The key element of this event is the decoration of local streets by residents, using recycled materials. Each street is themed, and there I a high level of creativity involved in creating a totally new space from discarded items such as water bottles and milk cartons.

Cultural Itineraries Cultural itineraries can also be a means of linking together creative enterprises and events, stimulating visitors to see a number of different activities in a specific region. The Craft Route of the Alto Minho in Northern Portugal includes a large number of crafts producers, most of whom work from home. The brochure and website given tourists the possibility of visiting these producers, but the lack of any form of contact apart from telephone makes it difficult for nonPortuguese speakers. As a practical solution to the problem of dealing with foreign tourists, the tourist board has now begun to sell craft products in its information centres. Sales are supported by demonstrations from crafts producers during the high season. The results of this initiative have been positive, with a rapid increase in craft sales. Producers said they were happy with the increased sales and with the extra marketing efforts by the tourist board. The main problem was that the project-based funding finished after three years, leading to a lower level of marketing activity and lower sales. As a new approach to the cultural itinerary concept, the Council of Europe is developing a Cultural Corridor scheme, initially in South East Europe. The Council of Europe defines Cultural Corridors as: Networks of interaction and economic exchange based on culture and creativity, incorporating principles of sustainability, fairness and inclusion, based on wide stakeholder partnerships which are rooted in solid institutional frameworks that stimulate regional socio-economic development. The basic idea is to create networks which move beyond physical routes linking cultural sites to include the full range of creative assets in a region (Richards, Russo and Grossman 2008). Creative backdrops Many cities have a reputation of being creative in one way or another, just as Santa Fe does. In many cases this creativity is experienced by the visitor not so much in the direct consumption of creative activities, but rather through the general atmosphere or buzz of the place as a whole, which is generated by the creative sector. t his strategy is currently being employed in Shanghai and Beijing, as newly developing creative clusters are opened up and marketed to tourists. Developing creative tourism in the future Many of the creative tourism initiatives currently operating are still at en early stage in their development. However, we can already identify many key success factors which are likely to continue to be important in the future. Most importantly, creative tourism must be developed to link local creativity with creative people who travel. This can provide an antidote to the serial reproduction of culture and what Lee has termed Find and Replace Economic Development. Instead, the combined creativity of local people and visitors can be harnessed to maximise the distinctiveness of places. I n order to achieve this, creative tourism development needs to be based on a number of key principles: Know who you are and where you are Distinctiveness is about those factors that make places stand out from the others. this is not just about the tangible assets that places have, but also about their intangible resources: atmosphere, ambiance, skills, creativity. Use local capacity Creative tourism is based on those aspects of creativity that are characteristic of the place visited. Importing ideas or skills is often counter-productive to the development of creative tourism (although the knowledge of how to implement creative tourism may have to be 'borrowed' from elsewhere). Build on what you have There is no need to engage in major construction of new facilities the trick is to use those you have more creatively. A refitted cave, a renovated factory or an ice hotel would usually be more interesting than a new five star hotel. Develop quality not gimmicks Although creativity often depends on spontaneity, risk and surprise, it is not a question of using gimmicks or following fashionable trends. For creative tourism it is more important to deal with quality and authenticity, or re-interpreting or innovating tradition. Use creative resources as a catalyst Whereas the basic strategy of cultural tourism depends on the reproduction of culture into fairly static products for tourists, creative tourism should be viewed as a process which can stimulate further change. The use of local crafts as a basis for creative tourism experiences should provide a means of innovating the production of souvenirs.

All of these basic principles can help destinations to rethink and refit cultural tourism in interesting and innovative ways. in doing so, places can not only increase their potential to attract creative tourists, but can also increase their general creative potential, helping to address broader cultural, social and economic problems. At a very basic level, for example, the recognition of minority cultures as a source of creativity and skills rather than tradition or cultural objects immediately places these groups in a new position vis a vis the mainstream economy, the tourism industry, the tourists and society as a whole. Individuals who possess unique creative skills are placed in a new position of power as the purveyors of knowledge and the teachers of skills. The tourist is also transformed from an insensitive individual who is ignorant about local culture into a pupil and a colleague who is there to receive and exchange knowledge with their hosts. Such proactive forms of creative tourism are unlikely to grow into the kind of mass tourism experiences currently seen in many cultural tourism destinations.5HIHUHQFHV_

ATLAS (2009) ATLAS Cultural Tourism Research Project. www.tram-research.com/atlas. OECD (2009) The Impact of Culture on Tourism. Paris: OECD Pine, B.J. and Gilmore, J.H. (1999) The Experience Economy. Boston: Harvard University Press. Raymond, C. (2007) Creative Tourism New Zealand: The practical challenges of developing creative tourism. In Richards G. and Wilson, J. (eds) Tourism, Creativity and Development. London: Routledge, pp. 145-157. Richards, G. (2007, ed.) Cultural Tourism: Global and local perspectives. New York: Haworth Press. Richards, G. and Raymond, C. (2000) Creative Tourism. ATLAS News, no. 23, 16-20. Richards, G., Russo, A.P. and Grossman, M. (2008) Cultural Corridors in South East Europe: Refinement of concept and development of pilot projects. Strasbourg: Council of Europe. Richards, G. and Wilson, J. (2006) Developing Creativity in Tourist Experiences: A Solution to the Serial Reproduction of Culture? Tourism Management 27, 1209-1223. Richards G. and Wilson, J. (2007) Tourism, Creativity and Development. London: Routledge. Ritzer, G. (1993) The McDonaldization of Society. Pine Forge Press. Russo, A.P. (2002) The vicious circle of tourism development in heritage cities. Annals of Tourism Research Volume 29, Issue 1, January 2002, Pages 165-182 Scitovsky, T. (1976) The Joyless Economy. Oxford: Oxford University Press.

.Creative tourism and cultural

http://www.docstoc.com/docs/68264727/Creativetourism-and-cultural-events http://blog.kreativreisen.at/taxonomy/term/8 creative tourism

Developing creative socio-cultural tourism in Italy: Umbria tells the story!verffentlicht von Elena am Fr, 11/25/2011 - 12:35 Umbria, located in the central highlands of Italy, squeezed in between its well-known neighbours Tuscany and Rome, has a lot to tell its visitors. Alright, there are other regions, too, that specialize in olive oil production, truffle hunting, medieval festivals, cooking lessons or ancient crafts workshops. But where else can you experience all these, within a few kilometres from each other, in a truly Italian local kind of way? The secret triangle for creative tourism experiences in Italy lies between or near the towns of SPELLO, BEVAGNA, FOLIGNO & VALTOPINA. Supported by an international EU project on developing socio-cultural tourism in rural areas of Europe called CULTrips, the local organizers or greeter guides made it a point to welcome us as pilot travellers to experience this form of interactive, meet-the-locals kind of tourism.WHAT A GREAT IDEA :-) This form of travelling should actually be offered all over Europe. Heres what

we experienced in the course of just three days !

Begriffe: Italy creative tourism socio-cultural tourism

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Creativitiy & Tourism: The Current Discussionverffentlicht von Elena am Fr, 11/11/2011 - 10:57 I would like to discuss a brand new article on the relationship of tourism and creativitiy that Greg Richards of Tilburg University has sent me after being published in the Annals of Tourism Research, Volume 38, 2011.

Fortunate enough to know him personally since the 2010 International Creative Tourism Network Conference, Greg really knows a great deal about research in cultural and, more recently, creative tourism. Creativity, he says, is about to transform traditional cultural tourism, bringing about greater involvement with the everyday life of the destination. Arguably, it is an escape route from the serial reproduction of mass cultural tourism, offering more authentic experiences that are co-created between host and tourist. What do you think? Have your say here and read through a brief summary of this article!

Begriffe: creative tourism Greg Richards cultural tourism definition Austria

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Travel Bloggers Unite in Innsbruck: Creative & Inspiredverffentlicht von Elena am Do, 09/01/2011 - 12:43 I recently attended an amazing travel blogger conference in Innsbruck full of twitter, WiFi & iPad hungry people passionate about their blogs and the myriad of possibilities offered by networking in this community. What a great experience!

Travel Bloggers Unite Conference, Networking and Niche BloggingCertainly it was all very worthwile, and for me running a niche blog about interactive, creative travelling, a must in terms of linking up with other like-minded travellers and bloggers. In addition to interesting panel talks, finally meeting conference organiser Oliver in person ;) and congratulating each other on our many initiatives with regards to travel blogging, I also attended an iPhoneography Tour run by iPhone travel expert Kirsten Alana. It was an amazing tour, and I have certainly never looked at Innsbruck from this angle despite many visits in past! In less than an hour, I learned how to make the

following collage on my iPhone and essentially took part in a creative photography workshop - only that this time, it was offered by an American in Austria specifically for people travelling with an iPhone! Well, the world is growing smaller and more interesting by the minute, isnt it :-)

Begriffe: travel blogs Innsbruck Tirol Austria sterreich Kreativ Reisen sterreich sterreich werbung Angebote creative tourism Konferenz

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Creative Tourism Blogs Internationalverffentlicht von Elena am Do, 08/18/2011 - 15:07

Blogs these days abound literally everywhere. They are important marketing tools as well as perfect means to enhance customer-client relationships. This is especially true in the peoples industry of tourism. The Austrian National Tourist Office, for instance, reports live on its weblog about the latest trends and developments on holidays in Austria.

Similarily, the blog of the Austrian travel platform UrlaubUrlaub.at offers interesting insights and further details with regards to the travel destinations offered on its main webpage. This is also true for the Social Travel Guide Tripwolf: Their blog has even offered me the possibility to keep my friends and family updated on my round the world trip by posting regularly in the category Weltreisefieber. Readers or subscribers to RSS feeds are thus permanently up to date with the latest developments, trends and hot deals in tourism and travel - and of course to have their say in forums, by posting comments, etc. Blogs may not (yet) trigger immediate buying decisions, they do however exert a strong influence on these decisions, either positively or negatively. Consider blogs an important strategic PR tool for clients to directly access, and discuss, your products, experiences and offers. As for our field of interest, creative tourism, we had a look about whats been going on internationally in terms of creative tourism blogs. Here are some (exciting) new results. Essentially, we found that creative tourism is already being discussed in many ways! A good example of this is our own national tourist offices recent newsletter reporting on creative tourism development in Austria. Here, we have compiled a short however by no means exclusive list of well-known creative tourism blogs internationally.

Begriffe: creative tourism sterreich werbung austrian national tourist board travel blogs

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Creative tourism is linking people from & around the worldverffentlicht von Elena am Do, 06/16/2011 - 19:34

All over the world, creative tourism is developing fast and in a myriad of ways - no matter how professional or informal the network and setup. I have recently travelled in over 10 different countries around the world and found a lot of creativity, ingenuity and happiness in the people that are lucky enough to enjoy a more interactive, engaging kind of holiday. Above all, the message is that you see eye to eye with the locals who, in turn, take pride in their own heritage, be it a dance in southern Peru with all the adjoining traditional costumes, a cooking class of typical, Chilenean food or a dot painting workshop with an Aboriginal community in the heart of Australia.

Begriffe: creative tourism Peru chile cooking

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Santiago de Chile, Creative Tourism Developmentverffentlicht von Elena am So, 05/01/2011 - 21:41 Travelling around the world has many virtues for todays society. One of them is for visitors to interact with, and understand the merits of a particular countrys host culture. In doing so, I recently went to attend a (free) creative workshop in the city of Santiago held at the Centro Cultural, organised by the

Fundacin Artesanas de Chile.

Classes typically run for about an hour and a half, after which visitors are able to take their own little piece of crafted souvenir with them. Not only do you appreciate the skills being taught to you, it is an understanding on the entire cultural and historical context of the people teaching there. The local artist spoke to us entirely in Spanish, but a local guide or instructor was present to help out with an English translation. We felt very safe, and happy to work in this public spot in the centre of Santiago.

Begriffe: creative tourism south america weaving workshops chile

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Potential for creative tourism development in South Africaverffentlicht von Elena am Sa, 02/19/2011 - 16:52 The city of Cape Town consists of over three million inhabitants, out of which two thirds live in so called townships. Over a recent visit to these thriving communities, some of which are very poor still, I came to observe that creative tourism could be a real development option for certain parts of these communities. Particularly, given the fact that tourism is already set up there and working for the local community who are offering day tours for visitors and providing inspiring examples of socioeconomic development there. People from the township called Langa presented us with a craft market showing hand-crafted wire work, beads and wooden carved masks. It might only be a small step to incorporate visitors in this process, i.e. finding a community hall of some sort and offer a one or two hour interactive workshop of making these crafts together with a small group of local producers and visitors. The socio-cultural

aspect would be satisfied in terms of visitors and locals meeting on equal levels, the culture behind the art work being explained, and the locals could be provided with an additional source of income: They are able to charge a higher price for the value of the tuition and the souvenirs people get to take home with them, naturally hand-made in South Africa! A great opportunity for a change for the better.

Begriffe: creative tourism South Africa workshops

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Creative Tourismverffentlicht von Elena am Sa, 12/04/2010 - 22:07

Hands-on travelling: Welcome to creative tourism!Creative tourism is a new form of cultural tourism and has only recently been given its own name. Its founding fathers are Greg Richards and Crispin Raymond of Creative Tourism New Zealand (www.creativetourism.co.nz), who defined creative tourism in 2003 as learning a skill on holiday that is part of the culture of the country or community being visited.

Begriffe: creative tourism workshops Creative Tourism New Zealand

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Blogs zum Thema Kreativ Reisen Internationalverffentlicht von Elena am Do, 08/18/2011 - 13:49

Blogs als Marketing-Tools und zur direkten Kundenkommunikation gibt es ja bekanntlich wie Sand am Meer. Auch oder gerade auf den Tourismus trifft dies in immer strkerer Form zu. In sterreich berichtet zum Beispiel aktuell die sterreich Werbung in ihrem Weblog von den neuesten Trends und Erkenntnissen zum Thema Urlaub in sterreich.

Parallel dazu bietet der Blog der Plattform UrlaubUrlaub.at interessante Ergnzungen zu den Reisethemen auf der Startseite. Dies gilt auch fr den Social Travel Guide Tripwolf: Am Blog hatte ich sogar selbst schon die Mglichkeit, regelmig von meiner Weltreise in der Kategorie Weltreisefieber zu schreiben. Leser/innen beziehungsweise RSS-Abonnenten solcher Blogs knnen sich also stets ber die neuesten Entwicklungen, Angebote und Trends im Tourismus informieren - und selbstverstndlich mit diskutieren. Direkte Kaufentscheidung mgen Blogs (noch) nicht vermehrt auslsen, jedoch knnen sie diese sehr wohl negativ wie positiv beeinflussen. Als strategische PR-Manahme zur Kundenkommunikation ist das Bloggen daher aus dem virtuellen Alltag nicht mehr wegzudenken. Wir haben uns nun umgesehen, was zu unserem Thema Creative Tourism national beziehungsweise international bereits gebloggt wird. Und sind mit spannenden Ergebnissen fndig geworden. Fazit: Creative Tourism ist international schon sehr weit gediehen, doch auch hierzulande hat z.B. die sterreich Werbung in ihrem letzten Online-Bulletin bereits zum Thema Kreativ Reisen berichtet. Im folgenden haben wir fr Euch eine Auswahl der bekanntesten Creative Tourism Blogs international zusammengestellt.

Begriffe: travel blogs creative tourism Kreativ Reisen sterreich sterreich werbung

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Demand for Creative Tourismverffentlicht von Elena am So, 12/05/2010 - 11:10 In 2020, UNWTO forecasts that there will be almost 1.6 billion tourist arrivals worldwide, 717 million of them travelling to Europe alone. About 40% of all travels have a cultural motive. In Europe, this could total almost 300 million cultural travellers by the year 2020. However, not all cultural travellers are creative tourism travellers, nor are the motivations for visiting or experiencing culture the same. The cultural tourist model established by McKercher/Du Cros allows us to pinpoint the different motivations typically found in todays cultural travellers, as well as establishing creative tourists therein.

Begriffe:creative tourism

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http://www.tepapa.govt.nz/NationalServices/Resources/P resentationsOnDemand/Pages/EconomicDevelopmentCr eativeTourism.aspx

Creative industries, economic development and creative tourism - David BergmanTe Papa, 17 March 2004 David Bergman, AICP, Principal, Economics Research Associates, Los Angeles, was brought to New Zealand by New Zealand Trade and Enterprise to be a keynote speaker at the Economic Development Association Conference. In this presentation, he discusses his participation in a broad range of economic development and culture-and-heritage planning projects. He discusses the concept of creative industries, arguing that the term cultural industries is more useful; and the process of turning culture into commodities and places into products with economic as well as cultural, social, and environmental value. He also talks about the relationship between culture, place, and tourism, with a particular focus on the interactive traveller; and strategies for New Zealand regional development projects. For more information see www.econres.com Download David's presentation Presentation (pdf, 7.3 MB).

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