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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 aims to share practical experiences in creative tourism management, in order to propose some basic guidelines for DMOs and DMCs interested in designing activities that cater to this new demand. Specifically, our intention is to analyze and highlight the basic criteria that most weighs to fit such a singular demand.

As practitioners, most of the examples, observations, and analyses are based on our daily management of the Creative Tourism Network® (CTN) and the solutions found by our members in the development of their creative tourism programs all over the world. These observations rely also on surveys and literature references.

(i) The emergence of the experiential tourism in general, and the creative one in particular, is only the visible part of the paradigm shift that is affecting the tourist industry, leading to the appearance of new opportunities and challenges. (ii) Amidst such a new and versatile context, it’s important to analyze the factors that contribute to the experience achievement, in order to adapt them and guarantee the best practices. (iii) This enables to list down some guidelines and practical advises for managers to cater this new demand.

This chapter is written simultaneously with the paradigm shift and thus limits the distance we can have on its evolution as well as on the study’s completeness. It thus just pretends to provide a provisional balance of the current situation, contrasted with literature reviews.

The emergence of creative tourism implies a completely new form of management for both cultural and tourist fields that leads to the creation of specific skills and general guidelines to be adapted for different contexts.

The study, based on examples proposed by the CTN, offers a transversal overview of creative tourism, a sector that has not been deeply analyzed yet given its increasing growth. It is thus a novel approach, close to the practitioners’ daily challenges.

The purpose of this paper is to present the geocaching online survey – the implications of geocaching to social interaction and tourism as useful for making small segments such as adventure tourists (geocachers) active participants in the development process of creative tourism experience in adventure tourist destinations.

The case study approach presented is an empirical inquiry that investigates a contemporary problem within its real‐time context. The main goal of this case study was to gain detailed understanding of the current and future geocacher's positive and memorable experiences in the creative tourism context. This case study was gathered by internet survey for geocachers in October 2009, and is based on 52 responses. The study was approved by the Unit of Human‐Centred Technology, Tampere University of Technology. Geocaching players were told that their responses would be kept confidential. Secondary material is based on geocaching stories in magazines all over the world, linked to Geocaching.com, that are used here to expand the description of creative tourism products and of how geocaching is used in tourism or to design new applications around the game.

The main contributions of this study are the increased knowledge of creative tourism, especially geocacher's needs regarding sharing positive and memorable geocaching experiences, and the new creative tourism services and events by creating geocachers.

The paper's findings are used to discuss broader implications for location‐based creative tourism experiences and present guidelines based on results of case study.

The paper discusses how geocachers created a new format in adventure tourism and in the wellness tourism business.

The purpose of this study is to investigate the relationships between tourists’ motivation, experience, perceived value and revisit intentions to creative tourism destinations. The ever-growing concept of creativity has been introduced into the tourism field. Creative tourism has been viewed as a strategy to regenerate destinations physically, culturally and socially. To develop tourism products and provide services that integrate the concept of creativity to satisfy tourists’ needs by developing a more active and long-lasting form of experience, this study aims to examine tourist consumption psychology in the context of creative tourism destinations. Past studies have identified motivation, perceived value and experience as three major antecedents affecting tourists’ revisit intentions.

The empirical study was carried out in three popular creative tourism spots, Meinong, Shuili and Yingge, located, respectively, in the north, middle and south Taiwan. These creative tourism sites provide pottery, crafts, arts, workshops and other creative activities that integrate authentic local culture to engage tourists with fulfilling and meaningful experiences. The on-site survey was conducted on both weekdays and weekends during March 2012. Self-administrated questionnaires were distributed to participants who were systematically selected at the main gate of the study areas. In total, 417 questionnaires were collected.

The results indicated that on-site tourism experience was the most influential antecedent of revisit intention to creative tourism sites in terms of the magnitude of the standardized coefficient. The unique variances of motivation factors and perceived value were too small to be statistically significant to explain revisit intentions. The present study contributes to the ever-increasing tendency for creative industries in Taiwan to develop creative tourism products and services that encompass authentic local culture and art in enhancing tourist experience.

For business operators, this study suggests that if owners of creative destinations would like to attract repeat tourists, the tourists’ experiences are surely critical in developing service blueprints to meet the needs and wants of customers; they should pay more attention to understanding what tourists experience when they visit creative tourism attractions.

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.

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.

This study aims to establish a relationship between creative tourism and experiences in the traditional handicrafts of Barcelos (Portugal). Based on a qualitative approach, it also aims at analyzing the failures and absences from the tourist market by creating new proposals and responses to the demand. The conceptual framework of this study develops three proposals: first, to present new concepts and opportunities for the tourism market; second, to establish a direct relationship between the local traditional handicrafts, creative tourism and experiences; and finally, to promote traditions that add value to the local development.

This study uses an ethnographic case analysis research design to investigate the propositions (ten in-depth interviews with technicians and artisans in Barcelos, Portugal). The key constructs are drawn from empirical research among handicraftsmen in which data analysis was carried out based on a qualitative analysis.

The results suggest the experience, knowledge and importance of learning this dynamic in an entrepreneurship tourism perspective. Creative tourism and experiences are growing and strengthening the territories and consumer satisfaction in specific artisan, cultural and tourism entrepreneurship contexts.

This study fills a large gap in the territorial market, associating the knowledge of new concepts with the success of the tourism entrepreneurship. The findings provide solutions for helping handicraftsmen to improve their decision-making logic and increase the speed of market growth. There has been an increased emphasis on local and handmade goods that are linked to the culture and tourism of specific destinations.

Tourism managers and artisan entrepreneurs can use the outcome of this study to gain in-depth understanding of customer experiences (i.e. consumers of local handicrafts) and develop effective marketing strategies and further stage the operational environment that can maximize customers’ perceived experiential value.

This study aims to analyze the drivers of a creative food tourism experience (CFTE) and its effect on the tourists' perceived authenticity and satisfaction. Specifically, this study captures the importance to explain a CFTE of two sets of stimuli: internal stimuli, including push motivations for food travel (i.e. emotional, cultural and social) and the tourist self-congruity (i.e. actual and ideal) with the chosen food establishment; and external stimuli, referred to the pull motivation exerted by restaurant innovativeness.

Data are obtained through a questionnaire completed by 407 food tourists who have traveled to visit a creative restaurant. The research model is tested using structural equation modeling (PLS-SEM).

Results confirm the relevance of emotional and social motivations to enjoy a CFTE and the need to align the target tourists' self-concept and restaurant positioning. The most vital driver of the CFTE is the restaurant innovativeness, which suggests that entrepreneurship in gastronomy is critical to boosting food tourism.

This study expands the understanding of the role of food tourism motivations and self-congruity in the tourist experience and underlines the relevance of the restaurant's production process to create authentic and compelling experiences that improve the tourists' satisfaction. Moderation analysis considering the tourists' previous experience reveals that cultural motivations only exert a positive effect on the CFTE for first-time travelers. However, self-congruity is the strongest predictor of a CFTE for repeat travelers.