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Art hotels are increasingly providing an opportunity for creative artists to exhibit their artworks and collections within their premises. This research investigates how some hotels are transforming themselves into important cultural tourism centers. Specifically, its objectives are: (i) to better understand the extent to which travelers are aware about the existence of art hotels and to evaluate their level of interest in art-oriented initiatives; (ii) to determine which attributes and features of art hotels are appreciated by travelers; and (iii) to identify the type of travelers who are willing to stay in art hotels. The findings from a descriptive survey suggest that the incorporation of art into the hospitality industry can attract a diverse customer base and could result in a sustainable competitive advantage for hotels. This study identifies four types of travelers including: Art-Infused Travelers, Art-Seeking Travelers, Art-Indifferent Travelers, and Art-Blind Travelers. These prospective tourists were categorized according to their level of awareness and interest in art hotels and art-related experiences. In conclusion, this contribution implies that artification processes within the hospitality industry can add value to the cultural tourism market. Hence, it also advances future research avenues to academia.

Contemporary art organizations play a key role in driving cultural tourism, offering visitors memorable experiences. Among the segments of visitors, young adults represent a key target because they are the most interested customers in contemporary arts and they represent 23% of the international travelers. Despite their relevance, little is known about their customer experiences in contemporary arts, and the resulting arts engagement. Although their contemporary arts experiences are expected to generate great benefits in terms of social, ethical, and economical values for the entire society, the relationship between young adults and contemporary arts is typically difficult to understand and, consequently, to facilitate. To address this issue, we run a complex qualitative research project. Distinguishing young adults between those who are familiar with contemporary arts and those who are not, we conduct four research projects by applying two qualitative techniques: the in-depth interview and the Zaltman Metaphor Elicitation Technique (Z-Met). Further, we extend the in-depth interviews to the contemporary arts experts. In total, 70 consumers and 10 experts participate in the research project providing cognitive and emotional insights by exploring barriers and benefits of consumption in contemporary arts. Our findings show that arts engagement is the key concept, linked to three levels of consumer reactions – cognitive, emotional, and social responses – and that it is caused by three antecedents, namely – involvement, sharing, and comprehension. Implications for the actors in the world of contemporary arts and cultural tourism are discussed to obtain higher levels of arts engagement among young adults, and, consequently, their attractiveness.

Previous work has conceptually explored the value of the humanities for tourism education and has considered the pressures that likely serve as barriers to its greater inclusion in curricula. This chapter moves the debate from the conceptual level to the ground, reporting the results of a survey of tourism educators with regard to the role of the humanities in the programs in which they teach. The study explores the prevalence of the humanities as primary and supporting course content at the undergraduate and graduate levels, sheds light on barriers faculty members identify for incorporating more humanities content into their curricula, and offers examples of creative ways some educators are currently engaging with such content.

This chapter looks at how sensitivity to event design and the creative process for an arts event also can have an impact on its ongoing management and tourist experience, by applying a new assessment tool, sustainable creative advantage (SCA), to gauge its performance.

A case study approach was used to assess SCA for the Sculpture by Sea, Bondi, Sydney 2015, in order to discuss how its management enables satisfying arts leisure experiences. Two key activities in the research were (1) in-depth interviews with organizers, full and volunteer staff, artists, gallery owners, and participants and (2) participant observation of touristic performances and other forms of engagement with the sculptures.

In its 19th edition, the event could still be considered a fresh and inspiring experience for tourists. However, crowding on weekends can affect the experience for all participants. Tactile tours are a unique feature of the event and could be promoted more to tourists, particularly the disabled.

Applying SCA needs careful timing, in order to collect information when interviewees are available and the event itself is running. Approaches should be made to organizers before, during, and after the event for information.

Event organizers could use SCA to understand more about controlling tourist experiences and how creative management and marketing of an event can have an impact on overall participant satisfaction.

Could also offer insights to academics studying glocality and events, the relationship of curatorial power to content/experience, or how such events can add to the study of leisurescapes in cultural tourism.

Towns and cities across Canada face rapidly changing economic circumstances and many are turning to a variety of strategies, including tourism, to provide stability in their communities. Community Economic Development (CED) has become an accepted form of economic development, with recognition that such planning benefits from a more holistic approach and community participation. However, much of why particular strategies are chosen, what process the community undertakes to implement those choices and how success is measured is not fully understood. Furthermore, CED lacks a developed theoretical basis from which to examine these questions. By investigating communities that have chosen to develop their tourism potential through the use of murals, these various themes can be explored. There are three purposes to this research: (1) to acquire an understanding of the “how” and the “why” behind the adoption and diffusion of mural-based tourism as a CED strategy in rural communities; (2) to contribute to the emerging theory of CED by linking together theories of rural geography, rural change and sustainability, and rural tourism; and (3) to contribute to the development of a framework for evaluating the potential and success of tourism development within a CED process.

Two levels of data collection and analysis were employed in this research. Initially, a survey of Canadian provincial tourism guides was conducted to determine the number of communities in Canada that market themselves as having a mural-based tourism attraction (N=32). A survey was sent to these communities, resulting in 31 responses suitable for descriptive statistical analysis, using Statistical Package for the Social Sciences (SPSS). A case study analysis of the 6 Saskatchewan communities was conducted through in-depth, in person interviews with 40 participants. These interviews were subsequently analyzed utilizing a combined Grounded Theory (GT) and Content Analysis approach.

The surveys indicated that mural development spread within a relatively short time period across Canada from Chemainus, British Columbia. Although tourism is often the reason behind mural development, increasing community spirit and beautification were also cited. This research demonstrates that the reasons this choice is made and the successful outcome of that choice is often dependent upon factors related to community size, proximity to larger populations and the economic (re)stability of existing industry. Analysis also determined that theories of institutional thickness, governance, embeddedness and conceptualizations of leadership provide a body of literature that offers an opportunity to theorize the process and outcomes of CED in rural places while at the same time aiding our understanding of the relationship between tourism and its possible contribution to rural sustainability within a Canadian context. Finally, this research revealed that both the CED process undertaken and the measurement of success are dependent upon the desired outcomes of mural development. Furthermore, particular attributes of rural places play a critical role in how CED is understood, defined and carried out, and how successes, both tangible and intangible, are measured.

This chapter investigates the current trend toward both creative and experiential tourism in cities in terms of the development and marketing of local attractions.

Creative tourism in cities is profiled through a literature review and further investigated by means of a case study at a local attraction in Toronto, Canada. The choice of a site was one of a creative city and the re-purposing of a formerly industrial site for visitation.

The study of Evergreens Brickworks demonstrated the use of marketing techniques to identify markets and match visitors with experiences. The visitor segmentation method determined that pre-scheduled and bookable activities offered for locals need to be offered on a different basis for tourists, who may be one time visitors to the site. The product-market match process suggested areas in which products could be modified or indeed created.

This practical study offers lessons for other local visitor attractions and their managers desiring to identify market segments and match them with appropriate activities creating experiential tourism at the site level within the creative city context.

While many studies of the creative tourism concept and cities have been undertaken within the context of destinations this research offers a site-specific perspective as well as marketing perspective that will be of practical value to attraction managers.

Recent political and socioeconomic events are providing Iran with the opportunity to become a high-profile destination. The question arises as to which strategic objectives can lead Iran to this end. Qualitative and quantitative improvements of hotel supply and the modernization of air transport should be the key objectives within this process. But the preservation of tangible and intangible cultural heritage, as well as the maintenance of authenticity, must remain the core principle. This chapter focuses on the role of cultural heritage management policies and what their tourism development implies for the host population, which will be the beneficiary of sustainable and responsible tourism development.

This study attempts to identify and explicate the unique segmentation of the increasingly growing virtual reality (VR) user market based on the user experience. Consequently, it collects five hundred forty-five online survey questionnaires through the Prolific platform and deploys cluster analysis to identify mutually exclusive groups of VR users. The research variable, user experience, contains 16 indicators explained by four dimensions. As a result, this study is able to unveil three mutually exclusive markets which are labeled as (1) beginner, (2) aficionado, and (3) utilitarian. The unique features of these three groups are further compared based on their VR tour behaviors. In the conclusion section, it offers managerial implications for devising novel marketing strategies.