HristinaTypewritten TextJelini, Daniela Angelina and uvela, Ana.Facing the Challenge? Creative Tourism in Croatia

HristinaTypewritten Text

HristinaTypewritten Text

HristinaTypewritten Text

Instruction for citation: Jelini, Daniela Angelina and uvela, Ana. Facing the Challenge? Creative Tourism in Croatia // Journal of Tourism Consumption and Practice. 4 (2012) , 2; 78-90.

Facing the Challenge? Creative Tourism in Croatia The creative buzz

Tapping and stoking the creative furnace inside every human being is the great challenge of our time (Florida 2005: 4). It has been now a full decade of increasing popularity of the word CREATIVE, where everything and anything got the creative prefix; from creative industries, creative classes, creative economy, creative cities, creative business, creative governance to creative tourism. The buzz has been going on for quite a while given that we live in more instantaneous times, where technology and market ideology impose rapid changes and shifts from one trend to another. It can be said that the creative times proved to be good times; the numbers on economic impacts of creative industries were staggering, thick studies were published on new global and European creative economy while the whole regions, even countries were branding themselves as global creative hubs. The role of creativity in formation of a city, nation, organization is not entirely a novelty phenomenon and practice, but with the decline of physical constraints on cities and communities in recent decades, creativity has become the principal driving force in the growth and development of cities, regions and nations (Florida 2005: 1). In the process, the so called creative cities have been proliferating in Europe and North America, revitalizing the economy of urban centres through cultural and social developments offering attractive jobs, particularly to young people (Creative Economy Report 2008: 5), and most specifically in the domain of creative industries. Nowadays in the most advanced countries, the creative industries are emerging as a strategic choice for reinvigorating economic growth, employment and social cohesion. Numbers show that creative industries are among the most dynamic sectors in world trade. Over the period 2000-2005, international trade in creative goods and services experienced an unprecedented average annual growth rate of 8.7%. The value of world exports of creative goods and services reached $424.4 billion in 2005, representing 3.4% of total world trade, according to UNCTAD (Creative Economy Report 2008: 4-5). Comparing it to 1996, when this value was $227.4 billion, the dynamism of the sector is more than obvious. These numbers validate statements which claim that over the past two decades, creativity has become the key impetus of global economy, instigating explosion in creative sector, adding millions of jobs and billions in revenue world-wide. Subsequently, the contemporary creative world marked by economic reasoning, justification and imperatives got arts and culture to follow in the quest of financial pursuit. As a result, arts and culture today are validated by the creative economy, a term popularized by urban theorist Richard Florida, who argues that supporting artist, thinkers, inventors and others in the so-called creative class results or should result in net economic gains for cities and governments. The role of culture and creativity soon became interpreted by percentages they make in the gross national product. In a growing deficit of natural resources, ideas, creativity and experiences soon became to be perceived and traded as commodities. This has contributed significantly to the greater endorsement of arts and culture globally, but inevitably it has had some side-effects too. Since the misfortunate twist of financial faith that started in 2008, the numbers on the creative potentials are still hovering but are not as impressive anymore. Actually, the whole concept of proclaiming absolutely everything creative with the prevailing liberal goal of cashing in on the creativity is under big question mark. Kevin Stolarick, a statistician with the University of Toronto's

Martin Prosperity Institute who helped contribute to Florida's landmark book The Rise of the Creative Class, said that while the concept may have helped artists, decision makers are increasingly looking at the arts as just dollars and cents. It's been a trap, Stolarick said. It was very easy to fall into, 'Gee, we can fall back on an economic explanation to justify ourselves. And that was easy when times were good, that was good enough reason to justify the expenses. But times aren't so good anymore. (Arts groups re-think the 'creative economy) Tourism with human measure Relatively recent changes that occurred in production, the ever growing industrialization and eventually greater earnings, resulted in more free time, which is often used for travel. Leisure, culture and tourism are based on the rationalization of work. Growing rationalization of work produces with more free time new possibilities for spending time, enjoying leisure, improving recreation, creating culture and travelling abroad (Nahrstedt 1998: 416). These changes have impact not only on travel itself, but also on the tourist sector as well as on the free time a man spend while at home and not travelling. Certain studies show relatively high numbers of respondents, which participate in various activities during their free time such as attendance of movies, attendance at sports events, participation in computer hobbies, modern dancing, drawing, poetry work, weaving, photography, creative writing, buying art work, singing, etc. (Participation in Various Leisure Activities, by Sex and Age). Also, there are numerous articles and studies, which show that participation in various creative workshops leaves participants with a significant feeling of satisfaction (such as Klein EL. Health Confidential, 8/9 (1994), 10., Sellers, P. Fortune 136/10 (1997), 156., Spencer P. Womans Day 67/16 (2004), 96.). Leisure has acquired an important role in people's lives which results in the growth of creative use of free time. The growth of the industry which supplies creative activities also occurred (Jelini 2009: 262) (In Croatia, such changes have occurred around 1995. No research has been done in the field but the search through the Court Register results in a number of small firms that started their activities as hobby art centres around 1995 or later. A number of firms also changed their field of activity into hobby/art field.) One of the most attractive ways for arts and culture to express their net value and earn financial gain is surely to become a tourist attraction or become a competitive advantage, added value or vital component of a tourist destination outline. As a result, cultural tourism is nowadays well understood concept and practice that is included in most official documents on national and local development, local cultural and urban planning. Whatever cultural value a community or a locality has, it is to be further presented, promoted and ultimately it should earn its keep through creative economy charts. At the same time, major concerns have been rising globally about instrumentalizing and putting cultural value under crude economic terms. These concerns and issues are mutual to all aspects of culture; should arts and culture be supported with the understanding that cultural and arts matter, should wider public be discouraged from understanding culture from an economic perspective? Although these questions might seem a bit far fetched or non-relevant to the topic of creative tourism, they are of pivotal relevance for this new member of the creative family. Creative tourism is, as far as the definitions, existing theoretical framework and practical examples show, all about participatory experience of a destination, it steps beyond the usual connotations of tourism where a person comes to another place to be a spectator, visitor, basically a consumer. From the aspect of a

person who lives in a known tourist destination where everything is made according to the market calculations of their or tourists needs, which can be both damaging and abusive for the local community, creative tourism can be understood as a holistic form of tourism, a tourism with human measure. It can provide a solution to ever-widening gap between us and them, or the locals and the visitors. At the same time it can slowly turn the focus from profit-making only to experience-making destination. From creative family point of view, creative tourism can help restore true sense of authenticity and interaction without pre-anticipation of the financial result which can, to some extent, compromise the whole concept of creative, cooperative tourist experience.

Linking creativity with tourism

Creative-minded people enjoy a mix of influences. They want to hear different kinds of music and try different kinds of food. They want to meet and socialize with people unlike themselves, trade views and spar over issues (Florida 2004). Due to changes in production paralleled with new technological developments, increased income and more free time, a new type of traveller has been created in the 80-ies of the 20th century: postmodern traveller. Experience, new interests, activity and education are the main characteristics of the travel requested by this new type of tourists and this new demand results in the continuous splintering of the tourist market as well as in new specialized forms of tourism (sports, religious, rural, congress, health, adventure, cultural tourism, etc.). Postmodern tourists start their travel with the exact vision on what form of local community life they want to participate in; they have special interests which determine their choice of destination in advance; once in the destination, they do not expect passive holiday but active development of their own interests complemented with local diversities, which enrich their existing knowledge. Postmodern characteristics of all these types of tourists are pretty much the same no matter if their interests are in adventure, rural, cultural or some other form of tourism (Jelini 2009: 260). To tourist workers it became clear that tourist supply requires re-shaping according to the specialized tourism forms. At the same time, and opposed to the mass tourism market, splintering of tourism in various forms has also resulted in narrow specialized markets called niches. A niche is defined as a focused targetable portion of a market addressing a need for a product or service that is not being addressed by mainstream providers. A niche market may be thought of as a narrowly defined group of customers (Jelini 2009: 260). Cultural tourism has long time been considered as a niche market. Since tourism market has continuously been splintering, the concept of a niche also changed. Numbers also show a continuous growth in cultural tourism and it can be said that cultural tourism has become mass tourism activity. Many destinations have developed in tourism sense based solely on cultural offer. As Jenkins and Jones claim, the niche sells the location, not the other way around (Jenkins & Jones 2002: 81). So what does creativity have to do with it? Due to the mentioned changes, it is obvious that one had to be creative in various aspects: firstly by linking culture with tourism in order to find additional sources of financing because of the ever growing cuts in public expenditure for culture; secondly, by making tourism money on a rather narrow specialized market of cultural tourists; and thirdly, by enhancing the experience for postmodern tourists which is one of their main requirements while travelling. It can be supposed that the very creative tourism developed out of the need for enhancing experience for travellers creating a participatory form of cultural tourism.

Raymond defines creative tourism as a development from cultural tourism, which involves learning a skill on holiday that is part of the culture of the country or community being visited. Creative tourists develop their creative potential, and get closer to people, by actively participating in workshops and learning experiences that draw on the culture of their holiday destinations (Raymond). It is, therefore, even more specialized market niche within cultural tourism, which corresponds with the postmodern concept of tourism since it promotes experience activities. From the tourist perspective, it certainly adds to one's experience if directly involved in the destination's cultural activities. Still, how far can the development of creative tourism go? History teaches us that many local traditions have been changed according to the visitors' expectations and led to the invention of tradition or fabrication of authenticity; besides, modern experiences of tourism development show animosities of locals towards tourists since they practically intrude in their everyday lives. Therefore, should tourist participatory activities be avoided or even banned if changing or intruding the local culture? Or would it mean violating the World Trade Organization's Global Code for Ethics in Tourism which stands for the freedom of tourist movement? Excluding the possibility of tourists' participation in local cultural activities could be treated as such although it enables a perfect tourist experience. So where is the limit? Or is everything about the money and creative ways of making it?

Contextualizing creative tourism The aim of this article is not only to provide a descriptive insight in ratios and associations between cultural tourism, mass tourism and creative tourism but to contextualize creative tourism and its development in post-transitional environment heavily laden with forms of heritage tourism and new-found avarice for profit making and somewhat disorganized positioning on the global tourism market. The case studies focus on two Croatian cities: Zagreb and Dubrovnik. The first one is based on the recently undertaken research titled Zagreb as a cultural product which investigated cultural and creative industries potential in Zagreb in the context of defining contemporary cultural identity of nation's capital and contributions to local economy. In addition, another Croatian city, Dubrovnik is mentioned for its traditionally famous cultural identity, for proven status it has for both cultural and mass tourism with still reluctant incentives of creative tourism that are slowly emerging. Croatia is now a well recognized tourist country, or as Croatian national brand doctors would say, a small country for a great holiday. The tourism industry in Croatia has a long history that reaches long into the beginning of the past century. The main characteristics that have made Croatia known as a tourist destination are extraordinary natural landscapes and grand resources of cultural heritage. To be more precise, a country of just over 4 million inhabitants encompasses both Mediterranean and Central European culture and climate, 2000 km of coastline, 1.246 islands, 6 cultural properties inscribed on the UNESCO heritage list, one natural property, and 10 cultural traditions and practices listed as the intangible cultural heritage of humanity. Moreover, there are numerous arts festivals as well as cultural infrastructure which are great tourism attractions, the crystal blue color of the sea or gastronomic wonders which add to it. The economic importance of tourism in Croatia is best explained through the amount of 22% of GDP that this industry achieves with steady annual growth of 7.5%. Despite that and despite the fact that policy documents in the field of tourism exist (always for the certain short-term period), their impact is not greatly visible in practice. Rather, the great secret of

strategic development of Croatian tourism is that it just is, it just happens, it is a big tourism for tourism's sake endeavor which does not articulate refined niches of creative tourism. According to the research by the Institute for Tourism, numbers show that more than 50% of Croatian tourists visit cultural monuments and 10% of tourists travel to Croatia for pure cultural motives which is a rather high index of cultural tourism although coastal tourism remains to be the predominant type of Croatian tourism (TOMAS Summer 2007). Profit from cultural tourism has never been calculated but it can easily be said that culture has a great share in Croatian tourism since mass tourists also participate in cultural experiences although their primary motives for travel are not connected with culture. The Case of Dubrovnik One of the European and national highest cultural tourism index is reached in Dubrovnik. Also, tourists that travel to Dubrovnik for cultural motives are far more numerous (26%) than the national average (10%) (TOMAS Summer 2007). This petite medieval town is best known for the exquisiteness of world cultural heritage that is showcased in the ancient city walls and stone-made old city that is still a living place. Saying that, Dubrovnik as a city is far less living than it was a thirty years or just a decade ago as it is slowly but surely being sold off to holiday home real-estate agents which inevitably leads to known seasonality of a tourist place; it is overcrowded during the season and desolate during the winter months. Statistics show that the peak season (starting from April through September) results in four times more visitors to cultural attractions than the rest of the year. Generally, out of total amount of tourists that visit Dubrovnik, 80% make their visit in the peak season (some 500.000 visitors) while 20% (125.000 visitors) visit the city during the off-season period. The overall aims of the local planning and development in Dubrovnik are targeted towards expanding facilities for the tourist industry. Turmoil in the tourist industry is widespread with most cultural and arts organizations having to consider themselves as a tourist consumer product. This over-prioritizing the tourism industry has been known to have a negative impact on local development as privileging tourist attractions can disadvantage people who live, work, pay taxes and remain in an area after the tourists leave. These inappropriate commercial imperatives can result in increased congestion and pollution in historic city centers, towns, and sites. In these circumstances, creative tourism for locals is not even very welcome as a practice. But still, there are indications that even under heavy mass, cruise, cultural and heritage tourism lays a need for more intimate, custom-made, unique visiting experience. Out of 100 travel agencies (registered for tourism activities only) that operate in Dubrovnik, only one offers creative tourism programmes. Namely, the agency organizes a course on local embroidery, weaving, folk singing and dancing, fishing trips and expeditions. These programmes are on offer only by demand and are mostly used by specialized groups of tourist i.e. politicians, scientists, cultural workers, conference participants etc. Individual tourists have very limited or no access to organized forms of authentic experiences. But, this inferior position of creative tourism experiences is expected as the average time that visitors spend in Dubrovnik is 3.7 days and the volume of heritage objects and sites to be seen is sufficient to consume that time. The possible solution would be creative approach to presenting static and living heritage by offering visitors a chance to be more than irritating transitory spectators. On the whole, in any attempt to differentiate various types of tourism, it is less important what kind of income different types make. What is truly important is what kind of experience creative tourism

gives in parallel to mass tourism as manifested by cruise ship industry and how creative tourism can boost traditional aspects and systems of heritage tourism. Dubrovnik is stuck in old paradigms of tourist, cultural and overall economic development, in outdated but, unfortunately still prevalent type of tourism. The case of tourism in Dubrovnik during the past two decades can be described as nothing short of detrimental fiasco. Still, by the time of writing this article, a new Dubrovnik Destination Management agency was founded by the local government as a response to alarming need of re-thinking and re-defining Dubrovnik as a destination. First statement made by the agencys Director (Mrs. Pave upan Ruskovi, former Minister of Tourism of the Republic of Croatia) was that a place that is not interesting and pleasant for its own inhabitants cannot be interesting and satisfying for visitors. This approach of placing residents and visitors in the equal position is of paramount importance for initiating and enabling creative tourism development in hitherto mass tourism destination.

The case of Zagreb While Dubrovnik is struggling with heavy tourism indexes partly owing it to its strong cultural identity expressed in rich cultural heritage, Zagreb, on the other hand is striving to find its own contemporary identity. In tourist sense, Zagreb is Croatia's most visited continental destination. Still, it cannot be said that Zagreb tourists are predominantly interested in cultural experiences: 24% of them are motivated by new experiences and events, 17% by cultural monuments and 14% of them by entertainment. Although the share of cultural consumption is visible, it is clear that every sixth hotel guest is not interested in visiting museums (TOMAS Zagreb 2008). Comparing it with the situation in some European cities, the differences become even more evident. In Vienna, for example, in 2006 tourists spent around 540 million on culture which is a share of 6.4% of the total tourism consumption. In 2008, the share was even higher (8.8%). Additional 8.2% was spent on entertainment which often includes culture. 75% of tourists come to Vienna for sightseeing and 71% for culture and arts (RTSA 2006). The mentioned data represent cultural tourism while the data on creative tourism, as a new type in the cultural tourism family are hardly obtained. Practically no research has been done so far including this type of tourism in Zagreb (or Croatia) although there are a few tourism agencies which claim to organize creative tourism packages or tours. Still, they are not in line with the so far accepted and used definition of creative tourism by Raymond and Richards. They either offer tailor-made packages according to the tourists' interests or they organize unusual sightseeing tours. Also, there are marketing agencies (and not tourism agencies) which organize tourism tours as to broaden their target market which represents creative and innovative ways of doing business. The only research which included attitudes of cultural tourists towards creative tourism shows that 39% of Croatian cultural tourists have no interest for participation in creative activities. Those that have such an interest are mostly interested in gastronomy workshops (24%), picking fruits/olives/herbs (23%) and archaeology (21%). A smaller number of tourists is interested in traditional dances/songs (17%) and traditional crafts (17%), arts workshops (13%) and Croatian language classes (11%) (TOMAS Cultural Tourism 2008). Still, no further research on this topic has been made. The fact that no greater research on creative tourism has been done and that no public policy considers it important strikes even more knowing that the city has the best conditions of all Croatian cities for its development: it is the center of Croatian cultural/creative industries and it is

estimated that some 98% of film, music and advertizing industry is concentrated in the capital. Great numbers of architectural, design and publishing offices/companies also have their seat in Zagreb. The potential of developed cultural/creative industries in tourism is greatly utilized by some world cities: Salzburg is capitalizing on the classical music, Edinburgh on theatre and performing arts, London on the fashion industry, Liverpool on the music industry (namely The Beatles), New Zealand on the film industry (namely on the popularity of The Lord of the Rings), etc. Creative industries development, in essence, not only exploit the cultural resources of the city, but also contribute to them, not just by helping increase the tourist income and advertise the qualities of the city. Apart from its potential contribution to preserving the cultural character of the city core, it has also important consequence for the cultural and creative production (Tomi-Koludrovi and Petri 2007: 147). So, where has the Zagreb's creativity gone? While it has great designers, great architects, world known classical musicians for example, it has not become known cultural/creative tourism destination. The recent research Zagreb as a cultural product which was commissioned by the City of Zagreb had the aim of detecting those cultural/creative industries which had the greatest potential in profit making as well as those with the potential of creating the city's contemporary identity which could eventually have great effects on tourism development, too. Although the majority of Croatian cultural/creative industries is concentrated in Zagreb, they are not utilized to their full potential. Results of the research show that in the context of both branding as well as profit making, the most relevant cultural/creative industries or those with the greatest development potential are music, film, architecture, theatre, design and dance. Some of them (especially architecture and design) have been internationally recognized with prestigious awards but they lack real industrial or at least manufacture production. Again, what happened with the creativity? Some results of the research might answer the question of the vanishing creativity: o The development of cultural/creative industries in Zagreb is disorganized, dispersive, fragmentary and without coordination with local government; o The city does not invest in the systematic production of contemporary (local) cultural/creative products nor in the promotion and export of the existing cultural products; o Economic relevance of cultural sector is treated as an expenditure of the local public budget; o Cultural identity of the city is not systematically designed but is linked to different forms of cultural tradition, heritage and ethno products; o Culture is treated in a static way while the concept of "industry" linked to culture is totally rejected; o Cultural sector lacks knowledge and awareness of its own potentials and strength; o Lack of understanding of the concept of cultural/creative industries is visible on several levels: from local government, professional cultural associations, cultural creators to key stakeholders for development and promotion of cultural/creative industries. Therefore, despite the existing potential, there is a lack of political understanding as well as professional determination to organize and direct the development of cultural/creative industries.

Top-down approach could be adequate as public policy has the required means for systematic development of the sector: from gathering the data as to obtain statistical indicators to public measures which can facilitate the private sector to develop local cultural but also socio-economic capital. In this way, cultural policy should respond to new trends in cultural creativity and would adapt to the new situation in the cultural domain. Targeting resources and using them in the creation of the city's brand should be the aim of such a public policy. In a wider context, this could be an interesting reversal: the notion of creative industries, frequently connected with the commercial side of cultural production, could in this case actually help preserve the authenticity and promote cultural and creative production specific to the location (Tomi-Koludrovi and Petri 2007: 147). This, however, is not enough. Having a distinctive creative product is not an end itself. Firstly, the product needs to be extracted from the environment of the cultural sector and matched with the industry sector. Secondly, the product will not be recognized nationwide or even internationally if not properly marketed. As already said, Zagreb has had a few very interesting products which have not succeeded in branding the city or in earning great profits. And this is where creativity strikes again as a buzz-word. It is not only about developing a tourism or cultural product using a creative capital. Accordingly, creative tourism can not only include learning a skill on holiday that is part of the culture of the country or community being visited. It is much more than that. Having culture as the main component of tourism industry already impacts the creativity, and eventually also the competitiveness. From the aspect of the tourist, creative tourism may mean such an activity which includes learning a skill on holiday that is part of the culture of the country or community being visited. But from the aspect of those who offer a tourism product, it may mean a creation of totally different and new business models which are based on creative production, management, marketing or sales. Is it a creative way to re-think the creative tourism basis? Conclusion Dubrovnik is a city which heavily relies on heritage tourism that has over time reached mass proportions in relation to the actual size and the number of inhabitants in the city. On the other hand, in Zagreb the situation is completely different: as a nation's capital, it is a modern urban city, the biggest Croatian cultural centre as well as the biggest Croatian continental tourism destination but still lagging behind European cities in terms of cultural/creative industries development. Creative tourism as a practice or even a concept is not entirely detectable in both cases. In Dubrovnik, the very few creative tourism initiatives slowly emerge underneath dominant forms of mass tourism, including cultural and heritage tourism. Dubrovnik is a world known tourist destination and as such the local economic development and overall city development relies on income from tourism industry. This has caused a widespread exploitation of cultural and natural resources which has been known to have a negative impact on local development. In Zagreb, the role of cultural heritage is not as proclaimed and capitalized on. Rather, the main cultural resources of Zagreb are cultural/creative industries. Still, they are not utilized for attracting or offering unique experiences to visitors not because of their low potential but due to low levels of awareness on the role, possibilities, position and proven strength cultural/creative industries have in developing cultural brands of a city. When talking about the cultural industries, globalization has certainly given them a great importance which influenced cultural planning of many countries/cities. Additionally, developments in science and technology helped in dissemination of

the content cultural industries carry. This broadened the concept of innovation and creativity and consequently it should expand the scope of consumer niches it encompasses. In this sense, creative tourism comes to light as a solution for both cities: a way for over-developed and under-developed forms of tourism as presented in the case studies. When doing business with culture which besides economic potential always carries a certain value, strategic orientation towards visitor experience meets particular challenges. Economic ideology must not always be a major driver since culture requires extremely subtle management models. Creative tourism certainly brings a valuable experience for tourists and transfers unique values promoting local identities. Moreover, it can be asserted that creative tourism is a projection of new type of tourism in which natural, cultural and personal resources are not manipulated and exploited but valued and enriched. Zagreb is a city that is on the up-rise: currently a capital of a Southeast European country, it faces the future of a European capital. Its identity vehicle as well as recognizable brand will be those cultural resources that are valued and shared by a wider community. The vast cultural/creative industries potential can both identify the city and offer much needed visitor experiences. In this sense, Zagreb and Dubrovnik are on opposite ends; while Zagreb is yet to be defined by forms of cultural resources and accompanying types of tourism, Dubrovnik has to re-define its cultural and tourism identity. As such, creative tourism can become a major development driver for both cases: in the dominant and the ever growing trend of splintering of tourism forms. Still, it is debatable for most destinations to struggle in creating new types of tourism as to be competitive by changing the destination's tourism outline if they are recognizable or even branded for certain "old" qualities, like illustrated with the case of Dubrovnik. Being creative does not always mean introducing new types of trendy developments in the destination but rather knowing how to develop new development models that will underline the best a destination has to offer both for tourists as well as for the hosts. References:

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