Search results

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.

This chapter explores the role of Creative Tourism in territorial development, highlighting the differences between urban and rural territories. The dynamics of creative development and tourism must be assumed as an advantage for rural territories in times of exhaustion of the growth model of large cities, climate change and COVID-19 disease. This is a new scenario that these territories must profit from, as they continue to face challenges to capture investment, tourists and to offer sustainable models. Urban studies of creative industries and initiatives have been taking place in big cities for several decades now, marginalising small cities and, more specifically, rural areas. Some examples at an international level are highlighted in this chapter, with Southern Europe specifically in focus. Therefore, Creative Tourism appears as a key development option for distinct reasons and aims. First, it answers to the need for tourism to reinvent itself as well as to the need for destinations to do something different in a saturated market. It can also meet the desire of tourists for more fulfilling and meaningful experiences. However, which role can each type of territory play in the present, and how can these territories reach development through Creative Tourism?

Prosumers’ creative performance in a co-creation activity is greatly affected by the disclosure of activity information. Extant research has separately examined the impact of participant numbers and the impact of platform transparency, but there is a lack of research on the interaction between the two. However, testing the joint effect of the two sources of information can provide a more comprehensive understanding of individuals’ co-creation behaviour. This paper aims to fill the gap and further reveal the psychological mechanism behind the behaviour.

Three experimental studies were conducted to test the hypotheses.

The results show that a large number of participants will stimulate and inhibit creative performances on untransparent and transparent co-creation platforms, respectively. Moreover, this study found that the effect of the number of participants on creative performance is mediated by arousal on untransparent platforms and by the constraint on idea expression on transparent platforms.

This study advances knowledge of how the number of participants in an activity and platform transparency jointly influence prosumers’ creative performance and the corresponding mechanism. However, the main limitation of the study is that the findings are from scenario-based experiments.

This study provides a more comprehensive understanding of prosumers’ creative performance under the influence of the number of activity participants and platform transparency. The findings can help co-creation sponsoring companies and co-creation platforms improve activity performance by designing better information disclosure strategies, thereby enhancing platform value.

The findings enrich the literature on platform ecosystem and co-creation by integrating previously separate knowledge on the effects of participant numbers and platform transparency. In addition, the findings deepen the overall understanding of prosumers’ behaviour.

The purpose of this paper is to reflect on the stages in the development of creative activity considering the distinctive features of all stages and the modes of dynamics of the development of a creative person.

The paper analyses scientific investigations and pedagogical experiences in order to develop the model for the formation of creative activity of artists‐visual art teachers in the context of sustainable development.

The investigations of scientific literature on pedagogy, psychology, philosophy, as well as the analysis of pedagogical practice allow us to recognize that the formation of creative activity is comprised of several stages. These stages are closely connected with a creative process and depend on a person's artistic talents and abilities.

The development of creative activity is a very complicated process that takes place over whole period of life and depends on social, material and mental factors. Each personality goes through this process in an individual pace and manner. Further, investigations will be carried into a more profound analysis of the suggested system, the determinations of its development dynamics in connection with all mentioned above components in the context of sustainable development.

This paper is generalizing information of theoretical and empirical research.

When researching the role of microentrepreneurship in equitable and sustainable development, the question of how tourism microentrepreneurs forge relationships between place, community, and resources is significant. Two case studies from CREATOUR, a project investigating creative tourism, a novel type of cultural tourism that includes active participation in creative activities and connection to place, examines how these relationships are developed and implemented. Findings indicate that creative tourism microentrepreneurial activities in two small cities are being shaped by, and shaping, place in multifaceted ways. Creative tourism activities stimulate new perspectives on place, are designed synergistically with the “seasonal” fluctuations of the type of visitors, are embedded in personal networks of collaborators, and actively encourage alternative patterns of tourism consumption.

The purpose of this paper is to explore a formative intervention project that was developed for the Municipal Secretariat of Education in São Paulo, Brazil for the broad development of all levels of educational management (teacher educators, coordinators, principals, teachers and students). Thus, the creative chain of activities is a key theoretical framework for promoting critical collaboration in order to cross the boundaries of educational management organization.

The authors use data from the Management in Creative Chains Project (Liberali, 2012), as a way to enable the wide development of all levels of educational management. Data comprise formative meetings in which different educational managers system take part in two settings, the regional board with 25 schools and one of the participating schools. The analysis is based on thematic content and argumentative organization, and on critical situations and the potentials they entailed.

The study guides to the conclusions of the process of creative chain as a possibility to expand management in the educational system and its community.

Every time there is a change in the mayors, there are changes in the way of addressing school management in the city. However, after the project, considerations about the needs of the communities became part of the public policy regardless of who is in charge of the city and its educational system.

This study can be used for transformation in the management and teaching and learning activities and improvement of the school-community relation.

Socially this study can lead to improvement in the quality of life in the community and at school.

Differently from a top down educational management, which enables a reproductive chain, educational management in a creative chain, considering the community needs, enables subjects to become interdependent to expand and transform the activities in the educational system and hence the communities’ reality.

This chapter explores some examples of good and not-so-good practices implemented worldwide, especially in Southern Europe, in Creative Tourism activities developed by entrepreneurs. The case studies used in the present chapter are located either in urban territories, small cities or rural areas. The global market introduces some difficulties in achieving good practices, highlighting the need to improve solid partnerships. The support from private and public sectors to institutions and enterprises developing creative tourism activities is analysed. Administrative and economic difficulties are also considered, and some proposals for the future survival of institutions and enterprises. In a global market, the definition of clusters is playing an increasing role in the survival of local and regional economies. In the tourism market, where seasonality is also a significant problem with difficult resolution, creating clusters can also be a great tool to contradict this. However, the success of implementing clusters in the tourism market depends on strong leadership and in-depth monitoring of results planned to be achieved. The present chapter considers clustering in Creative Tourism and the difficulties of implementing it in South Europe. Cultural and organisational issues are highlighted, as well as the need to construct thematic clusters that feature the needs of tourists.

Although there are not data to attest to the growth of various Creative Tourism experiences worldwide, the expectation of their increase is consistent with the strength of the nowadays markets and the strategies and changes needed to sustain this growth at the twenty-first century. So, it will be relevant to follow the new trends, changes and challenges that will shape the future path of Creative Tourism. In the context of the European Union, economic prosperity and well-being should respond to twin digital and green transitions that should prepare society to mitigate problems that arise from pandemic situations, such as the recent COVID-19. How do we follow new and future experiences, and how can institutions be positioned without jeopardising the massification of this segment? As with cultural tourism, this segment of creative initiatives can and should develop ways to avoid these possible mass derivations and adjust the preservation of its sustainability in the future. What strategy needs to be adapted so that future risks of vulgarisation will be avoided even within the possible new trends? What will be the role of the Southern European countries? This final chapter envisages promoting critical thinking about the role of Creative Tourism for local and regional development. The discussion focuses on how to prevent massification and how to respond to new challenges and saturated formulas and in accordance with the digital area of the twenty-first century. Also, it promotes some solutions based on short-term strategies to be outlined and on a TIN (Think, Integrate and Network) model, which can be replicated in many countries in Europe and in the rest of the world.

Higher education institutions (HEIs) frequently overlook the importance of encouraging creative thinking in students. A review of the prevailing practices in a fully online tertiary distance education (DE) institution revealed a lack of learning activities that foster creativity. The study aims to find out whether the creative collaborative group project is a feasible, effective and acceptable learning activity for fostering creativity in students of a fully online graduate-level DE course.

Seven groups of five to six graduate students each had five weeks to conceptualize, prepare and deliver a creative collaborative group project on lifelong learning using key concepts learned from the course.

All groups submitted well-crafted creative projects within the given time frame. Reflections on their experience positively correlated with known outcomes associated with creative skills. Students valued the experience and had a better understanding of the concepts. These support the feasibility, effectiveness and acceptability of the project for fostering creativity in a fully online DE institution.

The feasibility, effectiveness and acceptability may vary in different contexts; future iterations in the same and/or other courses are recommended.

The creative collaborative group project is a feasible, effective and acceptable strategy for fostering creativity in online distance education.

Creativity can be enhanced through appropriate online collaborative learning activities.

The study adds to the body of literature on the use of creative collaborative group projects to foster creativity in HEIs.

While the “creative turn” in everyday life has led to rapid development of creative tourism, not all forms of creative tourism use the same intensity of creative involvement. It is possible to distinguish between more passive and active involvement. In parallel, a “social turn” has led to popularity of forms of tourism, such as volunteer tourism, involving active participation. The purpose of this paper is to put forward ideas and present eclectic observations on active tourist participation around both the creative and social turns. Hence, it should be treated as a springboard and testing ground for these ideas and observations.

This study is based on theoretical conceptualisation with empirically derived supporting examples.

A new descriptor, “participatory experience tourism”, is advanced and argued to be preferable to reframing “creative tourism” to capture varied forms of experience involving active tourist participation. “Participatory experience tourism” is put forward as an extension of creative tourism and as an umbrella construct is further expanded upon to include notions of value addition.

Structured empirical substantiation of the conceptual ideas in this paper is a future research need.

The paper provides an original theoretical construct to better account for forms of active tourist participation that have emerged from the creative and social turns that characterise contemporary society, and also heightens awareness of a key link in the experience value addition chain.