Pub Date : 1900-01-01DOI: 10.1079/9781789243536.0021
Marília Lúcio
Abstract The Loulé Criativo project aims to provide a continuous induction of innovation in the products and work processes of professionals; the necessary conditions for research in the arts and crafts and related topics; support for the installation and business of artisans and professionals in the creative sector, adjusted to their needs; and a cultural programme that includes permanent and temporary exhibitions and events related to the theme of creativity, heritage, and arts and crafts. It strives to be closer and closer to its communities, to create business opportunities for local agents, and to offer quality, differentiated, and authentic tourism so that anyone who decides to spend their vacation in Loulé can have an experience of immersion in the local culture.
{"title":"Loulé Criativo: our creative tourism development story.","authors":"Marília Lúcio","doi":"10.1079/9781789243536.0021","DOIUrl":"https://doi.org/10.1079/9781789243536.0021","url":null,"abstract":"Abstract\u0000 The Loulé Criativo project aims to provide a continuous induction of innovation in the products and work processes of professionals; the necessary conditions for research in the arts and crafts and related topics; support for the installation and business of artisans and professionals in the creative sector, adjusted to their needs; and a cultural programme that includes permanent and temporary exhibitions and events related to the theme of creativity, heritage, and arts and crafts. It strives to be closer and closer to its communities, to create business opportunities for local agents, and to offer quality, differentiated, and authentic tourism so that anyone who decides to spend their vacation in Loulé can have an experience of immersion in the local culture.","PeriodicalId":342652,"journal":{"name":"Creative tourism: activating cultural resources and engaging creative travellers","volume":"34 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":"125853639","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: 10.1079/9781789243536.0001
Nancy Duxbury, C. Carvalho, Sara Albino
Abstract Creative tourism is a dynamic tourism niche that has emerged both as a development of cultural tourism and in opposition to the emergence of 'mass cultural tourism'. On the one hand, creative tourism demand is driven by travellers seeking more active and participative cultural experiences in which they can use and develop their own creativity. On the other hand, creative tourism provides avenues for communities' desire to accentuate their distinctive elements and develop new value-added initiatives for local benefit. The book is intended for entrepreneurs and public agencies interested in developing creative tourism activities and programmes, with a complementary interest expected from students and researchers in creative tourism, cultural tourism, and community-based tourism fields. The book aims to offer theoretical approaches as well as to inform practical implementation, presenting a wide range of examples, experience-based insights, and advice. It offers guidance for practitioners in planning, operationalizing, and iteratively improving their creative tourism projects and adapting them to changing local situations. The book also aims to situate creative tourism within local development, and to show how it can contribute to local economic benefit, community engagement, social inclusion, empowerment, cultural vitality and sustainability, cross-cultural exchange, and responsible travel.
{"title":"An introduction to creative tourism development: articulating local culture and travel.","authors":"Nancy Duxbury, C. Carvalho, Sara Albino","doi":"10.1079/9781789243536.0001","DOIUrl":"https://doi.org/10.1079/9781789243536.0001","url":null,"abstract":"Abstract\u0000 Creative tourism is a dynamic tourism niche that has emerged both as a development of cultural tourism and in opposition to the emergence of 'mass cultural tourism'. On the one hand, creative tourism demand is driven by travellers seeking more active and participative cultural experiences in which they can use and develop their own creativity. On the other hand, creative tourism provides avenues for communities' desire to accentuate their distinctive elements and develop new value-added initiatives for local benefit. The book is intended for entrepreneurs and public agencies interested in developing creative tourism activities and programmes, with a complementary interest expected from students and researchers in creative tourism, cultural tourism, and community-based tourism fields. The book aims to offer theoretical approaches as well as to inform practical implementation, presenting a wide range of examples, experience-based insights, and advice. It offers guidance for practitioners in planning, operationalizing, and iteratively improving their creative tourism projects and adapting them to changing local situations. The book also aims to situate creative tourism within local development, and to show how it can contribute to local economic benefit, community engagement, social inclusion, empowerment, cultural vitality and sustainability, cross-cultural exchange, and responsible travel.","PeriodicalId":342652,"journal":{"name":"Creative tourism: activating cultural resources and engaging creative travellers","volume":"5 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":"130721432","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: 10.1079/9781789243536.0007
Gregory L. Richard, Nancy Duxbury
Abstract The desire for more-than-accumulating-tourism-experiences spawned more meaningful travel and 'transformational tourism'. As these tendencies pile on one another, propelled by broader societal changes and trends, they are inter-mingling and spawning new developments. In this crowded sea of interactive, inspiring, meaningful, and (big picture) creative activities, how is creative tourism envisioned? From the roots of creative tourism activities and strategies, what is emerging now? In this chapter, we briefly outline what we envision as 12 major trajectories in creative tourism, organized into four general categories: taking home creative skills as well as souvenirs, finding space for creativity, cultivating meaningful travel, and connecting with creative networks and hubs.
{"title":"Trajectories and trends in creative tourism: where are we headed?","authors":"Gregory L. Richard, Nancy Duxbury","doi":"10.1079/9781789243536.0007","DOIUrl":"https://doi.org/10.1079/9781789243536.0007","url":null,"abstract":"Abstract\u0000 The desire for more-than-accumulating-tourism-experiences spawned more meaningful travel and 'transformational tourism'. As these tendencies pile on one another, propelled by broader societal changes and trends, they are inter-mingling and spawning new developments. In this crowded sea of interactive, inspiring, meaningful, and (big picture) creative activities, how is creative tourism envisioned? From the roots of creative tourism activities and strategies, what is emerging now? In this chapter, we briefly outline what we envision as 12 major trajectories in creative tourism, organized into four general categories: taking home creative skills as well as souvenirs, finding space for creativity, cultivating meaningful travel, and connecting with creative networks and hubs.","PeriodicalId":342652,"journal":{"name":"Creative tourism: activating cultural resources and engaging creative travellers","volume":"40 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":"132060054","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: 10.1079/9781789243536.0014
Diana Zuluaga, Diana Guerra
Abstract 5Bogota: Travel with Locals was established in 2013 with the goal of promoting creative tourism in Colombia. This start-up was conceived as a marketplace connecting local hosts with foreigners wishing to explore the city through different eyes, while fostering local sustainable development in the places they visit. Our experience with Colombian start-up 5Bogota (Bogota through the 5 Senses) underlines the importance of a methodical process integrating the creation of unique tourism experiences with the marketing strategies necessary for the development of a profitable business model, thus ensuring the social impact sought by the concept of creative tourism. This brief text outlines the methodology used to create and consolidate the experiences offered by 5Bogota. The methodology comprises eight stages, including context analysis, the study of the destination's characteristics, the establishment of the typology for the traveller and for the local host, the design of the tourism product, and the marketing strategy. In closing, a series of conclusions are presented to share the lessons learned through the application of this methodology at 5Bogota, and to identify the main key success factors for entrepreneurship in creative tourism.
{"title":"Bogota through the 5 senses: building a creative tourism start-up.","authors":"Diana Zuluaga, Diana Guerra","doi":"10.1079/9781789243536.0014","DOIUrl":"https://doi.org/10.1079/9781789243536.0014","url":null,"abstract":"Abstract\u0000 5Bogota: Travel with Locals was established in 2013 with the goal of promoting creative tourism in Colombia. This start-up was conceived as a marketplace connecting local hosts with foreigners wishing to explore the city through different eyes, while fostering local sustainable development in the places they visit. Our experience with Colombian start-up 5Bogota (Bogota through the 5 Senses) underlines the importance of a methodical process integrating the creation of unique tourism experiences with the marketing strategies necessary for the development of a profitable business model, thus ensuring the social impact sought by the concept of creative tourism. This brief text outlines the methodology used to create and consolidate the experiences offered by 5Bogota. The methodology comprises eight stages, including context analysis, the study of the destination's characteristics, the establishment of the typology for the traveller and for the local host, the design of the tourism product, and the marketing strategy. In closing, a series of conclusions are presented to share the lessons learned through the application of this methodology at 5Bogota, and to identify the main key success factors for entrepreneurship in creative tourism.","PeriodicalId":342652,"journal":{"name":"Creative tourism: activating cultural resources and engaging creative travellers","volume":"12 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":"123800311","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: 10.1079/9781789243536.0012
J. Wisansing
Abstract One of the challenges in developing tourism in many local communities, particularly in developing countries, is the danger of commodification of culture. Existing models of cultural tourism often see culture as a relatively static product to be 'sold' to tourists. By embracing local identity and intangible cultural assets, and concentrating on local creative processes, creative tourism can emerge as a fundamental tool for combatting such negative impacts of traditional models of cultural tourism. This chapter reflects on an experimental learning journey, a creative tourism pilot project initiated by the Designated Areas for Sustainable Tourism Administration (DASTA) in Thailand. The main objective of this learning journey with DASTA was to develop a Creative Tourism Brain Bank (CTBB), working together in a creative tourism lab which aimed to explore the following questions: (1) What constitutes creative tourism, specific to the Thai context?; (2)What makes creative tourism different from other forms of tourism?; (3) How can we transform community cultural tourism/activities into creative tourism?
{"title":"From theory to practice: the three principles of community-based design.","authors":"J. Wisansing","doi":"10.1079/9781789243536.0012","DOIUrl":"https://doi.org/10.1079/9781789243536.0012","url":null,"abstract":"Abstract\u0000 One of the challenges in developing tourism in many local communities, particularly in developing countries, is the danger of commodification of culture. Existing models of cultural tourism often see culture as a relatively static product to be 'sold' to tourists. By embracing local identity and intangible cultural assets, and concentrating on local creative processes, creative tourism can emerge as a fundamental tool for combatting such negative impacts of traditional models of cultural tourism. This chapter reflects on an experimental learning journey, a creative tourism pilot project initiated by the Designated Areas for Sustainable Tourism Administration (DASTA) in Thailand. The main objective of this learning journey with DASTA was to develop a Creative Tourism Brain Bank (CTBB), working together in a creative tourism lab which aimed to explore the following questions: (1) What constitutes creative tourism, specific to the Thai context?; (2)What makes creative tourism different from other forms of tourism?; (3) How can we transform community cultural tourism/activities into creative tourism?","PeriodicalId":342652,"journal":{"name":"Creative tourism: activating cultural resources and engaging creative travellers","volume":"3 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":"130270414","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: 10.1079/9781789243536.0027
Melanie Sarantou, Satu Miettinen
Abstract This chapter explores how creative tourism can be applied as a strategy for decolonization, inclusion, and participation. Creative tourism is about engaging tourists in activities that stimulate them to use their creative potential (Runco and Acar, 2012) and confidence (Kelley and Kelley, 2013) in a cultural tourism setting. Creative tourism can occur through either total immersion in cultural activities, for example singing, craft production, painting, or through less interactive roles, such as being spectators in a concert, museum, or more informal cultural settings, for example, community theatres or cultural events.
{"title":"Creative tourism as a strategic approach for decolonial thinking and doing in Namibian tourism.","authors":"Melanie Sarantou, Satu Miettinen","doi":"10.1079/9781789243536.0027","DOIUrl":"https://doi.org/10.1079/9781789243536.0027","url":null,"abstract":"Abstract This chapter explores how creative tourism can be applied as a strategy for decolonization, inclusion, and participation. Creative tourism is about engaging tourists in activities that stimulate them to use their creative potential (Runco and Acar, 2012) and confidence (Kelley and Kelley, 2013) in a cultural tourism setting. Creative tourism can occur through either total immersion in cultural activities, for example singing, craft production, painting, or through less interactive roles, such as being spectators in a concert, museum, or more informal cultural settings, for example, community theatres or cultural events.","PeriodicalId":342652,"journal":{"name":"Creative tourism: activating cultural resources and engaging creative travellers","volume":"6 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":"123937747","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: 10.1079/9781789243536.0029
Maria Assunção Gato, E. Tomaz, P. Costa, Ana Rita Cruz, Margarida Perestrelo
Abstract Considering the small scale of creative tourism, the limited resources in any specific case, and the high engagement level of stakeholders, a self-assessment exercise (i.e. carried out by the organizers/promoters of creative tourism activities) is most appropriate in order to monitor activities and results. Thus, within the CREATOUR ® project, a self-assessment process for creative tourism initiatives was developed, beginning with an initial diagnosis and proceeding to an assessment of outcomes and impacts. The process and tools were co-developed between researchers and practitioners to help various types of creative tourism organizers to measure, monitor, and evaluate the course of their activities in order to improve management and decisionmaking processes. The main objective was to assist practitioners and stakeholder organizations to become more aware of the intentional and unintentional effects generated by creative tourism activities, highlighting the potential benefits of artistic, cultural, and creative experiences for territorial development. This article is divided into three parts: part I outlines the development of the self-assessment process and tools; part II presents a synthesis of overall findings from the CREATOUR ® project resulting from this self-assessment process; and part III lists take-aways for practitioners.
{"title":"An impact self-assessment tool for creative tourism with insights from its application to the CREATOUR ® project.","authors":"Maria Assunção Gato, E. Tomaz, P. Costa, Ana Rita Cruz, Margarida Perestrelo","doi":"10.1079/9781789243536.0029","DOIUrl":"https://doi.org/10.1079/9781789243536.0029","url":null,"abstract":"Abstract\u0000 Considering the small scale of creative tourism, the limited resources in any specific case, and the high engagement level of stakeholders, a self-assessment exercise (i.e. carried out by the organizers/promoters of creative tourism activities) is most appropriate in order to monitor activities and results. Thus, within the CREATOUR ® project, a self-assessment process for creative tourism initiatives was developed, beginning with an initial diagnosis and proceeding to an assessment of outcomes and impacts. The process and tools were co-developed between researchers and practitioners to help various types of creative tourism organizers to measure, monitor, and evaluate the course of their activities in order to improve management and decisionmaking processes. The main objective was to assist practitioners and stakeholder organizations to become more aware of the intentional and unintentional effects generated by creative tourism activities, highlighting the potential benefits of artistic, cultural, and creative experiences for territorial development. This article is divided into three parts: part I outlines the development of the self-assessment process and tools; part II presents a synthesis of overall findings from the CREATOUR ® project resulting from this self-assessment process; and part III lists take-aways for practitioners.","PeriodicalId":342652,"journal":{"name":"Creative tourism: activating cultural resources and engaging creative travellers","volume":"36 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":"123586906","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: 10.1079/9781789243536.0011
Sara Albino, C. Alcobia
Abstract The artists in residency (AiR) programme attached to this project has been developed according to its mission of enabling a transient community for the FabLab while raising the profile of the place through creative interventions and communityled activities. Buinho's motto has emerged to be 'serious play', as the Buinho's AiR programme has been much inspired by Michael Resnik's idea of a 'lifelong kindergarten' (Resnik, 2018). Buinho acts as an enabling arena for both artistic research and technological experimentation. Creative practices are unleashed from formal methodological restraints through a programme that privileges an experimental approach.
{"title":"I need you, but I don't want you: the ambiguity of artistic residencies and tourism.","authors":"Sara Albino, C. Alcobia","doi":"10.1079/9781789243536.0011","DOIUrl":"https://doi.org/10.1079/9781789243536.0011","url":null,"abstract":"Abstract\u0000 The artists in residency (AiR) programme attached to this project has been developed according to its mission of enabling a transient community for the FabLab while raising the profile of the place through creative interventions and communityled activities. Buinho's motto has emerged to be 'serious play', as the Buinho's AiR programme has been much inspired by Michael Resnik's idea of a 'lifelong kindergarten' (Resnik, 2018). Buinho acts as an enabling arena for both artistic research and technological experimentation. Creative practices are unleashed from formal methodological restraints through a programme that privileges an experimental approach.","PeriodicalId":342652,"journal":{"name":"Creative tourism: activating cultural resources and engaging creative travellers","volume":"18 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":"133582522","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: 10.1079/9781789243536.0026
F. Almeida
Abstract The concept of creative tourism, which is increasingly established in the world tourism scene, is inspired by the sharing of production modes, projecting the visitor to the role of active participant. It focuses on an element that allows local residents and visitors to share space, time, and knowledge for co-creating products or, more than that, for enabling interpersonal experiences. Today we can share time with an artisan, appropriating his techniques, breaks, materials, impressions, and desires and redesigning the final product to our needs; we can learn traditional dances by temporarily integrating a folkloric ranch; we can fish and cook with a fishing community; or we can share a studio with visual artists to learn how to paint. Despite the multiple languages from which we expand our potential for expression the feeling of belonging to a group, community, context, or a more global society emerges in us. Within this sense of collective identity, of which we are a part and contribute to its co-creation, we review and renew our own desire and individual identities.
{"title":"Youth, ways of production, and community.","authors":"F. Almeida","doi":"10.1079/9781789243536.0026","DOIUrl":"https://doi.org/10.1079/9781789243536.0026","url":null,"abstract":"Abstract\u0000 The concept of creative tourism, which is increasingly established in the world tourism scene, is inspired by the sharing of production modes, projecting the visitor to the role of active participant. It focuses on an element that allows local residents and visitors to share space, time, and knowledge for co-creating products or, more than that, for enabling interpersonal experiences. Today we can share time with an artisan, appropriating his techniques, breaks, materials, impressions, and desires and redesigning the final product to our needs; we can learn traditional dances by temporarily integrating a folkloric ranch; we can fish and cook with a fishing community; or we can share a studio with visual artists to learn how to paint. Despite the multiple languages from which we expand our potential for expression the feeling of belonging to a group, community, context, or a more global society emerges in us. Within this sense of collective identity, of which we are a part and contribute to its co-creation, we review and renew our own desire and individual identities.","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":"129074125","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: 10.1079/9781789243536.0018
B. T. Knudsen, Jan Ifversen
Abstract This study aims to provide interventions co-creating tourist destinations in Denmark. The first goal of the study was to reconceptualize the attractive force of places. Instead of simply conceiving places as passively waiting to be visited, the researchers wanted to highlight their force of attraction. Since the municipality brands itself as 'the realm of nature', we set out to investigate how 'nature', always man-made to some extent, could be viewed as a force of its own. The second goal was to step away from the conventional understanding of tourists as simply consumers of places and treat them not as strangers and guests to the places, but as potential hosts and designers of place experiences. Furthermore, the researchers reversed traditional identity mechanisms by treating those tourists who returned year after year as part-time locals (GravariBarbas and Guinand, 2017). Creative, playful, and reflexive engagement with places is certainly present in the two interventions that take nature in general and wind in particular as natural rough resources that are important drivers of the experience economy of the west coast of the spectacle of the wind-installation.
{"title":"Co-creating subtle attractions.","authors":"B. T. Knudsen, Jan Ifversen","doi":"10.1079/9781789243536.0018","DOIUrl":"https://doi.org/10.1079/9781789243536.0018","url":null,"abstract":"Abstract\u0000 This study aims to provide interventions co-creating tourist destinations in Denmark. The first goal of the study was to reconceptualize the attractive force of places. Instead of simply conceiving places as passively waiting to be visited, the researchers wanted to highlight their force of attraction. Since the municipality brands itself as 'the realm of nature', we set out to investigate how 'nature', always man-made to some extent, could be viewed as a force of its own. The second goal was to step away from the conventional understanding of tourists as simply consumers of places and treat them not as strangers and guests to the places, but as potential hosts and designers of place experiences. Furthermore, the researchers reversed traditional identity mechanisms by treating those tourists who returned year after year as part-time locals (GravariBarbas and Guinand, 2017). Creative, playful, and reflexive engagement with places is certainly present in the two interventions that take nature in general and wind in particular as natural rough resources that are important drivers of the experience economy of the west coast of the spectacle of the wind-installation.","PeriodicalId":342652,"journal":{"name":"Creative tourism: activating cultural resources and engaging creative travellers","volume":"19 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":"114402577","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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