| Summary: | First developed in 2000 by Richards and Raymond (2000), the
concept of creative tourism is now relatively stabilised and broadly
used in research on cultural tourism’s emergent modalities
(Gonçalves, 2008). According to its initial conceptualisation,
creative tourism implies tourists’ active participation in learning
experiences that stimulate the development of their ‘creative
potential’. The concept’s growing use is related to two significant
contemporary societal trends. The first is a shift from ‘mass
cultural tourism’ to an increased interest in authentic ‘everyday
life’ in destinations (Guerreiro & Marques, 2017). The second
trend is cultural changes that have been designated as ‘the
creative turn’ (e.g. an insistence on the ‘rhetoric of creativity’).
Cities must be creative in order to attract not only tourists but also
‘creative industries’ (Tavares, 2014, 2015) and ‘creative classes’
(Cruz, 2016; Florida, 2003). Tourism destinations and experiences
and tourists themselves must be in some way ‘creative’, that is, be
immersive, interactive and meaningful.
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