Pub Date : 1900-01-01DOI: 10.1079/9781789243536.0024
L. Almeida
Abstract Creative tourism can be a platform for many purposes: as you change your objective and the elements in it, you obtain different results. Using creative tourism as a competitive advantage, one can provide clients with a memorable experience whose result is an enthusiastic, engaged promoter. It can be used as a strategy to teach many abilities to people at any age, developing creative capacities as well as notions of history, language, biology, and even teamwork abilities, empathy, and other social skills. A creative tourism strategy can also be used to improve innovation in some places, encouraging people to take part in creative activities throughout the city and providing another perspective about the locale. This study aims to present a way to stimulate social development using creative tourism to transform cultural assets into products in low-income communities. It also discusses how this intervention can generate a business network that supports local development and reflects the socioeconomic progress of the territories through visibility and as a basic dimension of dignity.
{"title":"Creative tourism as a local development strategy.","authors":"L. Almeida","doi":"10.1079/9781789243536.0024","DOIUrl":"https://doi.org/10.1079/9781789243536.0024","url":null,"abstract":"Abstract\u0000 Creative tourism can be a platform for many purposes: as you change your objective and the elements in it, you obtain different results. Using creative tourism as a competitive advantage, one can provide clients with a memorable experience whose result is an enthusiastic, engaged promoter. It can be used as a strategy to teach many abilities to people at any age, developing creative capacities as well as notions of history, language, biology, and even teamwork abilities, empathy, and other social skills. A creative tourism strategy can also be used to improve innovation in some places, encouraging people to take part in creative activities throughout the city and providing another perspective about the locale. This study aims to present a way to stimulate social development using creative tourism to transform cultural assets into products in low-income communities. It also discusses how this intervention can generate a business network that supports local development and reflects the socioeconomic progress of the territories through visibility and as a basic dimension of dignity.","PeriodicalId":342652,"journal":{"name":"Creative tourism: activating cultural resources and engaging creative travellers","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128914875","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.1079/9781789243536.0017
Rita Salvado, Guida Rolo
Abstract COOLWOOL, Creative weekend at Covilhã is a creative tourism programme to discover the wool industrial heritage of the Portuguese industrial city of Covilhã. It proposes a singular experience of immersion into the city factory and into the factory ambience. The project is co-organized by the New Hand Lab (www.newhandlab.com) and the Wool Museum of the University of Beira Interio(www.museu.ubi.pt) and was developed as part of the CREATOUR ® project. Creative weekend at Covilhã is a city break programme that invites participants to discover the wool industrial heritage of the city. It aims to offer creative and relaxed tourism activities to discover the local culture, through being introduced to crafting techniques and by sensing the wool heritage. The programme is conceived to reach a very specific group of tourists, experienced people who have accumulated both a taste for creative experiences as well as an enthusiasm for textiles and wool culture. This programme, offered all year round, aims to offer alternatives to winter sports, challenging visitors to discover the wool culture. The aim in the future is to enlarge the audience, bringing to Covilhã more visitors interested in industrial wool heritage. It is thus a programme for curious people who like new experiences, to be challenged, and to know the places they visit through their history and identity.
COOLWOOL创意周末是一个创意旅游项目，旨在探索葡萄牙工业城市Covilhã的羊毛工业遗产。它提出了一种沉浸在城市工厂和工厂氛围中的独特体验。该项目由New Hand Lab (www.newhandlab.com)和Beira Interio大学羊毛博物馆(www.museu.ubi.pt)共同组织，是CREATOUR®项目的一部分。Covilhã的创意周末是一个城市休闲项目，邀请参与者探索城市的羊毛工业遗产。它旨在提供创造性和轻松的旅游活动，通过介绍手工技术和感知羊毛遗产来发现当地文化。该项目旨在吸引一群非常特殊的游客，他们是经验丰富的人，积累了对创意体验的品味，以及对纺织品和羊毛文化的热情。该项目全年开放，旨在提供冬季运动的替代方案，挑战游客探索羊毛文化。未来的目标是扩大观众，为Covilhã带来更多对工业羊毛遗产感兴趣的游客。因此，这是一个为好奇的人准备的节目，他们喜欢新的体验，接受挑战，并通过他们的历史和身份了解他们所访问的地方。
{"title":"COOLWOOL - creative weekend at Covilhã, a co-designed programme.","authors":"Rita Salvado, Guida Rolo","doi":"10.1079/9781789243536.0017","DOIUrl":"https://doi.org/10.1079/9781789243536.0017","url":null,"abstract":"Abstract\u0000 COOLWOOL, Creative weekend at Covilhã is a creative tourism programme to discover the wool industrial heritage of the Portuguese industrial city of Covilhã. It proposes a singular experience of immersion into the city factory and into the factory ambience. The project is co-organized by the New Hand Lab (www.newhandlab.com) and the Wool Museum of the University of Beira Interio(www.museu.ubi.pt) and was developed as part of the CREATOUR ® project. Creative weekend at Covilhã is a city break programme that invites participants to discover the wool industrial heritage of the city. It aims to offer creative and relaxed tourism activities to discover the local culture, through being introduced to crafting techniques and by sensing the wool heritage. The programme is conceived to reach a very specific group of tourists, experienced people who have accumulated both a taste for creative experiences as well as an enthusiasm for textiles and wool culture. This programme, offered all year round, aims to offer alternatives to winter sports, challenging visitors to discover the wool culture. The aim in the future is to enlarge the audience, bringing to Covilhã more visitors interested in industrial wool heritage. It is thus a programme for curious people who like new experiences, to be challenged, and to know the places they visit through their history and identity.","PeriodicalId":342652,"journal":{"name":"Creative tourism: activating cultural resources and engaging creative travellers","volume":"75 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121795445","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.1079/9781789243536.0005
Margaret Feeney
Abstract People travel because they are searching. They are not content to download experience through mediated internet platforms, or to find themselves curated into a vat of preserved content, steeped in academic salt. Travelling is free of the dreary imperatives of everyday life; we step into the world to enlarge our frame of reference, not to be poked into another grid of curated meaning. Tourist hotspots everywhere have been heating up as fast as the climate, and unique cultural sensibilities and practices are perishing in the glare of the demands of the modern tourist. The researcher uses The Water Systems and the Stencil project as case studies in relation to the elements of effective workshop creation.
{"title":"Collective invention: a travelling artist's perspective.","authors":"Margaret Feeney","doi":"10.1079/9781789243536.0005","DOIUrl":"https://doi.org/10.1079/9781789243536.0005","url":null,"abstract":"Abstract\u0000 People travel because they are searching. They are not content to download experience through mediated internet platforms, or to find themselves curated into a vat of preserved content, steeped in academic salt. Travelling is free of the dreary imperatives of everyday life; we step into the world to enlarge our frame of reference, not to be poked into another grid of curated meaning. Tourist hotspots everywhere have been heating up as fast as the climate, and unique cultural sensibilities and practices are perishing in the glare of the demands of the modern tourist. The researcher uses The Water Systems and the Stencil project as case studies in relation to the elements of effective workshop creation.","PeriodicalId":342652,"journal":{"name":"Creative tourism: activating cultural resources and engaging creative travellers","volume":"144 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134541341","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.1079/9781789243536.0015
K. Scherf
Abstract As a collaborative cultural mapping process, deep mapping can encourage networks and partnerships in designing and offering cultural and creative tourism activities; as a product, deep maps can provide the basis for marketing your destination by providing a lively and engaging sense of place. Even if you are just seeking to bridge the pandemic and better times, deep maps can provide a site for virtual tourism. The use of digital media as a tool to express the complex process of cultural mapping and place creation, and to engage visitors in an authentic sense of the distinctive and unique features of the 'place' in a mediated setting, is timely in an age of digitally enabled tourism.
{"title":"Deep mapping as a cultural mapping process and a creative tourism driver: two examples.","authors":"K. Scherf","doi":"10.1079/9781789243536.0015","DOIUrl":"https://doi.org/10.1079/9781789243536.0015","url":null,"abstract":"Abstract\u0000 As a collaborative cultural mapping process, deep mapping can encourage networks and partnerships in designing and offering cultural and creative tourism activities; as a product, deep maps can provide the basis for marketing your destination by providing a lively and engaging sense of place. Even if you are just seeking to bridge the pandemic and better times, deep maps can provide a site for virtual tourism. The use of digital media as a tool to express the complex process of cultural mapping and place creation, and to engage visitors in an authentic sense of the distinctive and unique features of the 'place' in a mediated setting, is timely in an age of digitally enabled tourism.","PeriodicalId":342652,"journal":{"name":"Creative tourism: activating cultural resources and engaging creative travellers","volume":"136 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133826072","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.1079/9781789243536.0013
F. Bakas, Tiago Vinagre de Castro, Anastasia Osredkar
Abstract This chapter discusses how the principles of usercentred design and emotional mapping can be used to help tourism and culture practitioners design prototypes of creative tourism experiences. Creative tourism is a novel interpretation of cultural tourism that incorporates within the tourism experience the dimensions of active participation, creative self-expression, learning, and community engagement (Duxbury and Richards, 2019), underlined by an immersive connection to place. On one hand, to create successful creative tourism experiences, it is important that the tourism experience designers empathize with the end users/participants and identify with their needs and motivations. By adopting a user-centred design approach, this empathy can be achieved in practical ways and then included in the design of the final tourism experience. On the other hand, emotional mapping deepens engagement with places, fostered by a multisensorial immersive exploring exercise that challenges participants to link places to their own emotions and feelings.
{"title":"User-centred design for creative tourism prototyping: the Maribor experience.","authors":"F. Bakas, Tiago Vinagre de Castro, Anastasia Osredkar","doi":"10.1079/9781789243536.0013","DOIUrl":"https://doi.org/10.1079/9781789243536.0013","url":null,"abstract":"Abstract\u0000 This chapter discusses how the principles of usercentred design and emotional mapping can be used to help tourism and culture practitioners design prototypes of creative tourism experiences. Creative tourism is a novel interpretation of cultural tourism that incorporates within the tourism experience the dimensions of active participation, creative self-expression, learning, and community engagement (Duxbury and Richards, 2019), underlined by an immersive connection to place. On one hand, to create successful creative tourism experiences, it is important that the tourism experience designers empathize with the end users/participants and identify with their needs and motivations. By adopting a user-centred design approach, this empathy can be achieved in practical ways and then included in the design of the final tourism experience. On the other hand, emotional mapping deepens engagement with places, fostered by a multisensorial immersive exploring exercise that challenges participants to link places to their own emotions and feelings.","PeriodicalId":342652,"journal":{"name":"Creative tourism: activating cultural resources and engaging creative travellers","volume":"107 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117251950","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.1079/9781789243536.0025
K. Scherf
Abstract Every definition of creative tourism cites, in some form, the necessity of a positive and productive relationship between residents and tourists, whether it is expressed as visitors engaging in the everyday life of the community, or as visitors learning from residents a creative skill unique to that location. The study provides comparison of the creative tourism situation for Copenhagen and Barcelona in terms of demography and cultural analysis.
{"title":"Why creative tourism won't work if residents are not involved: a tale of two cities.","authors":"K. Scherf","doi":"10.1079/9781789243536.0025","DOIUrl":"https://doi.org/10.1079/9781789243536.0025","url":null,"abstract":"Abstract\u0000 Every definition of creative tourism cites, in some form, the necessity of a positive and productive relationship between residents and tourists, whether it is expressed as visitors engaging in the everyday life of the community, or as visitors learning from residents a creative skill unique to that location. The study provides comparison of the creative tourism situation for Copenhagen and Barcelona in terms of demography and cultural analysis.","PeriodicalId":342652,"journal":{"name":"Creative tourism: activating cultural resources and engaging creative travellers","volume":"298 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114489197","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.1079/9781789243536.0006
Mélanie Wolfram, Sara Albino
Abstract This paper presents an interview with Melanie Wolfram on Vagar Walkingtours. Vagar Walkingtours is a small tourism company (registered as a tourism 'animation' company in Évora) that promotes 'slow touristic visits', conducting these cultural visits in all of the Alentejo region and, more particularly, focusing on the North Alentejo. It does private tours and try to adapt to the will of the clients, providing heritage tours, wine tours, and arts and crafts tours, among other options. It has a deep interest in archaeology, built heritage, and local practices of intangible cultural heritage, such as horse riding and gastronomy. The three main principles underlying the creation of the tourism offers at Vagar Walkingtours are time, personalization of activities, and cultural values associated with Alentejo, all three form the foundation for the establishment of local partnerships. That is why they have created the tailor made visits: offering exactly what the client wishes, mostly in their native language. The paper highlights specifically the offer of activities that we have for families, in particular the Play Évora creative tourism approach, which combines cultural and nature tourism activities, an educational component, and immersion in local culture.
{"title":"Interview with Mélanie Wolfram, Vagar Walkingtours: connecting to family travel with creative tourism.","authors":"Mélanie Wolfram, Sara Albino","doi":"10.1079/9781789243536.0006","DOIUrl":"https://doi.org/10.1079/9781789243536.0006","url":null,"abstract":"Abstract\u0000 This paper presents an interview with Melanie Wolfram on Vagar Walkingtours. Vagar Walkingtours is a small tourism company (registered as a tourism 'animation' company in Évora) that promotes 'slow touristic visits', conducting these cultural visits in all of the Alentejo region and, more particularly, focusing on the North Alentejo. It does private tours and try to adapt to the will of the clients, providing heritage tours, wine tours, and arts and crafts tours, among other options. It has a deep interest in archaeology, built heritage, and local practices of intangible cultural heritage, such as horse riding and gastronomy. The three main principles underlying the creation of the tourism offers at Vagar Walkingtours are time, personalization of activities, and cultural values associated with Alentejo, all three form the foundation for the establishment of local partnerships. That is why they have created the tailor made visits: offering exactly what the client wishes, mostly in their native language. The paper highlights specifically the offer of activities that we have for families, in particular the Play Évora creative tourism approach, which combines cultural and nature tourism activities, an educational component, and immersion in local culture.","PeriodicalId":342652,"journal":{"name":"Creative tourism: activating cultural resources and engaging creative travellers","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130064532","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.1079/9781789243536.0022
Sabrina V. Pratt
Abstract The City of Santa Fe, New Mexico's Creative Tourism Initiative ran from 2009 to 2015. It began as a result of Santa Fe's membership in the United Nations Educational and Scientific and Cultural Organization (UNESCO) Creative Cities Network. Santa Fe joined the network in 2005, and that same year a UNESCO representative involved in forming the Creative Cities Network brought up the concept of creative tourism as an economic development tool. Santa Fe, population 84,683 (US Census Bureau, 2019), is known for its history, arts, and culture in a southwestern US state that shares a border with Mexico. As a crossroads for Native American, Spanish, Mexican, and European culture, plus a beautiful desert and mountainous landscape, tourism is one of New Mexico's primary industries. The Creative Tourism Initiative, led by the City of Santa Fe, developed a robust selection of creative tourism experiences and promoted them. The City assigned staff members of its Arts Commission, the city's arts agency, to design and implement the programme. This study tackles how CTI promotes Santa Fe, in terms of training, their website, and other marketing channels.
{"title":"Santa Fe, New Mexico's creative tourism initiative.","authors":"Sabrina V. Pratt","doi":"10.1079/9781789243536.0022","DOIUrl":"https://doi.org/10.1079/9781789243536.0022","url":null,"abstract":"Abstract\u0000 The City of Santa Fe, New Mexico's Creative Tourism Initiative ran from 2009 to 2015. It began as a result of Santa Fe's membership in the United Nations Educational and Scientific and Cultural Organization (UNESCO) Creative Cities Network. Santa Fe joined the network in 2005, and that same year a UNESCO representative involved in forming the Creative Cities Network brought up the concept of creative tourism as an economic development tool. Santa Fe, population 84,683 (US Census Bureau, 2019), is known for its history, arts, and culture in a southwestern US state that shares a border with Mexico. As a crossroads for Native American, Spanish, Mexican, and European culture, plus a beautiful desert and mountainous landscape, tourism is one of New Mexico's primary industries. The Creative Tourism Initiative, led by the City of Santa Fe, developed a robust selection of creative tourism experiences and promoted them. The City assigned staff members of its Arts Commission, the city's arts agency, to design and implement the programme. This study tackles how CTI promotes Santa Fe, in terms of training, their website, and other marketing channels.","PeriodicalId":342652,"journal":{"name":"Creative tourism: activating cultural resources and engaging creative travellers","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117086951","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.1079/9781789243536.0028
F. Bakas
Abstract This chapter presents highlights from recent research into the emergence of artisan entrepreneurmediators who link artisans to creative tourism initiatives in extra-metropolitan areas (i.e. rural areas and small cities) in Portugal (Bakas et al., 2018). Creative tourism is aligned with contemporary trends to revive local crafts and traditions in rural areas as it stimulates artisan entrepreneurs to co-create and co-preserve local traditions (Duxbury and Richards,2019) while engaging with the local community (Landry, 2010). In extra-metropolitan regions, economies are often fragile and small businesses often find it hard to stay solvent. 'The countryside' or the 'rural' must be considered as a place where the creative economy is differently manifested and articulated from the now standard 'creative script' based on cities (Bell and Jayne, 2010). It is imperative to understand the critical elements within a small business's operating environment or 'ecosystem' that support or thwart entrepreneurial activity (Kline et al., 2014). With artists and artisans increasingly used to represent, market, and enhance the visual image of destinations, looking more closely at the link between artisan activity and tourism is timely (Morpeth and Long, 2016).
本章介绍了最近对葡萄牙城郊地区(即农村地区和小城市)工匠企业家中介的出现的研究亮点(Bakas et al.， 2018)。创意旅游符合当代趋势，旨在振兴农村地区的当地工艺和传统，因为它刺激工匠企业家共同创造和共同保护当地传统(Duxbury和Richards,2019)，同时与当地社区互动(Landry, 2010)。在非大都市地区，经济往往很脆弱，小企业往往难以保持偿付能力。“乡村”或“农村”必须被视为一个地方，在那里，创意经济的表现和表达方式与现在基于城市的标准“创意剧本”不同(Bell和Jayne, 2010)。必须了解小企业运营环境或“生态系统”中支持或阻碍创业活动的关键因素(克莱恩等人，2014)。随着艺术家和工匠越来越多地用于代表，营销和增强目的地的视觉形象，更密切地关注工匠活动与旅游之间的联系是及时的(Morpeth和Long, 2016)。
{"title":"Connecting local artisans to tourism in extra-metropolitan areas: the importance of social embeddedness.","authors":"F. Bakas","doi":"10.1079/9781789243536.0028","DOIUrl":"https://doi.org/10.1079/9781789243536.0028","url":null,"abstract":"Abstract\u0000 This chapter presents highlights from recent research into the emergence of artisan entrepreneurmediators who link artisans to creative tourism initiatives in extra-metropolitan areas (i.e. rural areas and small cities) in Portugal (Bakas et al., 2018). Creative tourism is aligned with contemporary trends to revive local crafts and traditions in rural areas as it stimulates artisan entrepreneurs to co-create and co-preserve local traditions (Duxbury and Richards,2019) while engaging with the local community (Landry, 2010). In extra-metropolitan regions, economies are often fragile and small businesses often find it hard to stay solvent. 'The countryside' or the 'rural' must be considered as a place where the creative economy is differently manifested and articulated from the now standard 'creative script' based on cities (Bell and Jayne, 2010). It is imperative to understand the critical elements within a small business's operating environment or 'ecosystem' that support or thwart entrepreneurial activity (Kline et al., 2014). With artists and artisans increasingly used to represent, market, and enhance the visual image of destinations, looking more closely at the link between artisan activity and tourism is timely (Morpeth and Long, 2016).","PeriodicalId":342652,"journal":{"name":"Creative tourism: activating cultural resources and engaging creative travellers","volume":"699 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128140304","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.1079/9781789243536.0002
Diana Zuluaga, Diana Guerra
Abstract The goal of this chapter is to examine and classify the different types of travellers we have encountered throughout the last seven years at 5Bogota. To this end, we have created a tool that can be either a starting point for profiling prospective clients, or a source of information to improve the services offered to existing customers.
{"title":"A typology of creative travellers in Bogota, Colombia: the experience of Bogota.","authors":"Diana Zuluaga, Diana Guerra","doi":"10.1079/9781789243536.0002","DOIUrl":"https://doi.org/10.1079/9781789243536.0002","url":null,"abstract":"Abstract\u0000 The goal of this chapter is to examine and classify the different types of travellers we have encountered throughout the last seven years at 5Bogota. To this end, we have created a tool that can be either a starting point for profiling prospective clients, or a source of information to improve the services offered to existing customers.","PeriodicalId":342652,"journal":{"name":"Creative tourism: activating cultural resources and engaging creative travellers","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129338100","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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