Creative tourism special issue - foreword
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 par...
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University of the Algarve - ESGHT - CIEO
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doaj-a3c5d7a8d2814c6bbeae76c2725d8e472020-11-25T01:37:54ZengUniversity of the Algarve - ESGHT - CIEOTourism & Management Studies2182-84662019-01-0115SI56Creative tourism special issue - forewordJoão Filipe Marques0Alexandra Rodrigues Gonçalves 1Sónia Moreira Cabeça 2Mirian Tavares3CIEO | Centro de Investigação sobre Espaço e Organizações – Universidade do AlgarveCIEO | Centro de Investigação sobre Espaço e Organizações – Universidade do AlgarveCIEO | Centro de Investigação sobre Espaço e Organizações – Universidade do AlgarveCIAC | Centro de Investigação em Artes e Comunicação – Universidade do AlgarveFirst 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.https://www.tmstudies.net/index.php/ectms/article/view/1133/pdf_122 |
collection |
DOAJ |
language |
English |
format |
Article |
sources |
DOAJ |
author |
João Filipe Marques Alexandra Rodrigues Gonçalves Sónia Moreira Cabeça Mirian Tavares |
spellingShingle |
João Filipe Marques Alexandra Rodrigues Gonçalves Sónia Moreira Cabeça Mirian Tavares Creative tourism special issue - foreword Tourism & Management Studies |
author_facet |
João Filipe Marques Alexandra Rodrigues Gonçalves Sónia Moreira Cabeça Mirian Tavares |
author_sort |
João Filipe Marques |
title |
Creative tourism special issue - foreword |
title_short |
Creative tourism special issue - foreword |
title_full |
Creative tourism special issue - foreword |
title_fullStr |
Creative tourism special issue - foreword |
title_full_unstemmed |
Creative tourism special issue - foreword |
title_sort |
creative tourism special issue - foreword |
publisher |
University of the Algarve - ESGHT - CIEO |
series |
Tourism & Management Studies |
issn |
2182-8466 |
publishDate |
2019-01-01 |
description |
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. |
url |
https://www.tmstudies.net/index.php/ectms/article/view/1133/pdf_122 |
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