Journeys of inspiration: Working artists’ reflections on tourism

2012

This paper provides an overview of the contributions to special issue of the Journal of Tourism Consumption and Practice entitled "Exploring Creative Tourism". Creative tourism has grown rapidly in the past decade, reflecting the growing desire of consumers to develop their own creative potential and to attach themselves to creative networks, as well as the need for creative producers, cities and regions to profile themselves in an increasingly crowded global market. The case studies in the special issue examine creative tourism in a range of different contexts and present a range of models of creative tourism development in fields such as music, art, heritage and crafts. Creative tourism can therefore be viewed as a form of networked tourism, which depends on the ability of producers and consumers to relate to each other and to generate value from their encounters.

This paper provides an overview of the contributions to special issue of the Journal of Tourism Consumption and Practice entitled „Exploring Creative Tourism‟. Creative tourism has grown rapidly in the past decade, reflecting the growing desire of consumers to develop their own creative potential and to attach themselves to creative networks, as well as the need for creative producers, cities and regions to profile themselves in an increasingly crowded global market. The case studies in the special issue examine creative tourism in a range of different contexts and present a range of models of creative tourism development in fields such as music, art, heritage and crafts. Creative tourism can therefore be viewed as a form of networked tourism, which depends on the ability of producers and consumers to relate to each other and to generate value from their encounters. Keywords: creativity, creative tourism, cultural tourism, creative experiences, network society

Dos Algarves: Tourism, Hospitality and Management Journal, 2023

The scope of this theoretical study is centred on the analysis of artistic practices developed during travel, focusing on the construction of the relationship between art and travel from the 16th century to the present. In order to do this, a historical perspective focuses on the journey to Italy, the obligatory destination for travellers in the modern era. From the nineteenth century onwards, contemporary artists sought to observe how travel became an artistic discourse. The term 'artourist' is introduced as a description of the artist who is a traveller and a developer of artistic projects. The research followed the methodology of virtual curatorship, which subjectivises and expands a reflective body of works of art and tourism. This article promotes the argument that tourism, despite the veiled pejorative connotation of academic profiles of the visual arts, can be an essential mechanism for artistic creation and imagination. In defence of free-thinking, this article presents an expanded reflection, pointing to theories and cases that reveal the contributions of the relationship between art and tourism as two complex systems through its protagonist: the travelling artist.

Creative Tourism: Activating Cultural Resources and Engaging Creative Travellers, 2021

Creative tourism is part of a number of general trends towards more creative, relational, and locally focused styles of travel. For example, the 'live like a local' trend encourages travellers to reject the 'role' of tourist and to integrate into everyday life and culture at the destination, reciprocated by local recognition of 'temporary residents' (Richards and Marques, 2018). This chapter reviews the development of the creative tourism concept, and considers potential future trajectories.

Mondes du tourisme

Le secteur culturel est, de plus en plus souvent, appréhendé par les gouvernements comme un vecteur de croissance (touristique), notamment dans les sous-régions périphériques comme la Tasmanie où les industries dominantes de jadis ont disparu. Ce secteur peut être une source de créativité locale, d'intégration sociale et d'attractivité touristique. Dans certains cas, la création d'une entité culturelle iconique sert ce même but, avec un faible investissement public. C'est le cas notamment du Museum of Old and New Art (MONA), musée entièrement privé situé dans l'État de Tasmanie (Australie) qui a ouvert en 2011. Cet article analyse la relation entre le MONA (via son expérience de tourisme créatif) et le gouvernement de Tasmanie. Une attention particulière est portée à la façon dont les différents acteurs utilisent le concept d'expérience créative afin d'attirer des touristes aux différents événements et expositions. Le cas du MONA montre que le concept de tourisme créatif est plus complexe que la seule prise en compte d'une approche "créative". Il montre, en outre, que l'utilisation d'expériences de tourisme créatif dans les stratégies de marque des destinations doit, pour réussir, être partagée par l'ensemble des parties prenantes. Il ouvre ainsi la discussion sur les relations entre les différentes parties prenantes dans le secteur du tourisme créatif.

2013

This book opens up a new field of discussion at the crossroads between contemporary art and critical tourism. As common ground for theoretical inquiry and artistic research, the notion of critical tourism asks us to question again our understanding of authenticity, the tourist gaze, the museification of landscape, the visual construction of place, post-romanticism, contemporary exoticism, site-specificity and global connectedness. The book specifically explores the role of the artist, and of the art institution, in the age of destination culture. How are individual and institutional practices changing in an era of hosting, hospitality, displacing and cultural nomadism? Based on the comparison between two very different but nonetheless similar landscapes—the Swiss Alps and the Baltic Dunes and Beaches—art historians, environmental historians, geographers, explorers, curators and artists address the relatively new field of critical tourism in a transdisciplinary context. Together they con sider how to critically approach and understand seductive and remote landscapes, against the backdrop of global cultural tourism. The book is not only a critical account of discussions around the topics but it is also rich in visual materials, documents and descriptions of artistic interventions in these two touristic settings. This publication is the result of over a year of exchanges between ECAV—Ecole Cantonale d’Art du Valais in Sierre (Switzerland) and Nida Art Colony (NAC), which belongs to the Vilnius Academy of Arts (Lithuania).The book reviews the concepts, residencies, exhibitions, workshops and the symposium that formed this exchange between 2012 to 2013, in the context of the research and residency programme “On Hosting and Displacing: Artistic Residencies and Cultural Production in Remote Contexts”.

In the past forty years the relationship between culture, economy and society has changed beyond recognition. Culture has grown beyond its original socialisation role to become the oil of the new economy and a vital reservoir of symbolic resources that feeds tourism production and consumption. Heritage has emerged as a force for urban and rural renewal and preservation, become a global industry in its own right. More recently the growth of the creative economy has been marked by the increasing intangibilisation of culture and heritage, as they have become vital markers of symbolic value. In the field of tourism, this change has been marked by the continued growth of cultural tourism, and the recent fragmentation of cultural tourism into a number of sub-fields, including film tourism, gastronomic tourism, festival tourism, etc. (Richards, 2001; Hjalager and Richards, 2002). The growing importance of creativity and intangible heritage in tourism has also been marked by the development of a specific sub-field of ‘creative tourism’ (Richards and Raymond, 2000). Creative tourism arguably represents a departure from traditional models of cultural and heritage tourism, moving away from tangible heritage as the key asset towards creative and symbolic capital. This paper examines the development of creative tourism in recent years, tracing its trajectory from a sub-field of cultural tourism towards an emerging field and philosophy of tourism.

"The rapidly developing relationship between tourism and creativity, arguably heralds a ‘creative turn’ in tourism studies. Creativity has been employed to transform traditional cultural tourism, shifting from tangible heritage towards more intangible culture and greater involvement with the everyday life of the destination. The emergence of ‘creative tourism’ reflects the growing integration between tourism and different placemaking strategies, including promotion of the creative industries, creative cities and the ‘creative class’. Creative tourism is also arguably an escape route from the serial reproduction of mass cultural tourism, offering more flexible and authentic experiences which can be co-created between host and tourist. However the gathering critique also highlights the potential dangers of creative hype and commodification of everyday life."

Journal of Tourism Consumption and Practice, 2012

This special issue of the Journal of Tourism Consumption and Practice considers many different facets of the creative tourism phenomenon, and examines the ways in which it has been developed in a range of places, ranging from the frozen north of Canada to the searing heat of Mali. The papers that compose this special issue identify trends and challenges in creative tourism development and, despite the emergent critical thoughts on the subject, they tend to emphasise the positive aspects.

Paper presented at the International Conference on Creative Tourism, Barcelona December, 9th - 10th 2010. Creative tourism is a concept that only formally defined a decade ago, but in the intervening years it has seen a significant growth worldwide. The range of presentations at this conference on different creative tourism programmes from all corners of the globe is a clear indication of how widespread it now is. In this presentation I will try and set out some of the reasons for this growth, the different forms of creative tourism that have developed and the challenges that remain for those involved in this new sector of tourism. My basic argument is that the growth of creative tourism has been driven by both production and consumption related forces, and that the maximum benefit can be derived by creatively combining the efforts of both producers and consumers to develop new experiences that both engage and transform participants and host communities alike.