Creative tourism: Development, trends and opportunities

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1 Creative tourism: Development, trends and opportunities Greg Richards Barcelona December 2010

2 he growing importance of creativity in the network economy rowing competition in the globalising economy eed for competitive edge, disitnction terventions: Creative Industries Creative Cities Creative Class onvergence in place cultural/creative/leisure clusters

3 Role of leisure and tourism Creative industries Creative spaces Intercultural dialogue

4 ichards and Raymond (2000) Definition of Creative Tourism: tourism which offers visitors the opportunity to develop heir creative potential through active participation n learning experiences which are characteristic f the holiday destination where they are undertaken. Arts and crafts Design Cookery, gastronomy and wine-making Health and healing Language Spirituality Nature and landscape Sports and pastimes

5 Differentiated The development of the experience economy Creative tourism Stage experiences Create transformations Coproduction Deliver services Cultural tourism Undifferentiated Extract commodities Make goods Mass tourism Product focus Market Pricing Premium

6 The combination of tourism and cultural experiences is becoming increasingly important Proportion of cultural tourists visiting cultural sites worldwide % ATLAS surveys

7 Cultural tourism: a major growth industry? Millions International cultural tourists (OECD)

8 Serial reproduction in cultural tourism? Iconic structures (e.g. the Guggenheim Bilbao) Megaevents (e.g. the World Expo) Thematization (e.g. Seoul Design City) Heritage mining (e.g. World Heritage Sties)

9 The search for distinction: Copying as cultural strategy?

10 The Vicious Circle scheme (Russo 2002) only central attractions are visited congestion increases; poor return of cultural system high share of excursionists; shorter visits only down-grading of quality of products expansion of tourist region

11

12 Changing modes of consumption Outer Directed Inner Directed Basic Needs (food, shelter) Unskilled Skilled

13 Changing Desires The alienation of postmodern existence produces the desire for authenticity - which is often linked to the everyday lives of others Skill and originality become sought-after markers of authenticity, creativity and status Sennett The Craftsman good craftsmen.... have the capacities to become better at, and more involved in, what they do - the abilities to localise, question and open up problems that can result, eventually, in good work.

14 Consumption Unskilled Production Services Skilled Experiences Creative Transformations Co-creation Creative tourism Time and Space

15 Shift from tangible to intangible tourism resources Built heritage Museums Monuments Beaches Mountains Image Identity Lifestyles Atmosphere Narratives Creativity Media

16 Consumption roduction Passive Active High culture Heritage tourism Arts tourism Popular culture Cultural tourism Creative tourism Everyday culture Crafts tourism Shift from culture to creativity

17 In the network society, production and consumption focus switches from resources to connections Industrial society Mass production Hardware Postindustrial society Mass customisation Software Network society Co-creation Orgware

18 Culture, tourism and the network society As cultural and other resources become less tangible, networks are increasingly necessary for the creation and distribution of products and experiences For example: The search for cool places rapidly shifting, emphemeral, controlled by critical infrastructure The growing importance of narrative - you need to have stories about the place and its people Transcultural and intercultural phenomena growth of new cultural forms outside the established circuits of mainstream culture The search for authenticity and the everyday increasingly linked to the idea of local as opposed to global an important role for the local resident

19

20 reativity is vital to the development of tourism in the etwork society because it: nks different actors, structures and networks ifts from bonding capital (culture as glue) towards bridging capital ulture as dialogue) cilitates interaction with increasingly diverse cultures evelops the visibility and attractiveness of intangible resources nks different elements of the value network ublic, private, voluntary, etc) reates atmosphere

21

22 Learning networks Creative Tourism New Zealand network of informal workshops

23 Creative Networks Barcelona Creative Tourism welcomes: Artistic or cultural initiatives that imply visitor s creative activity. Activities related to artistic learning. Individual or collective projects carried out in Barcelona in collaboration with local artists.

24

25 Joining Spaces and Events creatively Craft Itineraries - Portugal

26 Networks Finnish Craft Network

27 Tasting

28 Tasting design

29

30 Taste the culture

31 Tasting networks

32 The festivities are a creative and exuberant event for young and old alike. There is mething for everyone, but most of all there is an abundance of good old-fashioned fun, igh spirits, and a wide range of activities to choose from. These neighbors enjoy an open night of bingo under a sky of drifting clouds. Creative spaces in guidebooks Festes de Gràcia

33 Zinneke Parade Brussels

34 Events

35 Creative tourism for even for package tourists? Grecotel Agreco Farm, Crete an innovative display of environmentally friendly methods for traditional and modern cultivation and breeding. The overall objective is to give visitors a first hand experience of the traditional production methods of traditional Greek products

36 Increasing the prospects for creative tourism The destination itself needs to be creative Think about what is distinctive about a place Think about how these features can be linken into local, national and global networks Develop co-creation systems Develop links between tourism, culture and creativity Use creative tourism as a tool for re-thinking places

37 Being Yourself When I grow up I want to be New York. Or perhaps a mixture of London and Florence. Or maybe a bit o Amsterdam and a bit of Paris. No, no. That s it. The best of all is to be Barcelona. (Poster for the exhibition Barcelona(s): The futures of the city, organised by the City of Barcelona in 1999)

38 More information OECD Report on the Impact of Culture on Tourism (2009) Eventful Cities: Cultural Management and Urban Regeneration Greg Richards and Bob Palmer (2010)

39 Bedankt

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