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In the seemingly perpetual battle among cities to secure economic growth, one strategy has gained increasing credence of late: luring the Creative Class. The argument, promulgated by Professor of Economic Development Richard Florida (2002a, pp. 4–5), suggests that human creativity is now the “decisive source of competitive advantage” and cities can thrive by tapping and harnessing such creativity. The primary ingredients in this sweeping recipe for urban success are a group of young, mobile, diverse, ‘creative’ professionals, who constitute a social class of their own, according to Florida's popular book, The Rise of the Creative Class (2002). This Creative Class – if cities can attract and retain it – operates as its own economic machine, producing jobs, enhancing productivity, and increasing the overall well being of the city, Florida argues. From an urban economic development perspective, the role of the city is to create the conditions in which this Creative Class and associated industries can flourish.

Since Richard Florida’s book The Rise of the Creative Class published in 2000, our attention has been drawn towards a peculiar characteristic of the cities where such a creative class thrives, and that is tolerance. We intend to explore in this paper whether one can use Hofstede’s “Uncertainty Avoidance” dimension to ponder if societies that are “Uncertainty avoidant” can provide a nurturing soil for a creative class to emerge within their bosom. To discuss this question, we examine the case of the Province of Québec (Canada) and most specifically, that of the city of Montréal, a city that has been dubbed by many observers as a creative city. In other words, our question is can a creative class thrive in a city that is located in an “Uncertainty avoidant” cultural and political unit?

This chapter provides the results of the motivations and the profile of the creative tourist. Results originate from the major studies done worldwide, concerned with the different types of activities. This analysis is essential to design new products based on Creative Tourism and sustainability. Also, because at an international level, including South Europe, the profile of the creative tourist has not been characterised, especially the one that visits medium-sized cities and rural areas. This chapter intends to answer the following questions: Who is the participant in Creative Tourism activities? Is he/she mainly domestic or an international tourist? Why does this type of tourist participate in these creative experiences? What type of information sources do these tourists use to find the experiences in which he/she participates? This chapter uses primary and secondary data. The secondary data follow a content analysis approach of activities offered by Airbnb Experiences Platform. Regarding the primary data, 595 questionnaires applied in 45 creative experiences in the Northern region of mainland Portugal were analysed. The creative experiences were divided into seven categories: ‘creative festivals’, ‘nature and creativity’, ‘photography workshop’, ‘gastronomy experience’, ‘industrial experience’, ‘technology and creativity’ and ‘art and crafts’. The methods used were quantitative in nature. The questionnaire used consisted of 31 closed questions aimed at the profile and the motivations of the creative experience participants. Descriptive statistical analysis was used. The main results showed that participants in the seven categories of Creative Tourism experiences have relatively large differences in terms of demographic and socio-economic characteristics. These differences were also evident in their motivations for participating in Creative Tourism experiences.

In the contemporary period of an abundance and diversity of offers in cultural tourism globally, the need for new values, such as creativity, has become unavoidable. As well as creativity being the essence of every cultural practice, it is also becoming a tool with which to link and modernize cultural treasures for tourist consumption today. Its inclusion is also useful in territorial plans, whose strategic role is a driving force for local economies. Creativity can support particularly those sectors that have rich foundations but that suffer from general underdevelopment. Cultural tourism in the town of Golubac and its surroundings in eastern Serbia is a prime example. Although Golubac is situated on the Danube and has one of the best preserved old fortresses in the region, it has not been identified as an important site of cultural tourism. The aim of this chapter is to describe recent efforts to facilitate this branch of tourism through the application of creative tools in local planning documents by means of a multi-criteria analysis of crucial territorial plans for Golubac. In establishing these criteria, the theoretical knowledge that links creativity, cultural tourism and territorial planning will be studied. Implementation of this interlinked knowledge in the analysis will provide the backbone to a proposal for improvements in territorial planning which can profoundly facilitate creativity in cultural tourism globally.