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Purpose: This chapter explores the strategic role of human resource development (HRD) as a function of talent management (TM) and discusses how HRD activities can help to facilitate more creative behaviours, in the international hospitality industry.

Approach: We focus on TM and HRD research exploring how these lenses are conceptually positioned given our current knowledge on creativity. We draw on the system-based approach to creativity and reconceptualise the creativity components by levels of flexibility/plasticity and outline how such approaches can help creative practice development.

Findings: We rationalise the existing conceptual approaches to creativity and propose a simplified model considering the developmental aspects of creativity. First, we theorise the TM/HRD strategies, such as training and development via learning, as a mechanism to connect TM/HRD to creativity in the organisational setting. We inform the current literature on whether and how creative processes emerge at work and affect creative flow in the bottom-top and top-bottom directions. Second, we advance the development of creativity theory by reconceptualising the established creativity components by degrees of flexibility/plasticity. Such re-conceptualisation allows for more nuanced examinations of organisational stimuli (i.e. training and development) on developmental conceptions of creativity.

Originality: This is the first piece of work that has investigated the fit between TM/HRD and creativity research. Our conceptual model illustrates that creativity can be promoted and developed at work by incorporating developmental initiatives such as TM/HRD.

Team creativity presents an interesting dilemma. On one hand, organizational teams are increasingly being asked to produce creative outcomes rapidly and within tight timelines. On the other hand, teams need sufficient time to explore different perspectives, play with ideas, and overcome the process losses that occur from working in interdependent groups. In this chapter, we address this dilemma by developing a model for understanding how teams can maximize the speed of the team creative process. We propose that teams' potential for rapid creativity is a function of aligning the team structure and standardization of the creative process with the team development cycle. When these three elements are aligned, teams are more likely to generate creative outcomes in a rapid manner.

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?

Despite a large volume of theoretical and empirical research, defining the ‘entrepreneur’ and ‘entrepreneurship’ within the cultural and creative sector, a sector with high heterogeneity in organisational and other aspects across its various segments remains challenging. In this regard, there should be a wide variety of differences in the characteristics and challenges of cultural entrepreneurs across industries, countries and regions. Nonetheless, the key role of the arts and cultural sector has increasingly piqued the interest of policymakers and the private sector, and it has been recognised for its importance within the South African economic landscape; as a result, the government has prioritised arts and culture as a pillar in their development strategies. Furthermore, while there has been some consensus over the past decade on what constitutes a creative industry, many questions about defining arts and cultural entrepreneurship still need to be answered, necessitating further definitional and policy coherence. As a result, some efforts at definitions are required to advance the sector and develop useful knowledge in policy formulation.

This chapter proposes an understanding of arts and cultural entrepreneurship as an exploration of a person, a community or a network's artistic resources (arts, creative and cultural) in value creation. It utilises meta-analysis, a non-empirical method, to review and analyse the existing literature. Further research is needed to investigate and evaluate the efficacy of established arts incubators, and the extent to which perceived entrepreneurial competencies affect organisational performance. Moreover, additional research is required to examine the entrepreneurial factors inhibiting or stimulating the influence on start-up financing (capital acquisition) in the South African arts and cultural industry.

This chapter pinpoints a chronological and thematic literature review on the concept of Creative Tourism. Even if the concept emerged 21 years ago, its definition keeps being discussed, and different approaches are available. Born in the late 1990s, it developed rapidly due to a very open, flexible and local context design, enabling the development of personal capacity, authentic experiences and involving local culture and communities. This new approach to tourism envisages bringing together local people, their habits and practices in real and everyday contexts to the heart of the tourism experience provided to visitors. Therefore, it looks to be a promising path towards sustainability. Keeping this in mind, one can wonder if Creative Tourism can be a lever for territories' economic, social, cultural and environmental sustainability. In particular, can Creative Tourism's growing importance in Southern Europe be considered a major contribution to the sustainability of those territories? The literature review concludes that most of the studies on Creative Tourism take positive impacts on territories as a kind of ‘belief’. Such an effect is not granted as a beneficial impact on a communities' well-being; it does not result just from the type of resources explored or from the participation of members of the community on the products/services supplied.

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.

Educators are increasingly required to develop creativity and entrepreneurial capabilities amongst students, yet within the fields of entrepreneurship and innovation these are presented as separate processes. We explore the theoretical and conceptual similarities and differences between these processes, and relate this to a range of experiential and digitally enhanced learning activities in formal education settings.

We present a conceptual model of the iterative nature of creativity and entrepreneurship as separate cognitive and social processes leading to aesthetic or sense-making outcomes. This leads to a discussion of how these processes may be experienced by students within an educational setting.

We propose a framework of learning activities which support the development of creativity through teaching entrepreneurially, at primary, secondary, and tertiary education levels. A range of different approaches is critically evaluated according to their relevance, including business planning, simulations, roleplay, co-creation, and flashmobs. Flashmobs are proposed to be most suitable and an outline learning activity design is mapped in detail against creative and entrepreneurial processes.

This chapter supports educational practice and research on learning through entrepreneurship in allowing educators and researchers to evaluate how learning activities may directly contribute to students’ learning through experience and the development of their creative and entrepreneurial mind-set.

This chapter is of value to educators as it explains how creative and entrepreneurial processes may be experienced by students through different forms of learning activity. It is of further value to research on entrepreneurial learning in considering how the creative process may inform entrepreneurial action.

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.

Geotechnologies have a long tradition in several areas of society and research. The recent development of the ‘Internet of Everything’ (IoE) and Geographic Information Systems (GIS) technologies opened several doors to the contribution of tourism. Emergent technologies contributions to tourism and planning such as web mapping, augmented reality (AR), crowdsourcing and crowdsensing are relatively recent, and there is a lack of research around their potential for Creative Tourism enhancement. For example, combining web mapping with AR or storytelling can be an excellent contribution to operators, planners and tourists. For research purposes, new opportunities are open, particularly by integrating community-shared data. It is well known for the popularity of social networks, the exponential growth of photo sharing, but few studies have been implemented to understand their contribution to research. This chapter focuses on emerging geotechnologies concerning cultural mapping, Creative Tourism and sustainability. Since it is a new growing niche, more research is needed to develop and understand the potential of new approaches. Besides traditional techniques such as quantitative (e.g. surveys) and qualitative ones (e.g. interviews, focus groups and world café), it revises the role of geotechnologies on Creative Tourism development and growing activities. Results from case studies from Europe are analysed.