Creative Tourism

1: An introduction to creative tourism development: Articulating local culture, entrepreneurship, and travel. By Nancy Duxbury, Cláudia Pato Carvalho, and Sara Albino.
Part I: Types of creative travellers
2: A typology of creative travellers in Bogota, Colombia: The experience of 5Bogota. By Diana Zuluaga and Diana Guerra.
3: Creative travellers in Austria. By Elena Paschinger.
4: Domestic and international creative tourists in Portugal: Insights for practitioners. By Jaime Serra, Noémi Marujo, Nancy Duxbury, Alexandra Gonçalves, Sónia Cabeça, Paula Remoaldo, and Juliana Alves.
5: Collective invention: A travelling artist’s perspective. By Margaret Feeney.
6: Interview with Mélanie Wolfram, Vagar Walkingtours: Connecting to family travel with creative tourism
Part II: Trends in creative tourism
7: Trajectories and trends in creative tourism: Where are we headed? By Greg Richards and Nancy Duxbury.
8: Interview with Caroline Couret about the Creative Tourism Network®
9: Gastronomic creative tourism: Experiences in the Algarve region of Portugal. By Sónia Moreira Cabeça, Alexandra Rodrigues Gonçalves, João Filipe Marques, and Mirian Tavares.
10: Interview with Geetika Agrawal about Vacation With An Artist
11: I need you, but I don’t want you—the ambiguity of artistic residencies and tourism. By Sara Albino and Carlos Alcobia.
Part III: Designing and managing creative tourism products
12: From theory to practice: The three principles of community-based design. By Jutamas (Jan) Wisansing.
13: User-centred design for creative tourism prototyping: The Maribor experience. By Fiona Eva Bakas, Tiago Vinagre de Castro, and Ana Osredkar.
14: Bogota through the 5 Senses: Building a creative tourism start-up. By Diana Zuluaga and Diana Guerra.
15: Deep mapping as a cultural mapping process and a creative tourism driver: Two examples. By Kathleen Scherf.
16: The creative tourist and the creating artist: The base for rural development. By Catharina Sligting.
17: COOLWOOL – Creative weekend at Covilhã, a co-designed programme. By Rita Salvado and Guida Rolo.
18: Co-creating subtle attractions. By Britta Timm Knudsen and Jan Ifversen.
19: Linking creative tourism products to markets: Target marketing, promotion, commercialization, and market readiness. By Marie-Andrée Delisle.
20: Creative tourism marketing and social media management. By Elena Paschinger.
21: Loulé Criativo: Our creative tourism development story. By Marília Lúcio.
22: Santa Fe, New Mexico’s Creative Tourism Initiative. By Sabrina V. Pratt.
23: Creative tourism development and innovation in Kenya: An entrepreneurship perspective. By Lénia Marques.
Part IV: Embedding creative tourism activities within a community
24: Creative tourism as a local development strategy. By Larissa Almeida.
25: Why creative tourism won’t work if residents are not involved: A tale of two cities. By Kathleen Scherf.
26: Youth, ways of production, and community. By Fernando Almeida.
27: Creative tourism as a strategic approach for decolonial thinking and doing in Namibian tourism. By Melanie Sarantou and Satu Miettinen.
28: Connecting local artisans to tourism in extra-metropolitan areas: The importance of social embeddedness. By Fiona Eva Bakas.
Part V: Addressing challenges of impact and sustainability
29: An impact self-assessment tool for creative tourism with insights from its application to the CREATOUR® project. By Maria Assunção Gato, Elisabete Tomaz, Pedro Costa, Ana Rita Cruz, and Margarida Perestrelo.
30: A sustainable future for creative tourism in Lapland. By Maria Huhmarniemi, Outi Kugapi, Satu Miettinen, and Laura Laivamaa.
31: Policy recommendations on creative tourism development in small cities and rural areas: Insights from the CREATOUR® project in Portugal. By Alexandra R. Gonçalves, Maria do Rosário Borges, Nancy Duxbury, Cláudia Pato Carvalho, and Pedro Costa.
Part VI: Concluding remarks
32: Pursuing creative tourism for positive transformation and sustainable development. By Nancy Duxbury, Sara Albino, and Cláudia Pato Carvalho

Nancy Duxbury, PhD

Nancy Duxbury, PhD, is a Senior Researcher at the Centre for Social Studies, University of Coimbra, Portugal, and Co-coordinator of its Cities, Cultures and Architecture Research Group. She is also an Adjunct Professor of the School of Communication, Simon Fraser University and of the School of Urban and Regional Planning, University of Waterloo, Canada. She is a member of the European Expert Network on Culture, and was Chair of the Policies group of the European research network “Investigating Cultural Sustainability” (2011-2015). Previously, she was co-founder and Director of Research of the Creative City Network of Canada.

Her research has examined the integration of culture in local sustainable development, with an emphasis on the policy and planning frameworks that enable this; culture-based development models in smaller communities; and the emerging interdisciplinary field of cultural mapping, which bridges insights from academic inquiry, community practice, and artistic approaches to understanding and articulating place. Building on these foundations, she is now the Principal Investigator for a major three-year research and application project on creative tourism in Portugal, entitled “CREATOUR: Creative Tourism Destination Development in Small Cities and Rural Areas.” The project involves five Portuguese research centers and 40 pilots, and aims to link the cultural and tourism sectors within a context of inclusive and sustainable local and regional development.

She was born in Canada, and lived on both the Atlantic and Pacific Coasts of the country before moving to Portugal in 2009. She currently splits her time between Coimbra and São Miguel Island, Azores.

Sara Albino, PhD

Sara Albino, PhD is a Research Fellow of the Interdisciplinary Centre of History, Culture and Societies of the University of Évora and also a Member of the UNESCO Chair in “Intangible Heritage and Traditional Know-How: Linking Heritage” (University of Évora – Portugal). She is also an associate researcher at the Research Centre in Fine Arts of the University of Lisbon. Her research has addressed the issue of immaterial heritage in tourism planning and territorial branding using mixed methods in qualitative research. Presently is involved as a researcher in the action-research project CREATOUR - “Creative Tourism Destination Development in Small Cities and Rural Areas.”

As a community outreach practical project, she is the co-founder of Buinho Creative Hub, the Rural Fablab of Baixo Alentejo with its children’s makerspace in the Primary School of Messejana. Based on her experience of creating one of the first artistic residencies program in fablab environment of Europe, she has been currently examining the profile and impacts of creative travellers and creative hubs development in rural areas.

Claudia Pato Carvalho

Claudia Pato Carvalho is a permanent researcher at the Centre for Social Studies of the University of Coimbra under the ARTERIA project. Arteria is an action-research project, coordinated by O Teatrão (a professional theatre company from Coimbra) that aims at the development of a cultural programming network in the Centro Region (Portugal) and the creation of artistic intervention projects in eight cities of this Region. She completed her PhD in Sociology, with a specialization in Sociology of Culture, Knowledge and Communication, at the Faculty of Economics of the University of Coimbra, in collaboration with the Center for Reflective Community Practice (DUSP, MIT). Between 2010 and 2018, established an European network in the field of arts education and disadvantaged communities, with several projects approved under the Youth in Action Program and ERASMUS+.

She is member of the coordinating CES research team of the project CREATOUR: Creative Tourism Destination Development in Small Cities and Rural Areas. CREATOUR is an incubator/demonstration and multidisciplinary research initiative, supporting collaborative research processes involving five research centers working with a range of cultural/creative organizations and other stakeholders located in small cities in the Norte, Centro, Alentejo and Algarve regions.