Portuguese Review of Regional Studies

2019

PORTUGUESE REVIEW OF REGIONAL STUDIES

2º Quadrimestre | nº 51 | Avulso €15

José Cadima Ribeiro

Editora Convidada Paula Remoaldo 2019

2º Quadrimestre | nº 51 | Avulso €15

José Cadima Ribeiro

Revista Portuguesa de Estudos Regionais Portuguese Review of Regional Studies Nº 51, 2019, 2º Quadrimestre

Direção Editorial José Freitas Santos, Inst. Politéc. do Porto José Cadima Ribeiro, Universidade do Minho José Pedro Pontes, Universidade de Lisboa José Reis, Universidade de Coimbra Comité Editorial José Silva Costa, Universidade do Porto Adriano Pimpão, Universidade do Algarve Laurentina Vareiro, Inst. Polit. do Cávado e Alejandro Cardenete, Univerdidad Loyola do Ave Andalucía Lívia Madureira, Univ. Trás-os-Montes e AD Ana Lúcia Sargento, Inst. Politéc. de Leiria Manuel Brandão Alves, Univ. de Lisboa António Caleiro, Universidade de Évora María Magdalena R. Fernandez, Univ de A António Covas, Universidade do Algarve Coruña António Figueiredo, Universidade do Porto Mário Fortuna, Universidade dos Açores António Pais Antunes, Univ. de Coimbra Mário Rui Silva, Universidade do Porto António Rochette Cordeiro, Univ. Coimbra Miguel Marquez Paniagua, Universidade da Armindo Carvalho, Universidade do Porto Extremadura Artur Rosa Pires, Universidade de Aveiro Natasa Urbancikova, Technical University of Aurora Teixeira, Universidade do Porto Kosice Carlos Azzoni, Universidade de São Paulo Nuno Ornelas Martins, Univ. Católica, Porto Carlos Pimenta, Univ. Federal de Itajubá Oto Hudec, Technical University of Kosice Carmen Padín, Universidad de Vigo Paula Cristina Remoaldo, Univ. do Minho Celeste Eusébio, Universidade de Aveiro Paulo Guimarães, Universidade do Porto Conceição Rego, Universidade de Évora Paulo Pinho, Universidade do Porto Eduardo Anselmo de Castro, Univ. de Aveiro Paulo Dias Correia, Universidade de Lisboa Eduardo Haddad, Universidade de São Paulo Pedro Costa, ISCTE-Inst. Univ. de Lisboa Elias Melchor-Ferrer, Universidad de Granada Pedro Guedes de Carvalho, Univ. Beira Int. Elisabeth Kastenholz, Universidade de Aveiro Pedro Nogueira Ramos, Univ. de Coimbra Eva Sánchez Amboage, Univ. Téc. Particular de Peter Nijkamp, Univ. Livre de Amsterdão Loja Regina Salvador, Universidade Nova Lisboa Fernando Perobelli, Univ. de Juiz de Fora Rui Nuno Baleiras, Universidade do Minho Francisco Carballo-Cruz, Univ. do Minho Rui Ramos, Universidade do Minho Francisco Diniz, Univ. Trás-os-Montes e AD Sandra Saúde, Instituto Politécnico de Beja Geoffrey D. Hewings, REAL e Univ. de Illinois Teresa Noronha Vaz, Univ. do Algarve em Urbana-Champaing Tiago Freire, University of Canberra Hugo Pinto, Univ. de Coimbra (CES) e Univ. Tomaz Ponce Dentinho, Univ. dos Açores do Algarve Valdir Roque Dallabrida, Univ. do Contesta- Isabel Mota, Universidade do Porto do (Canoinhas) Iva Miranda Pires, Univ. Nova de Lisboa Vasco Reis, Universidade de Lisboa João Guerreiro, Universidade do Algarve Xésus Pereira López, Universidade de Santi- João Leitão, Universidade da Beira Interior ago de Compostela João Oliveira Soares, Universidade de Lisboa Xulio Pardellas de Blas, Univ. de Vigo Joaquim Antunes, Inst. Politécnico de Viseu

Indexação A Revista Portuguesa de Estudos Regionais está referenciada nas seguintes bases bibliográficas EconLit, Journal of Economic Literature, QUALIS (2013-2016: Ciências Ambientais=B1; Engenharias 1=B3; Planeamento Urbano e Regional / Demografia=B3), Scopus (SJR, 2016 = 0,109; SNIP, 2016 = 0,065) e Redalyc (Rede de Revistas Científicas de América Latina, Caraíbas, Espanha e Portugal).

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ÍNDICE

7 Editorial

9 Shared Value Creation, Creative Tourism and Local Communities Development: The Role of Cooperation as an Antecedent

Álvaro Dias Mafalda Patuleia Georg Dutschke

27 Empowering Communities Through Capacity Development: The Case of Misfat Al Abriyeen Project

Rogelio Policarpio Flores, Jr. Carlos Manuel Martins da Costa

41 Sunny, Windy, Muddy and Salty Creative Tourism Experience in a Salt Pan Jorge Ramos Veronika Rosová Ana Cláudia Campos

55 The Potential of Olive Oil For Creative Tourism Experiences in The Northern Region of Portugal

Regina Bezerra Alexandra I. Correia

73 Creative Tourism Experiences in Guimarães: A Twofold Analysis of Visitors’ and Suppliers’ Perspectives

Carla Melo Alexandra I. Correia Marta Cardoso Vítor Marques

93 Creative Tourism and Urban Sustainability: The Cases of Lisbon and Oporto

Cláudia Henriques Maria Cristina Moreira

Editorial

Creative Tourism and the Community Roles

During the last nineteen years, we have fa- tive tourism, and local community’s develop- cilitated an increase of publications related to ment: The role of cooperation as an antecedent.” creative tourism. In 2000, we began following a It focuses on an unclear issue, i.e., how creative more structured practice, and after the contribu- tourism is developed in the context of rural tion of a few other authors (e.g., Pearce and But- communities with few resources and without a ler, 1993), Richards and Raymond convinced us clear view of the path to follow to generate to pursue the development of a new segment of profit from creativity associated with local re- tourism, which can be considered an evolution sources and pratices. Five cases were used, col- of the massified cultural one. In addition to the lected from five countries (Brazil, Colombia, theoretical arguments that continue to be dis- Mexico, Peru, and Portugal) through in-depth cussed (we do not have yet a consensual defini- interviews with local stakeholders. tion), several study cases have been published, The second paper, “Empowering Communi- and many institutions worldwide began to or- ties through Capacity Development: The Case ganize creative initiatives with new tourists’ of Misfat Al Abriyeen Project,” by Rogelio Flo- profiles. These new tourists have new aspira- res and Carlos Costa, highlights a local project tions and can be seen as more responsible trav- in Al Hamra, Oman. Transforming idle re- ellers with a desire to interact deeply with the sources into useful, tourism assets, this paper re- local community at the destination, to co-create, vealed the significance of community empow- and to feel like local citizens. erment through capacity development. As Creativity has become a condition and is stated by the authors, “(…) this resulted in lo- helping destinations passing from massified cals’ improved source of income, deeper under- tourism to a cultural profile and creative solu- standing, and cultural interactions with tourists tions. It also became a survival strategy for and appreciation of community assets.” many destinations. Jorge Ramos, Veronika Rosová, and Ana Even if medium-sized cities and rural areas Cláudia Campos are the authors of the third pa- can offer a valuable contribution to the imple- per and focus on “Sunny, windy, muddy, and mentation of this tourism segment, urban spaces salty creative tourism experience in a salt pan.” continue to be the main focus, and creative tour- The Algarve region was the selected location, ism industries are still more active and diverse and the paper refers to generating profit through in these areas. Nevertheless, the events of recent traditional elements of the Algarve landscape years led us to believe that something is chang- other than the sun and the sea, like creative touring. This can be true for South Europe, where ism experiences developed in the context of the creative tourism cases have increased greatly, traditional activity of salt production. perhaps because the massified model is running The main objectives of the research under- out and inducing new offers. Because the herit- taken were to analyse a co-creation approach age wealth of these territories is very high, there within the design of the tourism experience in a are opportunities to apply it in different ways. salt pan (salt production is an ancient human ac- The present issue, the 51th of Portuguese tivity) and to contribute to the design of experi- Review of Regional Studies, entitled “Creative ential proposals applied to the case of salt pro- Tourism and the Community Roles,” provides duction. After the literature review, which helps researchers and practitioners with a better un- the reader understand the main characteristics of derstanding of what creative tourism is and the creative tourism, the paper underlines that “Cre- community roles it brings, structured in six pa- ative tourism is believed to respond to the 21st pers. century tourists’ aspirations.” In Portugal, we This issue begins with an interesting paper are still identifying the profile of creative tour- by Álvaro Dias, Mafalda Patuleia, and Georg ists, and we can highlight that they expect the Dutschke, entitled “Shared value creation, crea- experiences they face to be opportunities not

Revista Portuguesa de Estudos Regionais, nº 51 only to learn about local cultures and territories, culture and creativity could be measured but also to become engaged at different levels through a composite set of indicators. With con- (e.g., sensorially, intellectually, and emotion- sideration for these two cities, a set of compo- ally). site indicators that can be used to assess cul- The fourth paper (“The Potential of Olive tural/creative tourism dynamic and policy are Oil for Creative Tourism Experiences in the discussed. Two main domains were considered: Northern Region of Portugal”), by Regina Bez- 1) cities and culture/creativity and 2) tourism erra and Alexandra Correia, is a good example and sustainability. Some differences were un- of how linking local products, food, gastron- derlined within the two cities. While Lisbon re- omy, and tourism can create a perfect symbio- veals better performance related to cultural vi- sis. The case of olive oil tourism presents an op- brancy, creative economy, and an enabling en- portunity for the development of various crea- vironment when considering Cultural and Crea- tive activities and unique experiences. tive Cities monitoring, Oporto seems to be bet- The fifth paper discusses “Creative Tourism ter positioned in terms of “Openness, Tolerance, Experiences in Guimarães: a twofold analysis of & Trust”, “Graduates in arts & humanities,” and visitors’ and suppliers’ perspectives,” and is “Graduates in ICT.” written by Carla Melo, Alexandra Correia, These case studies confirm the existence of Marta Cardoso and Vítor Marques. Its focus is different ways of approaching creative tourism on urban spaces. It is a study using quantitative and the community roles envisaged in different and qualitative methods in order to understand territories, even if the Portuguese was the one both visitors (by using a self-administrated most closely examined. I believe that, in the questionnaire) and tourism service providers next years, these tourism segments and territo- (by using a semi-structured interview). A cul- ries (mainly the rural ones) can continue to con- tural destination, classified as a World Heritage tribute to the implementation of more sustaina- Site by UNESCO, was selected – the municipal- ble development strategies and, this way, follow ity of Guimarães. One of the conclusions is that tourism paths that contradict massified solu- neither visitors nor service providers associate tions. Guimarães with creative tourism. This occurred as the city’s promotion initiatives have been focused mainly on its heritage, material, and im- material offerings. 22.03.2019 The last paper, entitled “Creative Tourism and Urban Sustainability: The Cases of Lisbon and Oporto,” discusses the traditionally main Paula Remoaldo cities in Portugal and was developed by Cláudia Henriques and Maria Cristina Moreira. It anal- (Guest Editor; Full Professor of the Depart- yses the growing importance of creative tourism ment of Geography of University of Minho) in Lisbon and Oporto. The authors assumed that

Artigo submetido a 22 de Agosto de 2018; versão final aceite a 26 de Novembro de 2018 Paper submitted at August 22, 2018; final version acepted at November 26, 2018

Shared Value Creation, Creative Tourism and Local Com- munities Development: The Role of Cooperation as an An- tecedent

Criação de Valor Compartilhado, Turismo Criativo e Desenvolvi- mento de Comunidades Locais: O Papel da Cooperação Como Antecedente

Álvaro Dias [email protected] Instituto Superior de Gestão Universidade Lusófona, Tourism Department

Mafalda Patuleia [email protected] Universidade Lusófona, Tourism Department

Georg Dutschke [email protected] Universidade Atlântica. Management Departament

Abstract/ Resumo

The link between local value creation through O processo de criação de valor baseado no tu- creative tourism and local development isn´t rismo criativo não está suficientemente aprofun- completely understood in the literature. Specifi- dado na literatura. Especificamente, não está cally it is unclear how creative tourism is devel- clara a formação de destinos turísticos criativos oped in the context of rural communities with no contexto das comunidades rurais, com poucos few resources and without a clear view of the recursos e sem uma visão clara do caminho para path to value creation. a criação de valor. This research analyses cooperation as an ante- Esta investigação analisa a cooperação como um cedent to value creation, in the context of crea- antecedente da criação de valor, no contexto do tive tourism, based on five cases collected in five turismo criativo, com base em cinco casos cole- countries through in-depth interviews with local tados em cinco países por meio de entrevistas em stakeholders. Results show that communities are profundidade com stakeholders locais. Os resul- able to recognize their potentialities and to coop- tados mostram que as comunidades são capazes erate to create value, however they are unable by de reconhecer suas potencialidades e cooperar themselves to overcome barriers to entrepre- para criar valor, porém sozinhas são incapazes neurial behaviour. Results highlight the role of de superar as barreiras ao comportamento em- external entities: consensus facilitator, guidance preendedor. Os resultados destacam o papel das and access to technical and financial resources. entidades externas: facilitador de consenso, ori- entação e acesso a recursos técnicos e financei- ros.

Keywords: Shared Value; Creative Tourism; Co- Palavras-chave: Valor Compartilhado; Turismo operation; Value Creation; Rural. Criativo; Cooperação; Criação de valor; Rural.

Revista Portuguesa de Estudos Regionais, nº 51

JEL Codes: Z32; R58; M39 Código JEL: Z32; R58; M39

1. INTRODUCTION tourism can contribute to enhance value perception of rural communities’ touristic offer. Value creation has several points of view: In this vein, our research intends to contrib- economic, firm value, business, accountancy, ute to existing literature by extending the etc. (Gummerus, 2013). This research focuses knowledge about the dynamics of rural commu- on customer value creation, specifically on the nities to create or add value through creative tourism point of view. tourism. More specifically, it considers the fact Customer value creation is a concept related that developing a local community as a tourism to customer perceptions and, as such it can be destination is a complex project, primarily be- defined by the equation: costumer perceived cause consensus must be reached among several benefits minus customer perceived costs (Day, local players, eventually with different perspec- 1990; Lai, 1995). The higher the result of the tives. This research also includes understanding equation, the higher the customer value percep- the role of cooperation on the development of a tion. The way a customer perceives the benefits shared value creation on those communities, as (and costs) is idiosyncratic, since those percep- a critical success factor. tions results from a complex mental equation, The manuscript is structured as follows. In starting from the individual’s own cultural and the next section, a literature review is con- social evolution which occurs in unique conducted, discussing and linking key subjects such texts. Another factor is the consumer´s as value creation, shared value creation, creative knowledge or skills to evaluate what he or she tourism and cooperation. Section 3 details the is willing to buy (Lepak, Smith, & Taylor, methodology and presents the five cases. The 2007). On the other hand, the majority of the following section itemizes the results and dis- consumers aren’t qualified to evaluate the prod- cussion. Finally, the conclusions and further re- ucts or services in all their dimensions, since search are presented in the last section. they don´t possess all the information and knowledge (Lai, 1995). For example, when tast- 2. THEORETICAL FRAMEWORK ing a local gastronomic product, a tourist tends to produce a very partial evaluation about its 2.1. Value creation real quality and genuineness, based on different assumptions used by a local inhabitant. In this section we will briefly discuss the However, in a creative tourism context, the main elements around the concept of value cre- tourist’s direct participation on daily life expe- ation. As said, value creation has several points riences in rural context tends to diminish that of view. This research focuses on customer disparity, since they act like and with local citi- value creation. This approach to value creation zens (Richards, 2011, Jóhannesson & Lund, has also different classifications. For example, 2017). As such, value perception is increased, Bowman and Ambrosini (2000) proposed: (1) because the benefit part of the value equation value of use. Refers to the specific quality of a expands, and most likely, the cost perception re- product or service perceived by users in relation mains unchanged, or at least its growth is not to their needs. In other words, it is a perception proportional. on the part of the consumer of the degree of sat- Creative tourism is an evolving concept that isfaction of their needs provided by a product or started as an evolution of cultural tourism service. (2) exchange value. Corresponds to the (Richards & Raymond, 2000; Ali, Ryu & amount paid by the user to the seller for the Hussain, 2016). The tourist changed from a pas- value in use of a product or service. This amount sive observer of cultural attractions to an active corresponds to an effort that can be translated in co-creator of experiences (Binkhorst & Den money, time, distance, etc. Dekker, 2009). In its deepest approach, creative Customer perception is influenced by a set tourism is understood as ‘relational tourism’, of factors that make each individual's responses where visitants are immersed in daily life of lo- unique. First, the cultural, social and family cal communities (Ateljevic & Doorne, 2000; context of each individual influences individual Richards, 2014). In this context, creative beliefs and the way they develop in time.

10 Shared Value Creation, Creative Tourism and Local Communities Development…

Cultural factors can manifest themselves in dif- In order to add value to the customer, Smith ferent ways in two different individuals, since and Colgate (2007) proposed several value each one grew in unique family environments sources: (1) Information. Can be important in (Lay, 1995). As such, the client value creation educating and helping customers or consumers perspective “concentrates on what customer to perceive and evaluate the performance of does with services and products in his or her life products and services and the expected results; sphere” (Gummerus, 2013: 6). (2) Product. The features, functions and re- Second, in a closer circle to the individual, sources of products and services are essential personal factors should also be considered and dimensions in consumer assessment, through are directly related to each person’s needs, alt- which they perceive different levels of results; hough conditioned by the personality of each in- (3) The interaction between clients and organi- dividual (Oliver, 2014). zations. Enhances the development of organiza- Third, consumption factors refer to subjec- tional skills and resources that provide a good tive beliefs about the desired ways to achieve relationship with customers and the organiza- personal values, meaning that each individual tion. (4) The purchasing environment. Permits reaches their goals differently (Lai, 1995; Oli- to offer a shopping experience, which is increas- ver, 2015). For example, when traveling, an in- ingly a decisive aspect of consumer decisions. dividual seeks to satisfy his/her fun and experi- (5) Transfer of property. The purchase, delivery ence needs by acquiring a specific set of prod- and contracting processes are also an integral ucts and services (suitcases, food, insurance, part of the consumer experience. etc.) that allows him to realize his cultural and personal goals (Richards, 2011). 2.2. Shared value creation In addition to the factors that influence how the consumer perceives the value of a product, This section discusses the problem of value there is evaluation (Cohen, Prayag & Moital creation in the context of communities, as op- 2014; Oliver, 2015). The product or service may posed to decisions taken by a single entity. have been manufactured with the best ingredi- Value creation, in the constellation of interests ents or components, but the customer may not of a local community, can’t be seen only as cre- recognize those valences. (1) Because he/she ating economic value for an association, com- isn’t qualified to do so. The vast majority of pany or cooperative created in a region to help people don’t have the technical knowledge to leverage local community outputs (Coles, Jona- evaluate the quality of a product or service. Will than, Owaygen & Shepherd, 2011; Mottiar, a buyer be able to technically evaluate the qual- 2016). The initiative should also create value for ity of a car? Can he/she identify the genuine the local community, seeking to meet their characteristics of a gastronomic product? Some needs and contribute to solving their challenges do, but most don’t. (2) Because he/she don’t (Sofield, Guia & Specht, 2017). have all the information to make that evaluation. On the context of rural communities, the The producer decides to incorporate a particular process of value creation is most likely to de- ingredient into a product (or withdraw it to be pend on the participation of several local (and healthier), but the customer may not recognize external) actors (Wäsche, 2015; Czernek, or identify that effort. Basically, it is not what 2017). Developing a process of value creation the producer puts into the product, but rather in a company, regardless of the difficulties aris- what the customer recognizes. ing from the context and technical complexity, Customer evaluation is also subjective and there is a facilitating factor: decision making. depends on the knowledge level of the buyer re- Power and resources are in the hands of the or- garding the product/service and alternatives ganization's decision makers. This means that (Lepak, et al., 2007). Evaluation is also related will be a manager or director or a very narrow to the perception that the consumer or client has group of decision makers, strategically aligned, of the degree of appropriation of the product in who will decide, which makes the entire deci- what regards to the satisfaction of his/her needs sion-making process quite consensual and fast. (Mustak, Jaakkola & Halinen, 2013). This However, value creation in local communities means that the producer should seek to identify is a much more complex reality (Timothy, the degree of knowledge and the context in 1998). The number of entities and persons in- which the evaluation will take place. volved in the cooperation process can be very

11 Revista Portuguesa de Estudos Regionais, nº 51

wide ranging, involving not only stakeholders the face of the current reality, is creating tension in the value chain (Coles, et al., 2011) but also to bridge the gap of local competitiveness all organizations with local intervention, such as (Ackermann & Russo, 2011). museums, hotels, restaurants, craftsmen, shops, travel agencies, communication, society in gen- 2.3. Shared value creation and creative eral, religious community, etc. (Trousdale, tourism 2005). Cooperation offers an opportunity to in- There are many challenges for rural commu- crease the competitiveness of local communi- nities to overcome, as they perceive it to be “in- ties since: (1) traditional production methods creasingly difficult to sustain themselves in are usually handmade, which leads to increased light of a decline in agricultural production (…) use of local labour. In turn, this increase in em- as such rural tourism has been identified as an ployment provides an increase in income and opportunity for many” (Mottiar, 2016: 203). contributes to the establishment of the popula- The benefits of mass tourism in the rural periph- tion; (2) there are benefits to other local services ery have been studied in the literature. Their im- and products, especially tourism due to the in- pacts can be divided into direct, indirect or dy- creased reputation and improvement of the pre- namic (long-term effects on institutions, infra- viously disadvantaged region (Lee, Wall & Ko- structure and destination management) (Ashley vacs, 2015); (3) it stimulates local entrepreneurs & Mitchell, 2009), considering also the effect and brings an increase on new diversified busi- on the diversification of tourism centres by at- ness more focused on competitiveness. For ex- tracting some tourists to the peripheral regions ample, small-scale life-style entrepreneurs (Gibson, 2009). In addition, the contribution to could benefit from larger companies by provid- local communities takes into consideration ing co-created experiences in rural areas (Jóhan- ‘pro-poor tourism’ where the “net benefits to nesson & Lund, 2017). the poor are positive” (Ashley & Mitchell, This is the result of shared value creation 2009: 11). (Porter & Kramer, 2011; Swanson, 2017), in The benefits of community tourism are also which the local community is the centre of the important to consider. It enable visitors to be- project and not something peripheral (Dembek, come aware of and learn about local communi- Singh & Bhakoo, 2016; Michelini & Fiorentino, ties and ways of life (Giampiccoli & Mtapuri, 2012). 2017), adding value to the experience of resi- For Porter and Kramer (2011) the concept of dents and visitors (George et al., 2007) and con- shared value at the corporate level can be under- tributing to improve residents' quality of life by stood as the policies and practices that increase optimizing local economic benefits, protecting the competitiveness of a company and at the the natural and built environment, and provi- same time improve the economic and social ding a high-quality visitor experience (Choi & conditions of the community in which it oper- Sirakaya, 2006; Mathew & Sreejesh, 2017; Kim ates. et al., 2013). Due to the necessary cooperation the pro- However, there are risks to be considered. cesses of creation of local shared value inevita- Blackstok (2005) pointed three tendencies that bly depends on the capacity to articulate several can result in weaknesses associated to commu- actors (Swanson, 2017), many of them with nity tourism, such as: (i) to adopt a functional contrasting interests. A corollary of this cooper- approach to population involvement by not al- ation will be the establishment of a shared vi- lowing the community to have the power to de- sion, especially one that is capable of integrat- cide about tourism; (ii) to treat the host commu- ing the potential contained in the collective nity as a homogeneous whole, when in reality knowledge of a given community (Trousdale, there may be several voices within the commu- 2005; Ackermann & Russo, 2011). nity; (iii) to neglect regional or even national A vision represents a roadmap for an organ- barriers. Without community involvement, in a ization, be it a business or not (Humphreys, bottom-up approach, the risk of conflicts of in- 2004). It generally seeks to go a little further in terest and social exclusion are imminent the definition of vision, seeking to be a descrip- (Lindström & Larson, 2016). tion of the aspirations that a community would Concerning big tourism centres, Biddulph like to achieve in the future, in the medium or (2015) recognized that “opening up an interface long term. The ambition of an ideal future, in with tourists does not guarantee economic

12 Shared Value Creation, Creative Tourism and Local Communities Development… benefits and certainly not broad-based ones” (p. problems such as lack of financial resources, 100). In particular cases, tourism development unequal power relations between hosts and had led to an uncontrolled growth of activity, guests, and loss of cultural identity (Blapp & displacing native populations in decision-mak- Mitas, 2017; Tosun, 2000). Another trap is re- ing and replacing traditional activities with new lated to risk of becoming an unattractive desti- foreign practices (Gascón, Milano & de Con- nation which can be the result of imitation of sum Solidari, 2017). On this vein, the results of other communities or places proposal and of tourism in rural areas are not always positive. ‘fast policies’ (Richards, 2014). For example, Biddulph (2015) in a study in On this vein, value creation in local commu- three small villages in Cambodia “found no sig- nities through creative tourism should result nificant livelihood benefits from either local from a cooperative process which permits to en- production for the tourism market or from local hance social links, to increase knowledge and enterprises engaging with tourists” (p. 109). skills and to develop market orientation compe- Gascón et al. (2017) also found that agriculture tences. According to Gummerus (2013) value has a dual role in the implementation of tourism creation can be considered in two perspectives: in rural contexts, which may be the improve- processes and practices. Both are important ment or destabilization of rural populations. from the tourism point of view. The former con- Tosun (2000) points several barriers of com- siders that products and services create value munity participation in tourism deployment because they are parts of daily life (Ateljevic & processes, especially in developing countries. Doorne, 2000; Grönroos, 2006) and contributes They can be divided in (i) operational level limi- to personal ‘developing’ experiences (Richards, tations centralization of public administration of 2011). Practices are related with costumer inter- tourism; lack of co-ordination and lack of infor- action with the context (Korkman, 2006). mation; (ii) structural limitations, including the Both perspectives align with an interactional bureaucratic attitude of governmental profes- and experiential approach to value creation sionals, lack of expertise, elite domination, lack (Vargo & Lusch, 2008; Vargo, 2008; of appropriate legal system, lack of financial re- Gummerus, 2013). This leads to a dimension sources and lack of trained human resources; where the costumer or the tourist plays an im- (iii) cultural factors including limited capacity portant role on the experiences themselves, act- of people to handle development effectively, ing proactively in destinations’ daily activities. apathy and low level of awareness in the local This tourist involvement permits creating value community. through interaction, which is consistent with Considering a tourism destination develop- concept of co-creation, defined as “the joint, ment in this context, an additional problem is collaborative, concurrent, peer-like process of governance (Lindström & Larson, 2016). There producing new value, both materially and sym- is generally not only a person or organization to bolically” (Galvano & Dalli, 2014: 644). It is decide, but a group of individuals, entities (pub- the domain of the ‘experience economy’ (Pine lic or private), collectivities and eventually the & Gilmore, 1999). general community that should decide and must Co-creation in tourism is indelibly con- be aligned around a common vision (Timothy, nected (Binkhorst & Den Dekker, 2009) since 1998; Korkman, 2006; Ackermann & Russo, consumption occurs in social contexts, “in 2011; Czernek, 2017). which interactions and shared experiences with To structure this approach, Potts, Cunning- other tourists form a crucial part of the service ham, Hartley and Ormerod (2008) propose the experience” (Rihova, et al., 2015, p. 356). Bos- concept of social networks, which can be de- wijk, Thijssen and Peelen (2007) proposed five fined as “the set of agents in a market character- stages in the co-creation of experience: (i) crea- ized by adoption of novel ideas within social tivity and the innovative capacity in creating a networks for production and consumption” (p. vision on moments of contact; (ii) actual speci- 171). For them, a market based social network fication of meaningful-experience settings and should comply with three central features: (i) market propositions to interested target groups; agent cognition and learning; (ii) social net- (iii) information technology that is necessary to works; (iii) market-based enterprise, organiza- enable and support the meaningful-experience tions and coordinating institutions. However, settings; (iv) finding and training the people the development of a creative tourism destina- who need to do the work; (v) determining the tion by rural communities embraces several economic perspective (the business model).

13 Revista Portuguesa de Estudos Regionais, nº 51

Despite the importance of co-creation to 2.4. Cooperation in creative tourism des- conceive unique self-development tourism ex- tination development periences (Richards, 2011), the link between shared value creation and creative tourism in lo- The role of cooperation in tourism has been cal communities is a developing area in tourism object of discussion in the literature. The impact studies. For example, Sofield et al. (2017) reco- of cooperation is not always positive. For exam- gnize that “there is still little understanding of ple, Czernek (2017) posit that the lack of coop- the role of place-making in tourism when place- eration results from the fact that potential part- making is the result of a community-led organic ners are afraid of losing competitive advantage. process” (p. 1). The challenge is to stimulate a They are also “reluctant to enter into coopera- lasting dialogue between the several actors in tion or, when entering into it, they did not be- order to develop creative experiences for tour- come involved in it as much as it was required.” ists seeking the region (Den Dekker & Tabbers, (p. 13). Another barrier related with cooperation 2012). is the lack of time. Wäsche (2015) reported that According to this background, the vision for- the most frequent barrier to cooperation be- mulation represents not only an opportunity for tween firms in tourism destinations is time dialogue, learning and building stronger rela- (68% of the respondents). tionships among the various stakeholders To other authors, the impact is positive. (Ackermann & Russo, 2011), but also a basis to Mottiar (2016) noticed that rural tourism entre- establish a differentiating value proposition that preneurs are interested in cooperation for finan- offers more engaging experiences for tourist cial reasons, and equally motivated by the suc- personal development (Richards, 2014). Each cess of their local area. This is important to them region may have a set of potentialities arising as they will implement strategy on this basis. from the sum of the competencies of local stake- Scott (2010) found that the cooperation in crea- holders (Brouder, 2012) which constitute a em- tive activities “involves much interpersonal bedded collective knowledge that certainly can contact and communication, and most notably be an excellent basis for establishing a value intense face-to-face interaction among workers proposition and for creating sustainable value. in different firms” (p. 122). This collective knowledge can be a tradition, Another benefit resulting from cooperation a festival, a method of production, a history or a in tourism is networking. As such, the “under- story, but it can also be a local heritage with standing of the patterns of linkages among the tourist interest: nature, landscape, monuments, components and the evaluation of the system’s etc. It is the important phase of opportunities structure are crucial issues” (Baggio, 2011: seeking (Den Dekker & Tabbers, 2012). They 184). Networking permits the development of should be seen as having the potential to unleash new and useful contacts. This includes the co- a wave of local economic growth, prosperity operation between for-profit and non-profit or- and sustainable development (Ackermann & ganizations pursuing the same goal (Wäsche, Russo, 2011). 2015). Based on a clear definition of creative desti- Cooperation permits stakeholders to capital- nations’ value proposition, it’s possible to di- ise on the existing local resources (Brouder, minish the local problems previously mentioned 2012) but it also permits the community to “in- through intangible heritage (to solve lack of fi- fluence decisions that affect their lives, vulner- nancing), repositioning locals from servant to ability or resilience to shocks, access to services teacher (to address unequal power relations be- and assets, strength or disruption of social net- tween hosts and guests), enhancing local inter- works” (Ashley & Mitchell, 2009: 12). Over est in own culture (to reduce the loss of cultural time, the links established among partners will identity) (Blapp & Mitas, 2017). Local commu- increase the trust between them, which allows nity also benefits from creative tourism by for more expressive steps in cooperation “conserving and cultivating local uniqueness (Mottiar, 2016). As a consequence, a gradual would help boost the area’s image of creative shift towards tourism due to positive reinforce- tourism and its appeal to visitors seeking a ment of initial efforts (Brouder, 2012). unique cultural and creative experience” (Ting, In rural communities it is highly probable to Lin & Hsu, 2015: 113). detect lack of financial and technical resources,

14 Shared Value Creation, Creative Tourism and Local Communities Development… as well as organizational capabilities (Blapp & other entities. Knowledge transmission should Mitas, 2017; Tosun, 2000). On this vein, the probably include technical aspects for the pro- role of external entities in the cooperation production and certification area and legal support, cess can be a critical success factor. The nature marketing, organization, accounting, etc. (Czer- of agricultural production, the availability of nek, 2017). other supporting cultural and tourism products, In addition to the catalytic role of external and proximity to markets are factors that influ- entities, we need to think about intervention on ence the development and composition of tour- the ground. That is to say, the establishment of ism initiatives that can be taken by a rural com- agreements of support or knowledge transmis- munity (Lee, et al., 2015). This implies the par- sion aren’t enough. It takes people to facilitate ticipation of several entities based outside the and promote the development of the whole pro- community. cess (Ackermann & Russo, 2011). Often, this One group of entities is linked to financial role of facilitator is carried out by professionals resources like banks, financing programmes or who collaborate with the public or private insti- investors. However, to gain access to these re- tutions that intervene in the process. sources and to convince private financial insti- The facilitator is especially essential in the tutions, the development of a more formal or- embryonic stages of the cooperation process, as ganization is ultimately necessary to access ex- it should seek to balance and avoid exclusion ternal resources that may be available from and marginalization of groups or individuals in higher levels of government (Lee, et al., 2015). the community, which may be unintended due The role of public institutions will also be es- to the omission of information to one of the par- sential to unlock processes that may be real bar- ties (Ackermann & Russo, 2011). Decisions at riers to project implementation. Often, creative this stage will indelibly mark all future action, tourism activities may not comply with legal since initial discussions are usually made regulations, which may make the initiative un- around the choice of opportunities and the rein- feasible. An intervention by public agencies to vention of the product in the market context. unlock this type of constraints will be essential to encourage community members to embark on 3. METHODOLOGY the project. As such, integration of public sector actors is important to incorporate a high number Our methodology is based on a comparative of actors in the network (Wyss, Luthe & Abegg, analysis of five cases from five different coun- 2015). tries. As such, data for this study derive from Thus, it is necessary a participatory process qualitative interviews with project directors or around a common, aggregating and guiding vi- representatives of the municipality or region. sion of the objectives and the path to reach them This type of qualitative research permits to un- (Lundy, Ostertag & Best, 2002; Ackermann & derstand the contextual factors and decision- Russo, 2011). This collective attitude requires making processes (Biddulph, 2015). Fieldwork that a constellation of actors work together to- was carried out in those locations during the wards 'reinventing' the tourism destination or year of 2017. In total, nine informants were in- giving it a new image, more appropriate to mo- terviewed in person or via email using a semi- dern markets. A whole process of negotiation structured, in-depth interview approach. and strategic framework must be developed that seeks to integrate the different points of view 3.1. Case selection and solutions to the local problems. It is pre- cisely here that lays an important milestone of For comparative research five cases were se- the entire process of value creation. The success lected. They were chosen because they demon- of the cooperation will result in a network of strated a clear contribution to local development partners, aligned around a common interest of based on value creation on local products and local development through tourism, available to creative tourism. Case selection was also based share knowledge and experiences that will cer- on projects that stand out as examples of crea- tainly lead to better and more effective strate- tive tourism in their respective countries, and gies (Mottiar, 2016). Besides the financial resources and the par- simultaneously represented a diversity of: ticipation of public entities, the acquisition of • Approaches in the way determinants competences also implies the participation of were combined to promote local value creation;

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• Initial economic system (before pro- unpublished reports, journals, internet sources jects started); and local government policy documents. • Development of several entrepreneurial Based on these elements, the interview script and creative tourism solutions; issues were prepared to obtain answers about: • External entities participating; (1) the cooperation process between several lo- • Dimensions. cal actors and how they were involved; (2) the As pointed out there is diversity among the role of external entities in the cooperation pro- five cases. Table 1 presents the selected cases, cess and in the resources and competencies de- their countries of origin, product(s) or service(s) velopment of the local community; (3) the im- intervened for value creation, a brief account pact on creative tourism and on the attraction or about each one and the impact on creative tour- retention of creative entrepreneurs for the re- ism activities. gion. Those responsible for implementing or man- 3.2. Data acquisition aging the projects were contacted in order to set the date for the interview. In cases where it was The interviews were previously prepared not possible to schedule a face-to-face meeting, through a documental analysis about the differ- respondent consent was obtained for sending ent projects. Secondary data sources included the questions by email.

Table 1. List and brief case description Product Descriptive of Creative Tourism Activities Case Country (Value Creation) That Benefited From the Project

Management project in dairy producers. The project improved local reputation. Colom- Dairy Prod- The firm professionalization and population entrepreneurship capabilities im- 1 Machetá bia ucts provement developed several private projects of ecotourism, agro tourism, aqua tourism and historical and cultural legacy tourism. Project based on the production of Tilapia and Trout species which have been Aquacul- accepted in regional and national markets due to their high quality. Through this 2 El Arenal, Hidalgo Mexico ture activity, eco-tourism is also being developed offering immersive experiences like fishing, horseback riding quad biking or radical sports. The community modified its agricultural practices, adopting new production Agricul- technics, and diversified revenue sources. Increased income opened new business 3 Vereda Brazil tural prod- opportunities, such as river excursions, scuba diving, community tourism, gas- ucts tronomy with tourist participation. Results from a process of cooperation between several city councils with the objective of promoting the region attractiveness, by improving the infrastructure Rural Tour- 4 Aldeias de Xisto Portugal and to boost accommodation offer and tourism activities. This project increased ism several creative activities such as tours, canoeing, trail running, climbing, gastronomy, arts, traditions and festivities. Project intended to develop productive capacities and rural enterprises to achieve Diversify food security and increase and diversify the economic income of rural house- Haku Wiñay/ Noa Ja- income of holds. Included the promotion of small business initiatives that encourage the 5 Peru yatai rural house- development of productive activities oriented towards the market. holds. Large impact on small business of experiential hosting and tourism: for example: highlands rural hosting, chocolate making, etc.

4. DISCUSSION per day), strong informality and low employment rates, in addition to low-skilled labour, Before proceeding with a discussion about low productivity and no innovation in produc- the implications of two different projects, we tive processes, low training, minimal market will briefly discuss each one of the following knowledge and strong intermediation between paragraphs. the producer and the consumer, generating little The population of Machetá was character- competitiveness of local products. ized by high poverty (according to UN (2010) A business management program was car- definition, extremely poor people are those who ried out, generating processes that brought live on less than the equivalent of one US dollar academy and local government closer to the

16 Shared Value Creation, Creative Tourism and Local Communities Development… community and the business sector, in this case integrated villages, and had rural tourism as the to small producers and entrepreneurs. The ini- starting point. However, the whole project is tial intervention was on marketing processes much vaster, encompassing the commercializa- and business organization, especially in pota- tion of gastronomic and handicraft products, toes cultivation and commercialization, and on events, etc. the production, distribution of cheese and other The phrase Haku Wiñay in Quechua means dairy products. “we are going to grow”. As such, the purpose of As a result, the project improved local repu- this project was to develop productive capaci- tation. The firms increased market orientation ties and rural enterprises to achieve food secu- and the improvement of inhabitant’s entrepre- rity and increase and diversify the economic in- neurship capabilities contributed to new pro- come of rural households. In a first stage the jects of ecotourism, agro tourism, aqua tourism coverage and quality of basic services of rural and historical and cultural legacy tourism. households improved. It then focuses on pro- The starting point for the project, El Arenal, moting access to business activities, improving is the fragile situation of the State of Hidalgo skills and access to economic services. As a re- located in the Mexican Republic, with a popu- sult, population diversified their income sources lation of 2.8 million inhabitants (2.4% of total investing on small tourism businesses like ex- population). The region has no maritime access, periential hosting and tourism. with 52% of the urban population and 48% of To evaluate the results, a starting point can the rural population in extreme poverty. Need- be analysing Potts, et al. (2008) social networks ing to solve the lack of food, aquaculture has in the context of the studied cases. In different been an option for development within the com- degrees, as discussed ahead, all the three central munity since 2013. The product reported excel- features exist in the five cases, namely: agent lent export quality. This fact increased house- cognition and learning; social networks and hold yield, as well their potential for entrepre- market-based enterprise, organizations and co- neurship, especially eco-tourism and rural pro- ordinating institutions. However, the projects jects, which integrated perfectly of the ‘fish resulted off a community-led organic process as farms’ concept. recognized by Sofield et al. (2017) where coo- The Vereda community occupies a settle- peration plays an important role. As such, ac- ment area in the Preguiças River, implanted in a cording to figure 1, we also considered cooper- program of agrarian reform in the 1990s. Due to ation as an antecedent of shared local value pro- the state of abandonment, the community was cess. As discussed ahead, cooperation unleashes never able to implement a production system a common understanding about local develop- that would provide any quality of life to its ment within the community. However, alone, members. They survived by exploring subsis- the studied communities didn’t have the re- tence agriculture, which used environmental ag- sources or the capabilities to address the change gressive practices and compromised the river's projects. As such, the role of the third parties spring conservation. These practices involved was crucial in all the phases, especially in rela- irregular wood extraction, deforestation and the tion to knowledge and skills transfer, which per- use of fires for the preparation of planting areas. mitted those communities not only to improve As a result of the improvement project the com- their products in order to reach more demanding munity adopted new production technics, mo- markets but also to stimulate entrepreneurship dified its agricultural practices and diversified and further value creation activities. income sources. Entrepreneurship soared in the Cooperation All the projects emerged as a tourism sector, which produced a wave of new result of analysis within the communities. The business such as river excursions, scuba diving, local limitation awareness by locals and the community tourism, gastronomy with tourist identification of the development barriers was participation. observed on the five cases. Tosun’s (2000) bar- The valorisation program of Aldeias de Xisto riers to community participation in tourism de- (Slate Villages in Portuguese) started in 2001. veloping processes can be observed in different As a starting point, the region in the inner centre degrees: operational level limitations; structural of Portugal is characterized by economic fragi- limitations, and limitative cultural factors. As lity, low population density and peripheral loca- defended by Blapp and Mitas (2017) the barri- tion, all scattered over a wide territory. The pro- ers identified can be categorized into four gram involved 21 municipalities and 28 groups, as discussed in the next topics.

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Figure 1. Steps towards shared value creation

Cooperation

Knowledge and External Entities skills

Shared Value Creation through Creative tourism and entrepreneurship

Financial. To a local community composed channel integration limit the potential of these by a constellation of independent actors with communities. On the case Machetá, market different agendas, the access to capital is diffi- knowledge was a weakness in part due to the cult without the support of external entities. For strong intermediation between the producer and these communities, all based on rural regions, the consumer. creative tourism solutions can contribute to lo- Personal competences. In addition to the cal development, since, in these regions, “the lack of knowledge and skills, the people within opportunities for traditional cultural tourism are the community itself and their interpersonal re- most limited” (Richards & Wilson, 2006: lationships function as constraints at various 1218). levels: strategic vision, recognition of coopera- Wyss et al., (2015) state that “the lacking in- tion synergies, loss of identity, etc. All the com- tegration of public sector actors and the rela- munities studied evidenced high rates of emi- tively high number of actors in the periphery of gration and rural exodus. the network” (p. 908) is a weakness. Local com- As said before, the assessment of the actual munities often don’t have their own resources to situation permitted to seek opportunities, as serve as a financial warranty for lenders. Be- suggested by Den Dekker and Tabbers (2012), sides, projects in embryonic stages present a but also served as a warning that something high risk, diverting potential bank financing. must change. The next problem is how to Knowledge. Technical, commercial and change. On this field the will to change resulted managerial skills are weak in all the cases, in internally in the case of Aldeias de Xisto, and earlier stages. The introduction of new pro- externally in the other four other cases. Even in posals for the market is very sporadic and lim- the Portuguese case, the project needed external ited to a level of knowledge inherited from the entities participation. As such, the role of these predecessors. On the project Haku Wiñay the organizations was determinant both for structur- technologies and innovations applied in the ing and implementing the projects, contributing communities are one of the project's strengths to increase bridging capital, as suggested in since they are easy to replicate, with demonstra- other studies (cf. Stone & Nyaupane, 2018). ble benefits and based on the use of local re- Table 2 shows the participants contributing sources. to the cooperation process. All the projects were Market orientation. Often these communi- operationalized through some kind of partner- ties produce what they know and not what the ship among a small or large group of entities. In market is looking for. Lack of knowledge about the case of Haku Wiñay the key participants modern urban markets and limited distributors were families, enhancing the role of women in

18 Shared Value Creation, Creative Tourism and Local Communities Development… small entrepreneurial initiatives. The results In the Mexican case (El Arenal), cooperation were very interesting. Several examples is linked to distribution channels and good prac- emerged, like the women in the highlands of tices sharing on aquiculture. However, the fish Cotahuasi; the chocolate producers “Flor de ca- ‘producing’ farms rapidly diversified their ac- cao”; and “Las Puyas de Lauripampa” living activity to ecotourism, offering fishing and cook- commodation business that integrates four ening experiences to their visitors. trepreneurs, who conditioned a room with three In the Aldeias de Xisto case, the cooperation beds in each of their homes to accommodate occurred at a higher level, involving more than tourists who visit the Cotahuasi heights, to en- two dozen counties in the central region of Por- joy the landscapes, fauna and flora, geography, tugal. In order to promote their sparsely popu- culture and local cuisine. All of them represent lated region they need to reach critical dimen- the leadership, effort and creativity of the Peru- sion to obtain financing from the European Un- vian women in the field of creative tourism. ion. This capital was invested in infrastructure, In the North of Brazil case of Vereda, the co- in developing the destination management or- operation occurred in small village communi- ganization (DMO) and in national and interna- ties involving their leaders and small farmers. tional promotion of several touristic attractions, The results of the initial agricultural project pro- most of them related to rural, nature and radical duced confidence and some capital to diversify sports themes. their basic activities. The diversification was The cases evidence multiple players cooper- particularly notorious in the tourism area. Most ating towards a common goal suggesting they of the emergent tourism projects were small in- are willing to invest in local development. The itiatives focused on immersive experiences like cohesion degree between them contributes to river excursions, scuba diving, community tour- form a cultural cluster, where they are impli- ism, gastronomy with tourist participation. cated in the process of learning, innovation and creativity (Scott, 2010).

Table 2. Level of cooperation in each key local group of entities

El Arenal, Hi- Cooperation Machetá Vereda Aldeias de Xisto Haku Wiñay dalgo

Family level + + ++

Community level +/- + ++ +

Value chain level + +/- +/-

Organizational level +/- + + ++ ++ (Public and private)

Legend: Level of cooperation ++ Very strong; + Strong; +/- Medium; - Low

External Entities. Table 3 evidences the in- ting the whole initiative going far beyond volvement of external entities along the five Scott’s (2010) perspective of dealing with mul- cases. In all cases their importance is a critical tiple market failures or negative spill over ef- success factor. Support is shaped through sev- fects. For example, in the Aldeias de Xisto pro- eral roles, which are: to trigger the initiative, ject, a group of 21 municipalities decided to co- consensus meeting in the community, financing operate to develop the region through tourism. and technical support. According to George et The Mayor of the municipality of Machetá of- al. (2007) it’s crucial for community tourism to fered the land for the initiative and financed the ensure that the several local players understand equipment and training of the companies partic- the opportunities, threats and risks. ipating in the project. The project Haku Wiñay Among several entities, governmental agen- was planned and executed by the Ministry of Cies (central or local) assume the role of promo- Development and Social Inclusion of Peru.

19 Revista Portuguesa de Estudos Regionais, nº 51

These entities can be defined as experienced in all the projects. Access to knowledge and enough to overcome barriers of community technology was achieved through universities participation (Tosun, 2000) working with and (Machetá and El Arenal) or specialized compa- for local communities. nies and consultancy. Other entities also playes an important role

Table 3. Third parties involved in value creation projects

El Arenal, Third Parties Machetá Vereda Aldeias de Xisto Haku Wiñay Hidalgo

State Govern- State Govern- State Govern- Central Govern- Financing entities ment Central Government ment ment ment INAGRO European Union SAGARPA FONCODES PETROBRÁS

Local Government √ √ √ √ √

Central Government √ √ √

Universities and research centers √ √

Consultancy √ √ √ √ √ Firms

Others Private firms in several Distributors Distributors PETROBRÁS sectors

Skills and knowledge transfer. Once the address several characteristics, such as the di- role of third parties was discussed as well as the rect involvement of the community directly, cooperation process, the focus is on skills and meeting consumer expectations without under- knowledge transfer (Table 4). The communities mining the interests of the community, meet from which the projects resulted demonstrated government regulations, financial obligations, a lack of resources (financial and technical) and good working relationships and sound manage- skills to change their sources of income to a ment systems in the conduct of business. more sustainable way, which is an important Managerial skills such as market orientation barrier for the development of local communi- capabilities were central concerns in all pro- ties (Blapp & Mitas, 2017). As such, initial in- jects. As such, the projects also aimed to trans- terventions (except Aldeias de Xisto) were fo- fer other skills and knowledge identified by cused on productive technology, especially George et al. (2007) as critical, specially focus those related with agriculture and manufacture on the market with high quality standards; en- since they assume an important role on value trepreneurship; and, environmental and sustain- creation. ability awareness. Practices of business mentor- Transversal to all projects is financing, since ing and educational opportunities contributed to most of the projects are intensive in capital. The local communities in increasing skill and investment in infrastructure, equipment and knowledge (Aref, Sarjit & Aref, 2010). knowledge is very demanding on budgeting. However, since the projects were initially di- The way projects were conducted allowed to rected to value creation on local products (with reach critical success factors. As George et al. the exception of Aldeias de Xisto), the impact (2007) recognized, community tourism should on creative tourism activities described in table

20 Shared Value Creation, Creative Tourism and Local Communities Development…

1 was indirect. What makes these cases interes- Since local communities were involved in ting is the positive effect on tourism of those decision making, their heterogeneity was taken projects, as well the resulting benefits on the in consideration. Tourism and other activities community. A new wave of entrepreneurial ini- development permitted to avoid social exclu- tiative was observed, and by offering genuine sion, since the resulting activities were of small experiences (Mathew & Sreejesh, 2017), local scale, distributed by a large part of the commu- communities added value to residents and visi- nity. As such, the risks pointed by Blackstok tors (George et al., 2007) which permitted to at- (2005) and Lindström and Larson (2016) were tract tourists who become aware about their way averted. of life (Giampiccoli & Mtapuri, 2017).

Table 4. Skills and knowledge transfer

Skills and knowledge transfer Machetá El Arenal, Hidalgo Vereda Aldeias de Xisto Haku Wiñay

Resources √ √

Capital √ √ √ √ √

Equipment √ √ √

Technology √ √ √ √

Market orientation capabilities √ √ √ √

Training √ √ √ √

Shared Value Creation, Creative Tourism financial resources and the entrepreneurial and Entrepreneurship. The provision of tech- skills to invest in new businesses that offered nical, managerial and market orientation daily life and nature experiences to tourists, un- knowledge had strong implications for local en- doubtedly new approaches in their communi- trepreneurship, both by attracting new talent ties. All these cases are in line with Ting et al. and by developing residents’ skills. Besides, the (2015) differentiation strategies supported on “development of tourism in local communities unique cultural and experiential value proposi- is often an illustration of a community taking tion. advantage of resources within community” In the case Aldeias de Xisto the initial idea (Aref, et al., 2010: 159). The projects offered lo- was tourism itself. The cooperation process and cals and outsiders the opportunity to create or technical and infrastructure development pro- add value through a closer interaction between duced a myriad of new businesses. Local resi- tourists and organizations or collectivities dents and entrepreneurs from other regions and (Mommaas, 2004; Smith & Colgate, 2007). In countries were attracted by the project potential, the case Haku Wiñay, local cocoa farmers trans- resulting in a wide range of experiences, restau- formed the traditional chocolate production into rants, accommodations and other services, con- a tourist attraction. El Arenal ‘fish farms’ diver- tributing to form a creative atmosphere that at- sified from their main aquaculture activity to attracts more producers and consumers of creative tract tourists differentiating their rural tourism products (Florida, 2005). In all the cases, local around the theme. Machetá dairy production communities developed a culture of hospitality and Vereda agricultural activity gave the (Boswijk, et al., 2007) and offered daily life or

21 Revista Portuguesa de Estudos Regionais, nº 51 traditional immersive experiences, in a new 5. CONCLUSIONS wave of lifestyle entrepreneurship (Ateljevic & Doorne, 2000). This research aimed to understand the dynamics By offering creative experiences, a closer in- of rural communities as they create value teraction between tourists and locals contributes through creative tourism. In particular it sought to increase the value of local knowledge, seeing to bring evidence regarding the role of coopera- that the inhabitants of these regions are the tion on shared value projects on local commu- source of expertise the tourists are seeking nities. To achieve these objectives, five cases (Richards, 2011). As such, another implication were analyzed in three countries, perceiving the of the project on local communities is the rein- role of cooperation and of external entities in the forcement of their identity. The quality of life creation of local value through creative tourism. improvement gave local inhabitants a reason to The results of the analysis of the five cases al- stay at their birth place. Additionally, entrepre- lowed to identify several points. First, the role neurs recognize the contribution to their region, of cooperation in place-making in context of lo- as defended by Mottiar (2016). cal communities is a step towards the compre- The provision of ‘external’ knowledge, com- hension of this phenomenon, a need underlined munities, firms, business and other stakeholders by Sofield et al., (2017). The lack of a DMO in contributes to the aggregation of industrial and the local community requires a prior work of commercial capabilities. However, they can consensus meeting. Cooperation allows the in- also benefit the preservation, re-discovery and tegration of several local actors and the commu- deployment of local knowledge, traditions and nity, which can overcome some of the problems memories (Scott, 2010). associated with community tourism (as de- As such, sustainability is an interesting part fended by George et al., 2007). of these cases. They didn’t become mass tour- In initial stages, this need for cooperation ism destinations. Creative Tourism, for its at- stems from a shared vision of creating value in tachment to individual and relational experi- a particular local product (Ackermann & Russo, ence, reduces the risk of massive reproduction 2011), but quickly opens up new opportunities like other forms of tourism (Korstanje, 2015). for economic development, especially concern- Major concerns identified in the literature ing tourism. These opportunities result from the weren’t observed such as divergent sentiments fact that there is a previous successful experi- within the community (Mommas, 2004), peas- ence (the local product), which not only un- ant differentiation, social unrest, problems with leashes an entrepreneurial potential, but also es- local decision-making, lack of local tourism tablishes the need for a broader cooperation ba- business knowledge and training (Gascón, ses, founded on trust (Mottiar, 2016), to in- 2013), or displacing native populations in deci- crease the attractiveness of the region or place sion-making and replacing traditional activities as a tourism destination. In the literature, tou- with new foreign practices (Gascón, et al., rism destination competitiveness depends on a 2017). series of determinants (Dwyer & Kim, 2003; Eventually, many of these problems verified Ritchie & Crouch, 2003), specifically central at- in rural tourism are considered from the point of tractions (culture, history, nature, events, etc.) view of the peripheral regions of large tourist which must be promoted through marketing and centres (cf. Biddulph, 2015), which is not the managerial activities. In local communities, the case, since the five studies portrayed are them- selection of attractions and promotion activities selves an attraction, not a satellite region. The must contribute to integrated local development genuineness of these communities permitted to (Dembek et al., 2016; Michelini & Fiorentino, offer authentic and customized experiences. 2012). Simultaneously, with the exception of Aldeias Second, this research presented a framework de Xisto, the fact that the starting point was ag- that intends to explain how this cooperation ap- riculture and not tourism permitted a long term pears. It enhances external entities’ role on the perspective, more integrated. This, (let’s call it) process. On the one hand, they are important as planning permitted a more balanced adaptation a trigger to initiate dialogue between several lo- of the community (Gascón, 2013), avoiding the cal actors and to reach a minimum of consensus dangers of ‘distrust’ pointed out by Mommaas to start the project. On the other hand, they con- (2004). tribute with key resources and knowledge

22 Shared Value Creation, Creative Tourism and Local Communities Development… which, in a first phase, empowers the commu- uncontrolled growth of activity and displacing nity towards value creation on local products, native populations (Gascón et al., 2017). and, in a second phase, stimulates local entre- By promoting local cooperation, these barriers preneurship and attracts other creative profes- could be overcome. As such, sustainability is sionals to diversify activities from the core of also a result of creative tourism activities con- the initial project. As observed in all five cases, ducted by local entrepreneurs, based on nature a majority of these new activities integrate in- experiences, local traditions and crafts and cul- teraction and shared experiences (Rihova et al., tural identity, as defended by Blapp and Mitas 2015). These dimensions establish a basis for (2017). creative tourism deployment. In fact, coopera- For further research, our findings contrib- tion allows not only strengthen local identity, as uted to a more integrated perspective of the an- well as increasing the level of community trust: tecedents of creative tourism on rural commu- between themselves and towards the ability to nities. It will be interesting to understand how create new business. This combination enables they are developed. As such, this research opens communities to offer genuine products, includ- a path to identify the processes of identification ing tourist experiences. creative tourism opportunities by local commu- Third, the impact on creative tourism of nities. This aspect brings the discussion of cre- these developing communities is another inter- ative tourism to the capacity of a place to attract, esting lesson from the studied cases. As seen, retain and train creative entrepreneurs and not creating value on local products promotes com- just creative tourists. As such, our research can munities to solve their problems (at least par- also be a starting point for future research about tially). However, the cases reveal that this de- the point of attractiveness for creative entrepre- velopment is sustainable, as they emerge from a neurs. In other words, when does a community local consensus. As discussed, the impact of become sufficiently attractive or retain to these tourism on local communities is not always pos- people? They are the source of local knowledge itive. For them the risks includes loss of power, and a potential differentiation factor for local neglect of regional barriers (Blackstok, 2005), tourism (Richards, 2011). social exclusion (Lindström & Larson, 2016),

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Artigo submetido a 18 de Agosto de 2018; versão final aceite a 10 de Janeiro de 2019 Paper submitted on August 18, 2018; final version aceptet on January 10, 2019

Empowering Communities Through Capacity Develop- ment: The Case of Misfat Al Abriyeen Project

O Empoderamento das Comunidades Através do Desenvolvi- mento das Suas Capacidades: O Caso do Projeto Misfat Al Abriyeen

Rogelio Policarpio Flores, Jr. [email protected] Department of Economics, Management, Industrial Engineering and Tourism (DEGEIT), Research Unit on Governance, Competitiveness and Public Policies (GOVCOPP), University of Aveiro

Carlos Manuel Martins da Costa [email protected] Department of Economics, Management, Industrial Engineering and Tourism (DEGEIT), Research Unit on Governance, Competitiveness and Public Policies (GOVCOPP), University of Aveiro

Abstract/ Resumo

Tourism in rural communities has attracted a O turismo nas comunidades rurais é atrativo growing interest from nature and cultural tour- para os turistas culturais e para quem procura a ists. This has led to the emergence of rural tour- natureza e a tranquilidade. Pode afirmar-se que ism as a socio-economic tool for development. o turismo rural surge cada vez mais como uma However, some destinations are confronted with ferramenta económica e social para o desenvol- problems such as the residents’ lack of aware- vimento destes territórios. No entanto, alguns ness or limited understanding of tourism and in- destinos enfrentam problemas devido à falta de adequate capacity. Capacity development is fun- consciência dos moradores que têm uma com- damental to achieve sustainability, where com- preensão limitada sobre o potencial do turismo. munities are well-engaged and empowered to O desenvolvimento de novas capacidades é fun- create better opportunities. A local, small-scale damental para alcançar a sustentabilidade. community project in Misfat Al Abriyeen, Al Quando as comunidades são motivadas e têm Hamra, Sultanate of Oman that transformed idle boa capacidade de desenvolvimento estão me- resources into useful, tourism assets, reveals the lhor capacitadas para criar oportunidades. Um significance of community empowerment projeto comunitário local de pequena escala em through capacity development, resulting to local Misfat Al Abriyeen, Al Hamra, Sultanato de people’s improved source of income, deeper un- Omã transformou recursos abandonados em ati- derstanding and cultural interactions with tour- vos úteis de turismo e demonstrou a importância ists and appreciation of community assets. The do empoderamento da comunidade através do project plan was administered between April desenvolvimento das suas capacidades. Como 2014 and September 2015, with an approved im- resultados obtiveram-se melhores fontes de ren- plementation period of five years (2016-2021) dimento dos moradores locais, maior compreen- under the supervision of Ministry of Tourism são e interação culturais com os turistas e valori- (MoT). Furthermore collaborative approach be- zação dos ativos da comunidade. O projeto foi tween the public sector and local community desenvolvido entre abril de 2014 e setembro de plays a significant role in the effective imple- 2015, com um período de implementação apro-

Revista Portuguesa de Estudos Regionais, nº 51

Mentation of capacity development programmes vado de cinco anos (2016-2021) sob a supervi- in rural destinations like Misfat Al Abriyeen. são do Ministério do Turismo (MoT). Permitiu- nos concluir que uma abordagem colaborativa entre o setor público e a comunidade local de- sempenha um papel significativo na implemen- tação efetiva de programas de desenvolvimento de capacidades em destinos rurais como Misfat Al Abriyeen.

Keywords: capacity development, community Palavras-chave: capacidades desenvolvimento, empowerment, rural tourism, partnerships empoderamento da comunidade, turismo rural, parcerias

JEL Codes: O15, P48, R11, Z32 Código JEL: O15, P48, R11, Z32

1. INTRODUCTION lopment (Shilling, 2006). Its range of activities must be pro-poor, transformative and proactive. Rural destinations are typically rich in natu- The growing disposable income and leisure ral, cultural and heritage attractions, yet com- time, improved access, better technologies and monly off the beaten track for most visitors. motivational factors such as ‘escapism’ - where Having a variety of attractions untouched by urban dwellers want to experience life in the ru- modernization and augmented by basic ameni- ral areas, are some attributes leading to the ties and services, visitors are drawn to its appeal emerging interest in rural tourism (Wanda and unique experience. Rural destinations can be a small town or community, close-knit and George, Mair & Reid, 2009). This creates a new usually agrarian society based on family farm- niche market for tourists who are attracted by ing (Wanda George, Mair & Reid, 2009). Some unique ways of life in the rural areas. Rural tour- features include but not limited to the represen- ism serves as a sustainable approach to eco- tations of ideal ways of life, perceived environ- nomic development that creates partnerships mental qualities, genuine architectural character and provides opportunities for harmonizing ser- and authentic food, among others (Bell, 2006; vice standards and enhances stakeholders’ in- Crouch, 2006; Figueiredo, 2009). Although ru- volvement (Gannon, 1994; WTO, 2004). One of ral destinations have their varied attractions, the famous approaches to rural tourism is “at- many still lack wealth and resources that make traction-based identity, where ‘a community’s it difficult in eliminating poverty or improving identity would be purposefully constructed or people’s lives due to a number of issues. adapted to provide a cultural tourism experi- Tourism plays a vital role in rural destina- ence’ (Sidali, Spiller & Schulze, 2011). This tions’ growth and development through genera- form of tourism is not a new concept, as it helps tion of income and jobs (United Nations, 2015) rural regions to pull out from decline (OECD, and viewed as a community and economic de- 2011). Moreover, partnership between the gov- velopment tool, hence, several rural communi- ernment and community is essential due to is- ties have turned it as a way to diversify their sues confronting destinations such as lack of economic and social activities (Razzaq, awareness or inadequate capacity in tourism. Mohamad, Abdulkader, Mustafad, Hamzah, & With recent trends and developments in our Khalifah, 2013; Roberts & Hall, 2001). Tourism global environment, tourism must be inclusive provides socio-economic benefits to rural areas and sustainable to make communities more en- such as infrastructure upgrade (Roberts & Hall, gaged and empowered. Overall, tourism has a 2001) and fosters civic activity of bringing peo- direct bearing on building capacities and has ple together and a means for community deve- been an important sector contributing to

28 Empowering Communities Through Capacity Development: The Case of Misfat Al Abriyeen Project society’s development - economically, socially 2. THE MISFAT AL ABRIYEEN and environmentally. PROJECT Rural destinations apply different capacity development strategies to fit the requirements of The project, a local community initiative their respective localities. Capacity develop- was conceptualized to strengthen the local resi- ment (CD) is significant in transferring dents’ knowledge and management of idle her- knowledge between individuals and institu- itage properties. It was formulated and imple- tions, and there are opportunities to develop the mented based on a ‘government-community’ residents and visitors’ creative potentials partnership, a “cooperative’ approach to have through active participation in learning experi- mutual social, economic and cultural benefits. ences (Richards & Raymond, 2000). Creativity The project is aimed to empower the local com- is an essential element in enhancing local tour- munity by applying capacity development strat- ism livelihood projects by bringing more poten- egies in transforming two idle properties in tial advantages such as value for tourists, inno- Misfat Al Abriyeen village, Al Hamra, Sultan- vative products and sustainable creative re- ate of Oman into useful, tourism assets. These sources (Richards & Wilson, 2006; Tan et al., properties - a heritage house and a ‘trekking’ 2013). Knowledge transfer boosts competitive- centre have been turned into mixed-use proper- ness (Cooper, 2006; Hjalager, 2010) resulting to ties; the heritage house into a Visitor Centre, innovative ideas that improve the society and souvenir shop, accommodation and traditional local residents’ abilities (Velasquez, Yashiro, restaurant and the ‘trekking’ centre as a multi- Yoshimura & Ono, 2005). Innovation provides purpose centre for events, camping, picnic, ‘rest solutions to our problems, and this is true when & relaxation’ and trekking with basic public fa- idle properties are put into good use to benefit cilities. The project’s specific objectives are: to residents and the local community. enhance positive host-guest relationship and Sharing best practices is one way of letting heritage tourism activities in the village, pro- people learn and adapt new methods. Trans- vide business opportunities to local people and forming unutilized properties requires several promote the village as a destination to foreign considerations where capacity development and local visitors. The transformed properties plays a major role. The case of Misfat Al would lead to proper resource utilization, expe- Abriyeen, a local community project approved rience and destination promotions which are by the Ministry of Tourism - Sultanate of Oman, beneficial to the residents, visitors and commu- exhibits how education and trainings improve nity at large. local people’s knowledge and skills in convert- The Misfat Al Abriyeen Project focuses on ing idle properties for touristic purpose and as a four core elements and these are empowerment, source of livelihood. This case study is a pilot development, hospitality and experience. Em- project in the Sultanate of Oman that presents a powerment, in enabling local people to shape practical approach in strengthening capacities and influence the way things or activities are de- of local people. The main aim is to ensure that livered, and the practical techniques in making community is highly integrated in any tourism local decisions; development, in helping em- activity for its long-term viability, empowering ployees develop their personal and organiza- them for better understanding and management tional skills, knowledge and abilities; hospital- of properties. A brief literature concerning com- ity, in offering friendly and generous reception munity empowerment through capacity devel- and entertainment to visitors; and experience, in opment, rural tourism, local community roles promoting good and positive visitor experience and partnerships in effectively managing capac- based on perceptions, feelings and reactions. ity development programmes are presented. Misfat Al Abriyeen is a small project granted Findings and discussions based on observation with a five-year investment by the Ministry of and interview during the period between April Tourism (MoT) - Sultanate of Oman, for the pe- 2014 to September 2015 are also presented; ex- riod 2016-2021. The MoT monitors the project amining its relationship in building capacities and has the possibility of renewal based on set and establishing facts relative to the signifi- standards and regulations. The project plan was cance of collaborative approach among key administered between April 2014 and Septem- stakeholders. Based from these findings, con- ber 2015 and adopted multiple approaches in clusions and implications have been drawn. collecting information through meetings, site

29 Revista Portuguesa de Estudos Regionais, nº 51

Figure 1. Misfat Al Abriyeen Project’s Core Elements

Empowerment Development

Hospitality Experience

visit, observation, interview and inventory. Al Hamra. Al Hamra is located in Al Dhakili- Transforming properties into useful, com- yah Governorate, bordered by the Wilayat of munity assets by the local community is already Nizwa to the east and the Wilayat of Bahla to an achievement towards enhancing people’s the south. Al Hamra, around 220 kilometers lives. Although many locals who are part of this from Muscat, is also known as Hamra Al project do not have formal education about her- Abrineen with reference to Al Abri tribe who itage or tourism management, the group’s settled in the place many years ago. Some of the leader (a graduate of archaeology and tourism), oldest preserved houses in Oman can be found regularly conducts meetings, seminars and in Al Hamra, a town built on a tilted rock slab trainings in order to educate others. His past ex- (Ministry of Tourism, 2016). perience of managing an old house which was Jebel2 Shams, the village of Misfah, al converted into a bed and breakfast accommoda- Hootah Cave, Hasat bin Salt, Bait3 al Safa and tion sets a good example that helps locals un- Bait al Shari’ah are the main tourist attractions derstand and embrace tourism positively. For in the Wilayat Al Hamra, which lies in the the five-year period, the project is expected to: north-western part of the Jebel Akhdar range. It effectively utilize idle or abandoned properties is renowned for its wadis, aflaj, gardens and or- based on a pro-active role and efficient manage- chards, while the mountain of Jebel Shams, ment; boost the local community roles and em- which rises to 12,000 feet above sea level, is its powerment through a local tourism initiative; most significant natural feature (Ministry of In- increase awareness about tourism and its posi- formation, 2002). Al Hamra is one of the most tive impacts; promote the Omani heritage and important tourism wilayats in the Sultanate be- culture through architecture, traditional food, cause of the large number of visitors it receives handicrafts and hospitality; generate additional all year round. Interestingly, Al Hamra is well- income and serve as a source of livelihood for known for its ancient buildings and breathtak- members and their families; stimulate personal ing date palm gardens, lime trees and agricul- growth and development amongst locals and tural terraces (Gulf Research Centre, 2013). build their confidence and entrepreneurial abil- The famous village of Misfat Al Abriyeen is ities; and emulate this practical and sustainable situated over 3,000 feet high. The village has an initiative in other Omani tourism sites or desti- ancient fortress known as “Rowghan4” which is nations. believed to pre-date Islam. The traditional houses were built on large rocks that have 3. PROFILE unique designs with arched passageways. Mis- fat’s mountain side is planted with terraced Oman, as an emerging tourism destination plots of date palms, limes, sweet oranges, known for its rich heritage and culture, has one grapes, figs and mulberries and the village re- of the most diverse environments in the Middle ceives its water from a single spring on the wadi East. In 2014, Oman attracted 2.1 million tour- bed (Oman Official Guide, 2009). The accessi- ists and revenue from tourism accounted for ap- ble road has made the village a popular place in proximately 3% of Oman’s gross domestic the Sultanate. Misfat Al Abriyeen has 1,130 res- product (GDP) (World Travel & Tourism idents in 2017 (Al Hamra Health Centre, 2017). Council, 2014). One of the known attractions in Villagers are devout Muslims, with their social, the Sultanate is Misfat Al Abriyeen in Wilayat1

1 Wilayat means an administrative division or province. 3 ‘Bait’ means an edifice, building or home. 2 ‘Jebel’ is an Arabic term for mountain or a range of hills. 4 ‘Rowghan’ is an Arabic term for an ancient fortress.

30 Empowering Communities Through Capacity Development: The Case of Misfat Al Abriyeen Project economic and moral conduct substantially in- properties namely, Misfah Old House and Erti- spired by the teachings of Qu’ran5. Misfah is a hal Trekking Centre are both situated in this vil- living story of rugged mountains turned into a lage. green oasis that enjoys security, prosperity and development (Oman Observer, 2013). Two idle

Figure 2. Misfat Al Abriyeen Location

Lonely Planet, 2015; Maps of World, 2011-12

Figure 3. Misfat Al Abriyeen

Misfah Old House, 2015

The Misfah Old House was constructed in lunches and snacks for visitors. Foods are pre- 2012, with an approximate size of 350 square pared and supplied by the local residents com- meters. It has three floors comprising three bined with traditional Omani hospitality and rooms, one kitchen, two toilets and one big service. The Ertihal ‘Trekking’ Centre was con- room. The property is owned by the Ministry of structed around twenty-two years ago. This Tourism (MoT) and converted into Misfah Her- property located around 300 meters away from itage House that comprises a Visitor Infor- the Misfah Heritage House, is also owned by the mation Centre, accommodation, a souvenir MoT and has long been idle. The compound has shop and a restaurant that caters authentic idle shops, recreational areas and picnic ground. Omani food. The traditional restaurant serves Ertihal Trekking Centre was converted as a

5 ‘Qu’ran’ is the Holy book of Islamic religion.

31 Revista Portuguesa de Estudos Regionais, nº 51 multi-purpose centre for events, camping, pic- managed by Omanis and caters traditional nic, ‘rest and relaxation’ and serves as a trek- Omani food including snacks and refreshments. king point for campers and visitors who would It now plays a role in promoting traditional like to embark on a journey to Misfah village events, adventure and recreation activities in the and nearby surroundings. The site is exclusively area.

Figure 4. Misfah Heritage House

(a) Inside the Compound (b) The Back View

Figure 5. Ertihal Trekking Centre

(a) Rest Area (b) Room / Office (Flores, 2015)

4. THE PROJECT PLAN PROCESS local community. Discussions covered various issues such as purpose and awareness about the The project was conceptualized and under- benefits of the proposed project. Meetings and taken due to idle properties’ feasibility of be- seminars were conducted during April and May coming useful resources for the community. 2014 to ensure members’ commitment for the The project plan was developed from the period project. Critical information was given about April 2014 until September 2015 and imple- how the two properties will operate, including mented, as a five-year small-scale investment, recommended actions for planned activities re- from 2016 until 2021, under the supervision of lated to planning and management. The meet- MoT. Several steps were followed in preparing ings are also significant to build trust and confi- the project plan considering the management, dence amongst the group. They also act as a rep- technical, financial and socio-economic as- resentative for stakeholders’ meeting called pects. upon by the government. Secondly, site visit, First, preliminary meetings with local com- field observation and inventory were conducted munity were arranged. These were taken into in order to get the actual information. These consideration to draft the proposal and get rele- methods were also done to familiarize with the vant information and facts from members of the place and get firsthand experience on the status

32 Empowering Communities Through Capacity Development: The Case of Misfat Al Abriyeen Project of idle properties. An inventory was made to operations. With the MoT’s approval, the pro- record all the available resources in the two ject was then registered as an entity under the properties. These activities were administered name Misfah LLC.6 with the Ministry of Com- for four months, from April to July, 2014. Then, merce and Industry. Acquisition of additional discussion with locals and interview with the as- materials/equipment was also initiated together sociation leader were performed. Project bene- with the recruitment of staff. Tourism and hos- fits, effective administration, government’s pitality seminars and trainings (tour guiding, roles and improving interactions with visitors, customer service, reservations, housekeeping for a period of two months (August and Septem- and property administration) were also con- ber 2014) were the key issues discussed. Some ducted among the members and staff in order to locals would be meeting foreign visitors for the ensure the effective management, operations first time and orientations are important to avoid and treatment of visitors. Each programme was misunderstandings or conflicts. delivered for a period of three to four days. Afterwards, the preparation of document These activities took place between June and was initiated. Document was prepared based on September 2015. The properties opened to the site visit, field observation and inventory that public in the early 2016. took three months (from October to December Finally, project monitoring and evaluation 2014). Four parts of the report were prepared: mechanisms were set-up. Management and op- management, technical, financial and socio- erations are self-assessed by Misfah LLC. Un- economical aspects. The management aspect der the leadership of Mr. Ahmed Al Abri (Man- presented details about its ‘cooperative’ busi- aging Director) representing the group, the pro- ness nature and type operation, products and ject is currently operating successfully. Misfah services, organizational profile, training plan, LLC was registered as a business entity and has Omanisation policy, operations, suppliers, pro- the authority and decision-making power in motions and risk management. Technical aspect terms of management and operations for five includes facility lay-out and designs, space uti- years, while MoT has the full ownership and au- lization, safety, inventory and graphical image thority in all physical assets of both properties presentations. Financial aspect highlights the e.g. buildings, built-in furniture, fixtures and estimated budget, operational costs and income equipment. statement while socio-economic aspect focuses on the contributions of the project to local peo- 5. CAPACITY DEVELOPMENT IN ple, society and the environment. Submission of RURAL DESTINATIONS the final project plan was the fifth step. After thorough preparation and compliance to the lo- The success of any destination in attracting cal and national authorities’ requirements, the visitors depends on the capabilities and skills of project plan was submitted to the Ministry of human resource. No development can occur if Tourism (MoT) for evaluation and approval in locals are unskilled or lack the proper training. early 2015. After that, evaluation and approval People, having the capacity will work and de- commenced. Upon submission to MoT, the fine activities that make the ‘differentiation.’ evaluation process took place for at least three Destinations, as highlighted by Ritchie and months (March to May 2015). The association Crouch (2003), must remain competitive in or- having complied with the appropriate require- der to attract visitors, increase tourism income ments was given an approval to take over the and provide memorable experiences while en- management and operations of the two idle her- hancing the well-being of people and communi- itage properties for five years (2016-2021), re- ties. This indicates that human capital is the newable, given that future compliance to the most important development factor that drives MoT requirements are met. long-term effects at individual, national and Then, project was registered and imple- global levels (Macbeth, Carson & Northcote, mented. After receiving approval from the au- 2004; Maria Lut & Vlad, 2012). Strengthen- thority, the group conducted discussions in or- ingthe capacities of people and instituions is es- der to lay out the commencement of project sential to ensure CD’s role in advancing tourism

6 The project is a small-scale business managed and operated by 40-member team headed by the with the Managing Director & Leader.

33 Revista Portuguesa de Estudos Regionais, nº 51

Figure 6. Steps in the Misfat Al Abriyeen Project Plan

Flores, 2015 resources and organizations (Butler, 2016), to- nities, where residents either have lack of wards ‘community empowerment’ in creating awareness or limited understanding about tour- new ideas and methods that would improve the ism industry (World Bank, 2006) or lack of ad- surrounding and abilities of the residents (Ve- equate capacity in tourism shows a limiting fac- lasquez, Yashiro, Yoshimura & Ono, 2005). tor in development programmes (Eicher, 2004). Destinations must adapt and develop new strat- In this project, residents are pleased with the ca- egies to become marketable and competitive pacity education and trainings that led them to (Carvalho & Costa, 2011; Santos & Ramos, transform two idle properties into community 2008). Through the years, the main key success assets. The opinions about the impacts of tour- factor to the implementation of sustainable tourism for their community are highly positive. ism in any community is through the support of Residents believe self-employment, job crea- various stakeholders (Aas, et al., 2005; Gunn, tion, cultural exchange experience, heritage 1988; Joppe, 1996). The sustainable develop- awareness and sense of pride, growth and de- ment (SD) concept is all about meeting the velopment of the area and valuation of real es- needs and aspirations of the locals at present and tate properties, are some of the benefits they the future without compromising the environ- will get. On the contrary, they are slightly cau- ment (World Tourism Organization, 2004), em- tious once visitors flock to their place, as tour- bedding social inclusion, economic growth and ism activity might result to commercialization environmental stewardship. This must be care- of their culture, threat to family structure and fully delivered, both for immediate and long- inflation. Overall, they believe tourism brings term benefits to people, environment and the more benefits and capacity development activi- economy (World Bank, 2006). Capacity is an ties lead to empowerment. When people are em- integral part of sustainable development that powered, development occurs that drives eco- gives emphasis on tourism products and re- nomic growth, addresses social challenges and sources. It provides a range of potential inter- creates innovative solutions and opportunities, ventions between public, private and commu- such as engagement in entrepreneurial activities nity sector organizations that widen engage- (OECD, 2012). ment in building outputs not just technical but Another example stressing local community also methodological, policy-driven and institu- empowerment is the Kenyan case presented by tional (DFID, 2006). Akama, Christopher & Burnett in 1996, con- Misfat Al Abriyeen, as a rural destination cerning the development on the types of tourism must explore its potentials to attract visitors, facilities and forms of conservation pro- create jobs and provide memorable experiences grammes where benefits and costs are to be while enhancing the well-being of its people shared among stakeholders. Scheyvens (2003) and the community – economically, socio-cul- supports this principle about real control over turally and environmentally (Ritchie & Crouch, tourism by communities. This augment the need 2003). The case of Misfat, like in many commu- for communities to consider important aspects

34 Empowering Communities Through Capacity Development: The Case of Misfat Al Abriyeen Project such as checking the desirable type of tourism; social empowerment, a situation where a com- local people as main beneficiary; ensuring tour- munity’s sense of cohesion and integrity is ism occurs in a controlled manner and does not strengthened through involvement in tourism; undermine the culture, society and livelihood psychological empowerment, to shape commu- activities. The ability to solve problems and nity’s confidence in its ability to participate eq- translate into action is essential for commu- uitably and effectively in tourism planning and nity’s capacity to take charge and make deci- development in order to play an active role in sions for the people. The community may then decision-making or power-sharing processes; or address problems or issues through formal or in- political empowerment, where community formal means, spontaneously or through members’ voices and concerns are guiding the planned actions (Chaskin, 2001). In such cases, development of any tourism initiative from the empowerment can be done in multiple ways beginning up to its implementation. The frame- (Scheyvens, 2003). These could be through eco- work (see Figure 7) demonstrates the multiple nomic empowerment, by securing access to pro- ways in empowering communities to say the ductive resources in the area and diversification least, in having management control over tour- in terms of livelihood options for many commu- ism and maximizing benefits in the long-term. nities;

Figure 7. Local Involvement in Managing Tourism

Economic Social Empowerment Empowerment

Community Empowerment

Psychological Political Empowerment Empowerment

Scheyvens cited in Singh, Timothy and Dowling, 2003

Relatively, capacity development (CD) as a people, while decision-making is made by the holistic enterprise, strengthens the processes, local community in the form of self-directed de- systems and rules that influence collective and velopment (Koutra & Edwards, 2012). When individual behavior and performance for devel- communities own, manage and control their lo- oping communities and organizations (Abaza, cal tourism initiatives, these create community Bankobeza, Bendahou and Al, 2002; Butler, harmony and cohesion as results (Giampiccoli, 2016). These are proven with the tourism and Jugmohan & Mtapuri, 2014). This project sup- hospitality trainings and seminars provided to ports the idea based on these statements: “We locals in the beginning and during the will be able to create new jobs for almost eve- implementation phases of the project. The ryone. This will develop the community as well group leader states: “Our personal and social as the living standards of the locals. This pro- conditions will improve if capacity development ject will also be a bench mark and standards for (tourism) programmes (e.g. trainings, work- others to follow and raise their living. The idle shops, seminars) are regularly provided by gov- property will be properly utilized, and the focus ernment, non-government or private institu- of tourism will be increased many folds.” This tions. The best outcome of this project is the de- project empowers me to become a better person velopment of opportunities for the locals and and citizen. Now, I have a broader vision of em- improving their lifestyles. The idle properties powering locals by empowering myself.” Build- will remain idle if not utilized in the best man- ing capacity is an important element to improve ner.” This is true where institutions or partners and influence economic development through are vital in delivering programmes to educate proper governance (Levy & Kpundeh, 2004).

35 Revista Portuguesa de Estudos Regionais, nº 51

However, government institutions still play a Currently, the project is now on its second pivotal role in making sure that entrepreneurial year. The costs of operations are shared by all opportunities are encouraged and prioritized for members of Misfah LLC and incomes are also the local people. The leader comments: “Gov- divided amongst them. In both properties, ernment should hold workshops and seminars things are running and operating smoothly with in different regions. Government must also no particular issues or problems. MoT acknowl- share the success stories of people who are edges this project and continuously provides making tourism as their ‘bread and butter.’ support and assessment. This project has also Government should encourage all such activi- helped MoT to enhance their licensing and clas- ties and support financially.” This attests no sification of heritage inns under their new hotel matter what type of management approach, categories. On the other hand, local members government institutions are a core element of are satisfied with the benefits that they are get- any development activity. Even at times where ting and notably, Misfah LLC is now planning government or public institutions lack support to buy old houses and/or convert some of their or power to do things due to limited resources, members’ other residential properties (old an initiative from a local community or private houses) into bed and breakfast accommodation sector is a critical step in empowering individu- or as a tourism establishment. Indeed, the pro- als and communities. Creative ideas also play an ject is a model where local community em- important role on making these things happen. braced tourism through capacity development, Local community involvement contributes to resulting to better awareness and understanding sustainable tourism development of any desti- and promoting better entrepreneurial commit- nation (Chambers, 2009) and this local initiative ment, education and management of idle prop- serves as a good example for other localities to erties. A project that adopted a ‘cooperative’ emulate. The local community can make a dif- and ‘proactive’ approach has led both to com- ference in any destination as a partner for munity empowerment and ownership. Capacity change. Generally, a government-community development has brought positive results to the partnership or any form of collaboration creates members and the partnerships between the gov- better, positive results. ernment and local community is an effective mechanism.

Figure 8. Community Empowerment through Capacity Development in Rural Destinations

Adapted from Bolger, 2000; Costa, Panyik & Buhalis, 2013; Hofwegen, 2008; and UNDP, 2015

6. CONCLUSIONS old houses and community facilities into tourism assets that benefit the local people, such as The collaboration between the Ministry of in the case of Misfah Heritage House and Erti- Tourism, local community and private individ- hal Trekking Centre. The project has helped at uals has provided a practical and effective ap- least forty members of the local community proach in transforming idle properties such as

36 Empowering Communities Through Capacity Development: The Case of Misfat Al Abriyeen Project who are benefiting from this small-scale tour- visitor experience among others (Choi & Sira- ism initiative. The members who are all Omanis kaya, 2006; Eusébio, Kastenholz & Breda, have positively embraced tourism as a source of 2014). The project’s positive results show the livelihood or extra income after participation in need to facilitate initiatives which are adaptable a number of trainings and capacity development in other areas confronting similar problems or programmes. issues. Rural destinations must have the capac- Through the collaborative efforts of the Min- ity to utilize tourism inclusively and future ca- istry of Tourism and private individuals, capac- pacity development initiatives must be designed ity development has improved their tourism un- to achieve sustainable outcomes. derstanding as well as their personal knowledge and skills. Accordingly, the transformation of 7. LIMITATIONS AND FUTURE RE- unused properties has resulted to benefits such SEARCH as additional source of income, job creation, cultural interaction and appreciation of heritage Due to the nature of the study, this research and community assets. The project has proven was based largely on qualitative method. The that capacity development strengthens rural project plan is small-scale, which was applied communities through partnerships. as a pilot initiative in a rural setting. Although Transforming idle properties is more multiple sources of information were used - straightforward if concerned institutions and de- from site visit, field observation, inventory and cision-makers embrace ‘proactive’ approach, interview for the feasibility study; field obser- where local community and government are vation and interview were taken as primary data well-engaged. By applying a ‘bottom-up’ ap- sources for the presentation of this paper. While proach, management of tourism activities in ru- the project plan was prepared and conducted be- ral destinations can be more progressive and es- tween the period April 2014 and September sential in situations where government institu- 2015, results are limited by the available data. tions lack institutional capacity (Swaminathan, The project is currently running with a contract 2003) or tourism leadership (Smith, Krannich & term of five years, subject for renewal. It is Hunter, 2001; Aref & Redzuan, 2009). Misfat therefore recommended to closely monitor the Al Abriyeen, as an example of a community that management and operations of this project until progressed due to individual and collective ef- 2021 in order to ensure its continued benefits for forts, has empowered its residents - a remarka- the community and collect relevant information ble outcome. Furthermore, any type of partner- for future research efforts. The project also sets ships is crucial to the overall development of ru- as a good example of collaborative efforts be- ral destinations. It must be sustainable, which tween stakeholders, either on the aspect of tour- improves local residents’ quality of life, encour- ism capacity development or utilization of idle ages local employment and economic linkages, properties, which can be initiated in other rural considers carrying capacity, protects natural settings, localities or regions. and built heritage and provides high-quality

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Artigo submetido a 29 de Junho de 2018; versão final aceite a 25 de Novembro de 2018 Paper submitted at June 29, 2018; final version acepted at November 25, 2018

Sunny, Windy, Muddy and Salty Creative Tourism Experience in a Salt Pan1

Uma Soalheira, Ventosa, Lamacenta e Salgada Experiência de Turismo Criativo Numa Salina

Jorge Ramos [email protected] Research Associate at CIEO – Centre for Tourism, sustainability and Weel-Beingm University do Algarve

Veronika Rosová Honorary Consulate of Czech Republic in Faro

Ana Cláudia Campos Centre for Tourism, Sustainability and Well-Being, Faculty of Economics University of Algarve

Abstract/ Resumo

Algarve (Portugal) is a well known region by O Algarve (Portugal) é uma região bem co- its exclusive rocky beaches. A mild weather and nhecida onde se podem encontrar praias rocho- the availability of over 3,000 sunny hours/year sas ímpares. Um tempo ameno e a disponibili- are important factors a tourist should consider dade de sol acima de 3000 horas/ano são fatores when making travel decisions. The present study importantes a considerar quando um turista toma investigates when the tourist is challenged to dis- decisões de viagem. O presente estudo investiga cover not the beaches, but the region’s less quando o turista é desafiado a descobrir não as known protected areas in the tidal marsh and its praias, mas as menos conhecidas áreas protegi- traditional human activities. A case study re- das no sapal de marés e as suas atividades huma- search is presented based on creative tourism ex- nas tradicionais. É apresentada uma investigação periences in the traditional activity of salt pro- de caso de estudo baseada em experiências de tu- duction, where the visitor can go beyond a sim- rismo criativo numa atividade tradicional de pro- ple visit to the site. Key findings from this re- dução de sal, onde o visitante pode ir além duma search show the involvement of all parties in the simples visita ao local. Os principais resultados production of the creative experience, the enthu- evidenciam o envolvimento de todos os partici- siasm and willingness to co-create it, despite pantes na produção da experiência turística cria- awareness of the need to balance visitors’ skills tiva, assim como o entusiasmo e a disponibili- with the experiential proposal. In the whole, re- dade na sua criação conjunta, todavia revelam sults provide insightful information useful to the também a perceção da necessidade de equilibrar diversified stakeholders involved in creative as competências dos visitantes com os desafios tourism and the sustainability of activities em- inerentes à proposta da experiência. No seu todo, bedded in specific territories. os resultados deste estudo proporcionam infor- mação útil para os diversos intervenientes dedi- cados ao turismo criativo e sustentabilidade de atividades em territórios específicos.

1 This paper is partially funded by FCT – the Portuguese Foundation for Science and Technology through project UID/SOC/04020/2013.

Revista Portuguesa de Estudos Regionais, nº 51

Keywords: Algarve; Creative tourism; Flower Palavras-chave: Algarve; Experiência turística; of salt; Salt; Tourism experience. Flor-de-sal; Sal; Turismo criativo.

JEL codes: Q25, Z30, Z31, Z32 Códigos JEL: Q25, Z30, Z31, Z32

1. INTRODUCTION the flower of salt (Lee et al., 2013). In Portugal, traditional salt pans became non-profitable for Tourism is an ever-growing industry and small-scale producers because the costs of re- keeps playing a very important role in sustain- shaping pans in the production area each year ing the development of national, regional and were significantly higher than the revenue taken local economies (Kärrholm, 2011; Ramos et al., from solely coarse salt extraction and selling 2014). As competition between destinations (Nogueira et al., 2014). Therefore, adequate lo- grows, the ability to satisfy increasingly de- cation is a highly important factor to consider manding, knowledgeable and curious tourists when investing in contemporary salt pans, par- becomes more difficult. If tourism is to continue ticularly when is intended to produce not only to help economies to thrive, regardless the level coarse salt, but also flower of salt (Figure 1). (national, regional or local), destination manag- The availability of a high number of sunny ers and tourism firms need to devise new ways hours in a year and low precipitation are im- to attract these tourists (Bianchi, 2002). Crea- portant factors to take into consideration. Thus, tive tourism is currently envisaged as a promi- with the increasing demand for the flower of salt nent type of tourism able to meet this goal (Dju- and with the objective of attracting a highly in- kic & Vukmirovic, 2012). Creative tourism is teresting and valuable tourism market, some believed to respond of the aspirations of the former and even newer entrants set to develop 21st century tourists’ (Richards, 2009; OECD, this activity (Rocha et al., 2012). The harvested 2014), while at the same time contributing to flower of salt is seen by these producers as maintain or even boost small and family-owned meeting the requirement of high quality stand- companies, traditionally connected to the use of ards desired by consumers (Galvis-Sánchez et a particular territory’s natural resources or to al., 2011). brisk local cultural heritage activities (Getz et Consumers in general, but also tourists with al., 2004; Richards, 2009). an interest in gastronomy and seekers of tradi- Many destinations around the world that tional food experiences, became eclectic and have adopted tourism as a strategy for economic demanding, as they want to know where the growth have done so at the expenses of environ- food items they buy and consume come from mental and social sustainability. At present (Hume, 2013). The flower of salt, and up to a time, there is a general awareness concerning certain extent coarse sea salt, is a type of prod- the contribution of planned tourism to the envi- uct to which this applies, i.e., tourists are willing ronment, local economies and social identity to visit its source of origin (Drake & Drake, (Maretti & Salvatore, 2012). Such awareness 2011). Underlying the interest in this product is has been leading regional and local public au- a search for multi-sensorial experiences, in thorities to stimulate the development of tradi- which tastes, smells and tactile sensations com- tional economic and cultural activities with a fo- bine in rich experience environments (Agapito, cus on tourism (Citarella & Maglio, 2014). At Valle and Mendes, 2014), and where particular the same time, owners of small family busi- attention to the supra-cited aspect is given by nesses who built expertise and technical cultural or eco-tourists (Boniface, 2001). Wil- knowledge based on their activities over the liams (2006) has highlighted that in tourism the years are becoming sensitive to the role of tour- more sensory is an experience, the more memo- ism in helping them to sustain and diversify the rable it will be. business (Karlsdóttir, 2009). Traditional pro- Creative tourism is currently under the spot- duction of sea salt is one such case. light of tourism researchers and practitioners as Producing sea salt based on traditional pro- increasing examples are emerging which count cesses, presently, is only possible due to the as interesting approaches to tourism sustainable emergence of a “new” highly valued product: development as well as showcases of how

42 Sunny, Windy, Muddy and Salty Creative Tourism Experience in a Salt Pan tourism initiatives are diverting from massified experience design approach and implementa- supply and destinations (Richards and Wilson, tion. 2006). Still there is much to understand con- In order to better understand specific concerning the processes involved in these initia- texts of participated conception of creative tour- tives. Particularly when they take place in pe- ism experiences, two research objectives for ripheral or regional tourism areas, where small this research are set, namely: (1) to analyze a co- family-owned businesses run their operations creation approach design of the tourism experi- based on very territorially specific resources. ence in a salt pan where visitors are in continu- One can speculate creative tourism experiences ous dialogue with facilitators, where in order to vary greatly in content, but also according to the meet that purpose, this ancient human activity location or the environment where they take (salt production) must bring about a sprinkle of place, and the culturally embedded human par- modernity to illustrate and describe the process; ticipants. Variability of influential factors may and (2) to contribute to the design of experien- determine that different processes occur in cre- tial proposals applied to the specific case of salt ative experiences or that the degree of partici- production and harvesting. pants’ involvement and contribution modulates

Figure 1: Main flower of salt production areas in Portugal mainland and location of the case study (Olhão municipality).

Source: Authors' own.

2. THEORETICAL FRAMEWORK: potential through active participation in courses CREATIVE TOURISM AND CO-CRE- and learning experiences, which are character- ATION istic of the holiday destination where they are undertaken”. Demand for creative tourism is Richards and Raymond (2000: 19) defined growing as a sign of wider societal mutations creative tourism as “tourism which offers visi- that involve changes in individuals’ mind-sets tors the opportunity to develop their creative and lifestyles (Campos et al., 2018). These

43 Revista Portuguesa de Estudos Regionais, nº 51 mutations are grounded in the wider recognition sceneries and sounds” (Ihamäki, 2012: 164) is a of the power of human creativity to shape and building block of the landscape of the creative revitalize urban development, develop the crea- experience. tive industries, innovate businesses and express Creative tourism is a new approach to the the freedom of individual entrepreneurship consumption of tourism and is a testimony of (Smith, 2005). In this sense, the rise of a crea- how tourists’ expectations are evolving towards tive approach to contemporary life is a matter of a superior meaning of this form of consumption, social processes as well as of individuals com- today inseparable of a perspective of quality of mitted to challenging traditional ways of think- life and lifestyle (Ivanovic, 2008). As creative ing about and doing things. tourism accommodates the combination of both Creative tourism is based on the acknowl- dimensions of entertainment and learning, it has edgement of the contribution of individuals’ been identified as a form of edutainment (Choo cultural capital to approach tourism offers, & Jamal, 2009). In fact, edutainment can be un- products, and experiences in a whole new way derstood as a new way to approach cultures and (Richards, 2011). Cultural capital endows indi- their cultural assets, both tangible and intangi- viduals with the necessary tools to interact dif- ble. Local traditions loaded with spiritual value, ferently with the environment. In turn, individ- as well as celebrations of gastronomy, carry cul- uals demand more from interaction with others. tural meaning which is appealing to creative Resourceful people, gathering certain capabili- tourists. This cultural meaning however comes ties (e.g., knowledge, expertise, technological with the desire to engage in participatory expe- skills, and so on), are interested in self-develop- riences rather than being framed in passive tour ment and in connecting to environments where visits (Lehman & Reiser, 2014). Creative tour- they can apply skills, be active and build up ism is thus one of the most representative forms their sense of personal identity (Morgan & of the performance turn heralded two decades Pritchard, 2005). ago by Mansfeldt et al., (2008). Tourists who recognize their potential to be Creative tourism is seen as a type of tourism creative, identify proposals loaded with experi- closely linked to co-creation, and a strong basis ential content and welcome tourism offers for a co-creation approach to tourism businesses which appeal to their sense of autonomy, (Binkhorst & Den Dekker, 2009; OECD, 2014). achievement and self-efficacy (Su et al., 2016). Co-creation emerged as a new framework for Such proposals are in fact “first-hand genuine business management (Prahalad & Ramas- experiences” (Hung et al., 2014). Additionally, wamy, 2004), based on the premise that value is these tourists expect that experiences are not jointly created by producers and consumers in only opportunities to learn about local cultures the context of experiences during interactions and territories, but also to be engaged at differ- where all parties involved apply skills and re- ent levels, such as: sensorially, intellectually sources. Experiences, not services, are the base and emotionally (Swarbrooke et al., 2003). In from which value emerges, and as these are sub- fact, creative tourism proposals are designed jectively lived by customers, value derived from and facilitated in a way to allow tourists to ex- it is contextualized and personalized. Thus, as press themselves in a variety of experiences customers commit themselves to the creation of (Richards, 2010) ranging from intellectually fo- the experience by applying skills, competences cuses activities, such as learning experiences and a variety of capabilities, they are called op- and language classes, to sensorially-based ac- erant resources of the company (Vargo & tivities which engage the individuals with all Lusch, 2004, 2008). their senses. Gastronomy and cooking courses Creative tourism captures the spirit of the or perfume-making workshops serve as good challenge addressed to tourism scholars and examples of the multi-sensory dimension of cre- practitioners to better understand and develop ative experiences (Richards & Wilson, 2006), co-creation tourism experiences (Binkhorst & but also creative sport tourism is an opportunity Den Dekker, 2009). These, by exploring new for multi-sensorial experiences (Ihamäki, ways of production which accommodate a 2012). Creative tourism, in this sense, is argued greater number of tourists willing to actively to meet the motivations of new tourists who de- participate in the process, allow them to create sire to live an experience through all the senses, new and personalized meanings at a deeper and thus “the feeling of the materials, smells, level (Richards & Wilson, 2006). Co-creation

44 Sunny, Windy, Muddy and Salty Creative Tourism Experience in a Salt Pan processes and facilitators include firms which owners and staff (Beeton, 2005). This proximity have the organizational will and the structural allowed researchers to get closer to relevant requirements to interact with each customer in a data sources and at the same time to develop in- personalized way, operating effectively if formed interpretations of phenomena (Cole, adopting flexible and innovative approaches to 2005). serve more demanding and skilled visitors, but Simple attention, orientation and challenges also visitors who may vary greatly in their abil- proposed by salt pan guides make much of the ities to face the particular challenges involved difference and in fact they do contribute to the in the experiential proposals. creation of meaning of the experience (Ooi, 2010) and joint creativity becomes the rule 3. MATERIAL AND METHODS (Richards, 2011). The creative tourist experience proposal basically focuses on the follow- This research adopts a case study approach ing: Hands-on-approach, take a rake to break which holds, according to relevant literature the hard salt rock and pile it artistically into a sources, “a significant place in the exploratory pyramid at the border of the rectangular pan; or stage of the investigation” (Beeton, 2005: 39). else, take a long squeegee and, with a monastic Additionally, case studies are understood as ad- patience, sieve the upper floating sensitive crys- equate contexts for insight elicitation by means tal without dissolving it until the person gathers of gathering rich and complex data (Huberman the flower of salt. & Miles, 2002). According to Yin’s (1994) This sort of experience provided to highly seminal work on the case study method, data are demanding tourists intends to result in a win- generated through multiple sources of evidence win situation. On the one hand, tourists more and the most important contribution of this ap- than solely gaze at the place where one of their proach to general knowledge is the emergence daily food items is produced, they are able to of insightful results, much more than the tech- join the staff in the harvesting task with their nicalities involved in its implementation and ap- own hands and actually use the traditional tools, propriate use. Primary data were obtained in this way bringing additional value to the mere through participant observation and informal in- passive experience. On the other hand, the pro- terviews or simply conversations with subjects ducer by behaving with absolute transparency belonging to the firm or that could be found in towards production processes and products, the experience environment; and secondary data builds trust with tourists, and from this connec- sources include brochures and other commer- tion derive benefits of positive word-of-mouth, cial communication, business-related docu- loyalty and recommendation (Litvin et al., ments, historical data sources from public local 2008). records. 3.2 Experience design with a co-creation 3.1 Participant observation approach

Participant observation took place during all Creative tourism experiences are exciting the research’s stages and data were collected challenges for tourists as they are stimulated to through the researchers’ field notes and photo- participate in the experience by applying some graphic material and records. Depth of informa- type of personal resources (physical, intellec- tive content was aimed through constant use of tual, cultural); however, they are equally chal- these tools, as visitor statistics, e.g., were lack- lenging as business owners need to find the ad- ing for that particular site, and accordingly not equate facilitating conditions for tourists to en- much was known about visitor profile. One of gage in memorable creative events. New expe- the researchers engaged in the case study site by riential proposals, if they are to succeed for both becoming a part-time tour guide with technical parties, develop from interactive processes con- knowledge on marine life and ecosystems, thus ducive to a definite product offering. Interac- participant observation involved only a moder- tions are crucial to building dialogue between ate degree of immersion in the research context. all participants with coincident expectations to- This researcher, though acquainted with busi- wards creation of experiential value, and thus ness owners, wasn’t part of the family group. co-creation of experiences emerges from the However, though not belonging to this commu- early stage of design. These processes involved nity, the researcher had inner full acceptance by in the first place joint discussion between

45 Revista Portuguesa de Estudos Regionais, nº 51 owners and staff, since both groups are required symbolic amount of both coarse salt and flower to make decisions as what to propose to tourists, of salt (Figure 2). Tourist participation is sup- what are the needed skills to fully participate in posed to extend through additional activities, the experience, the material and logistics re- e.g. carrying out their processing tasks sources, and the experience key stages. (weighting, packing, labeling). A metric to Basically, a tourist is told a brief introduc- measure the satisfaction obtained by tourist is tion where the most important parts of coarse deemed necessary. As long as a positive reac- salt production and flower of salt are explained tion is given (the tourist is satisfied), the word (guiding). Then, the tourist is challenged to try of mouth and to repeat the visit are possible sce- each of the different rakes (for coarse salt) and narios. Oppositely, a negative reaction (the tour- squeegee (for flower of salt). Afterward, the ist is unsatisfied), may result in decreasing vis- tourist is expected to harvest, allocate the com- its. modity into a plastic box and let it dry some

Figure 2: Experience design for the hands on approach creative tourism experience: (a) The coarse salt, (b) the flower of salt.

Source: Authors' own.

In the context of creative tourism, it was in- 4. THE CASE STUDY: SALINA DO tended to study the perceived most “exciting” GRELHA salt pan task combination experienced by tourists. By task combination it is meant the 4.1 Settings development of two lines of activities, one for Across the Ria Formosa there is a trail of aban- coarse salt and the other for flower of salt. In doned buildings sharing a common feature that that scope, it was decided to define an experi- is a stoned arch bending over a tidal plume of ence design (Table 1). water that goes back and forth twice a day.

46 Sunny, Windy, Muddy and Salty Creative Tourism Experience in a Salt Pan

Table 1: Stages used in the hands on approach creative tourism experience for both coarse salt and flower of salt. Stages Coarse salt Flower of salt Specific pan area Bottom Surface Type of grain Coarse, irregular (precipitated) Thin, squared regular (floating) Tools Racks (break, push, pile) Squeegee (sieve) Stage 1. Learning Water source, evaporation, sieving, Water source, evaporation, sieving, session precipitation (higher density), crystallizing fluctuation (lower density), crystallizing Short technical (chunks) (thin layers) information Stage 2. Drying Piling between pans Putting into plastic boxes process Dryers Shaping into pyramids Boxing (from box to drying tray) Stage 3. Storage Bags (wide range: small to big) Boxes and bags Stage 4. Personalized by the tourist Personalized by the tourist Packaging Source: Authors' own.

Luckily, if the building is still in a reasonable observed. Basically, these signs are sufficient to state of conservation, with at least some walls identify and pinpoint this sort of buildings as upwards, some discrete tiny windows can be tide mills (Figure 3).

Figure 3: João Pedro Grelha tide mill (east side). There can be found three pairs of stone mills. There are records attesting this mill was built in the Eighteenth century.

Source: Authors' own.

The Salina do Grelha is a private property In the former times, the João Pedro Grelha located at the Ria Formosa Natural Park, tide mill, consisting of three pairs of millstones, roughly facing northwards Santa Maria cape were powered by large ponds that fueled during lighthouse. In the real state, the main building is the ebbing tide the not so efficient rodízio composed by an ancient tide mill and a building wheels. By the early 1800s a technological im- extension towards south. There are some rec- provement took place and the rodízio wheel was ords attesting that this property has been owned replaced by the rodete technology, a turbine by the Grelha family since the late 17th century. precursor. For over a century the miller had a In addition, from a collection of recorded evi- very demanding business: reducing grains of dence across the natural park border from Faro corn, wheat or even other local cereals to the (west) to Cabanas (east), where one can find a finest flour to make bread, the fundamental food decreasing number of tide mills and related salt- item for any family. Even today, several traditional sayings include the word “bread” (pão) as marsh properties, the family name Grelha is central: “Ganhar o pão de cada dia” (Earn the common, with particular incidence in the area bread of each day), “Em casa onde não há pão, of Bela Mandil (Olhão municipality). todos ralham e ninguém tem razão” (In a house-

47 Revista Portuguesa de Estudos Regionais, nº 51 hold where there is no bread, all rage and no one each one is short (say shorter than one hour). is right), “Ficar a pão e água” (Let to be on Such tourists attribute value to the summation bread and water), “Sopas de cavalo cansado” of a wide range of different short experiences. (Tired horse soups – a blend made of mashed However, other tourists attribute higher value to hard bread and wine), etc. deeper tourism experiences. A cultural experi- The milling business lasted until mid of 20th ence where tourists are challenged to know the century. Thus, with the advancement of grind- roots of their daily life consumption product, ating machinery, particularly in the U.S., it be- tribute a higher value to not only the place came too expensive to produce flour (Reynolds, where the product comes from, but also to the 2002). As such, tide millers felt they should quit way it is produced. These tourists are even will- the business, but simultaneously without leav- ing to pay for a deeper experience, such as to ing the place. The apparently easy transition put their own hands on approach. This is the was converting tidal caldeiras (tide mill water case of salt, particularly flower of salt and reservoirs) into salt pans. Because Olhão is a coarse salt. fishing town by roots, so it made sense to the tide miller in order to prevent bankruptcy, to 5. FINDINGS change the business to salt production to preserve fish in an epoch where electricity was still 5.1 Tourists’ perceptions on the creative unavailable. experience proposals The Salina do Grelha tide mill was laboring until the end of 1960s, but as a residual activity. The salt pan is a work environment. Skilled Salt production became during the WWII, and handcraft workers carry out their jobs in a par- soon after, a vibrant man-powered activity, last- tially open, exposed setting. There one can find ing until the 1970s. During the 1980s, machin- a sunny, windy, muddy and salty place. The ery entered in an abrupt way in many salterns workers get used to it because there are manda- and several small producers left the business tory rules to be applied in these sensitive work due to difficulties to compete with economies of environments and they actually are recom- scale. Economic loss of traditional salt produc- mended to adopt and follow them: e.g. the use ers became a fact. of sunglasses, different types of head-covers and light-coloured clothing; additionally, drink- 4.2 The business and its origins ing water is compulsory in order to get regular body hydration. Salt pan tourism in the Salina do Grelha However, such hard conditions can be per- started in 2013, by chance when Czech tourists ceived by tourists as uncomfortable. Notwith- looking for specific tourism and cultural fea- standing this fact, tourists also engage enthusi- tures that were not possible to be found in their astically in a visit, in which a local and expert home country. The Czech Honorary Consolate guide is able to transform it in an entertainment based in Faro suggested some visiting options experience combined with a learning activity and the salt pan exploratory tour was one of (edutainment). A short visit of about ½ to ¾ of those. The average Czech tourist has demon- an hour may however be extended to a longer strated to be enthusiastic and looking for re- period if, for instance, tourists go beyond per- calling sensations such as the whitish flat land- forming as simple passive receptors of infor- scape found soon before the first harvest of mation. If it is the case, those tourists get into coarse salt (i.e., about six weeks after the pro- the experience process by actively participating duction units have been filled with dense wa- in it and co-create it (Prebensen & Foss, 2011), ters), or the long quadrangular pyramids of piled they can stay for a longer period of time and in- compacted coarse salt found in between every teract in a closer and deeper manner with nature two contiguous pans. and people through salt pan activities and expe- Since then on, it was spotted that salt pan riences. tourism had an opportunity to start and eventu- Tourists' attitudes show that they want to ally to succeed as at least a complementary busi- participate actively throughout the visits. Tour- ness. Soon after, it was perceived that tourists ists, not only pay attention to the guiding people differ and the experiences they are looking for when explaining the salt pan embedded in the may differ too. For instance, there are tourists natural park context, but also to the smooth bal- that aim to diversify experiences, even when ance between natural park nature and salt pan

48 Sunny, Windy, Muddy and Salty Creative Tourism Experience in a Salt Pan activities. There the calm and healthy natural almost absent technology, but efficiently han- park setting coexists in harmony with men la- dling tools such as the flower of salt squeegee boring (Fig 4a), namely by using simple and (Fig 4b).

Figure 4: Some tourist experiences in a salt pan, where the activity is perfectly embedded into Ria For- mosa. (a) 1st plan: Salt pan briefing (panel to aid), 2nd plan: marnotos (salt-workers) laboring; and (b) Squeegee demonstration before hands on approach experience.

Source: Authors' own.

Tourists are also stimulated to use their five full of a species of brine shrimp called Artemia senses. Namely, they are given the opportunity salina used in the transitional process from to observe the calm and inspirational harsh evaporation to crystallizing after filtering (Fig landscape full of seabirds and other living or- 5c). Another experience is to touch the colder ganisms perfectly attached to the environment, less saline waters in contrast to warmer fully as well as the different types of lagoons that saturated waters and the whole range of textures work just due to gravity and sunshine power of recently harvested flower of salt, and finally (Fig 5a). Other sense experience comprehend to to taste the finest flower of salt in the drying hear the different salt pan attached seabird process and being able to differentiate it from chantings (Fig 5b) and to smell the strong power the flavor of the traditional coarse salt (Fig 5d). of mother water (i.e. saturated water) freshness

Figure 5: Tourists in creative tourism activities using their five senses: (a) Observing seabirds and natural features; (b) Hearing seabirds and other natural sounds; (c) Smelling the dense water; (d) Flower of salt touching and tasting (drying process).

Source: Authors' own.

5.2 Awareness of potential for tourism tourism development. Furthermore, business di- development mensionality was considered an internal strength of this firm, as visitors to the site have The creative approach adopted by this fam- to harmonize with carrying capacity. Small ily-owned business was taken under the belief groups of visitors at a time would better fit the that business competitiveness, by maintaining area’s characteristics, and creative tourism in operation traditional economic activities, was seemed an adequate and feasible option to de- aligned with general principles of sustainable velop sustainably (Fig 6a).

49 Revista Portuguesa de Estudos Regionais, nº 51

Based on perceptions of tourists’ willingness direct contact with the physical, chemical and to engage (demand side), owners felt there were environmental elements by entering in the conditions to develop and adapt some touristic coarse salt and flower of salt formation (Fig 6b experiential proposal, aiming to not only satisfy and 6c, respectively). The brainstorming pro- tourists’ needs of learning new things about the cess evolved to the stage of developing two dis- site and salt production, but also to facilitate the tinct and distinctive experiences focused on experience environment conditions where salt how to communicate the differentiated products pan working activities could be accomplished coarse salt and flower of salt, including their (supply side). Then emerged from participants unique characteristics, production stages, and the brainstormed idea of leading tourists inside tools used during the production process (either the crystallization area so that they could have in the gathering, drying and storage phases).

Figure 6: The hands on approach experience: (a) Small groups of tourists; (b) The coarse salt experience with a long metal rake; (c) The flower of salt experience with a squeegee.

Source: Authors' own

6. DISCUSSION Additional findings point to owner’s acknowledgement of creative tourism potential This research was conducted in order to un- to help sustain their business and maintain tra- derstand the co-creation process underlying cre- ditional activities. In fact, this perception was of ative tourism experience design and also the great value to the need of emphasizing the con- outcomes of that process by using a traditional tribution of creative tourism to control the con- activity, namely salt production, as a case study. tinuous growth of mass tourism in saturated The most important finding of this exploratory destinations. In addition, creative tourism was research was that the whole process was devel- acknowledged as a complementary tourism per- oped and enthusiastically accepted by a local spective felt as a necessity to diversify their producer, support staff and tourists as a partici- offer to tourists, while meeting tourists’ higher pative and engaging one, by stimulating all par- needs for knowledge and skill improvement ties to actively contribute to creative inputs and (Campos et al., 2016). The research process has, resources. in this sense, highlighted the close link between Owners of the business, guiding people and creative tourism and co-creation, as the new tourists were seen as intervening parts, and tour- business management paradigm. ists in particular willing to do their best as to de- This research adopted a qualitative frame- rive knowledge and meaning from their in- work and used qualitative data collection meth- volvement in the experience design process. ods, which were considered to fit exploratory Despite this, collected data revealed that there research objectives and focused on analysis of were concerns about tourists’ willingness to case studies, following Robson & McCartan participate in the experience and also about the (2016) research lines. Participant observation expertise required to adhere to the creative pro- was conducted by the researchers directly in- posals. These concerns have been expressed by volved in the activities undertaken by the local both owner and tourists. producer of salt, staff and tourists, and informal

50 Sunny, Windy, Muddy and Salty Creative Tourism Experience in a Salt Pan interviews were aimed at understanding the 7. CONCLUSIONS AND FUTURE RE- points of view of those involved in the case an- SEARCH alyzed. This approach was important, as insights from these informants were valuable to The findings that emerged from this study the development of tourism researchers' under- are still precautionary, as more research is standing of creative experiences design pro- needed to better frame the experience design cesses, participants, roles, strengths and weak- process and appraise the outcomes for both lo- nesses, as well as their link to the cultural and cal providers and tourists. The facilitation of ex- social sustainability of places. As a qualitative perience, with participants’ involvement, the design was adopted for conducting this re- environment and strategies for attracting co-cre- search, additional data collection tools were ative tourists, is a topic that researchers need to used that proved of great value to better under- further explore in combination with local own- stand the voice of participants. Triangulation ers, willing to leverage their business with a was appropriately implemented as strategy to view to capturing most active and committed minimize researchers’ biases due to moderate tourists. Proximity to tourists is in this context immersion in the experience setting, hoping in strategic, basically because they are the key that way to achieve rigor and validity of inter- players in the experiential tourism framework. pretation. As it can be assumed that not all tourists are As tourists become more and more attached equally able or willing to engage in creative ex- to valuable creative experiences, requiring more periences, which integrate some degree of ac- active participation and involvement with their tive participation (low to high), tourism re- tourism experiences, a fully comprehension of searchers and business owners alike are chal- how this value builds and unfolds through inter- lenged to better know tourists, their creative po- actions with local facilitators is becoming in- tential, desire and motivation. These results are creasingly important. As coarse sea salt and expected to be elicited from more comprehen- flower of salt consumers, tourists have demon- sive data sources that may help similar busi- strated to get satisfaction when are able to visit nesses, while contributing to tourism studies on the place and contribute to the manufacture of creative tourism and experiences, as far as they products they use in their daily life. link to the environmental and social sustainability of local traditional producers.

REFERENCES

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Acknowledgments

The authors would like to thank two anonymous referees for their helpful insights in an early version of the manuscript. This paper is financed by National Funds provided by FCT - Foundation for Science and Technology through project UID/SOC/04020/2013. For easing this study, the authors are grateful to Salina do Grelha owner and manager, as well as its working staff.

Artigo submetido a 17 de Agosto de 2018; versão final aceite a 8 de Novembro de 2018 Paper submitted at August 17, 2018; final version acepted at November 8, 2018

The Potential of Olive Oil For Creative Tourism Experiences in The Northern Region of Portugal

O Potencial do Azeite Para Experiências de Turismo Criativo na Re- gião Norte de Portugal

Regina Bezerra Master student | Innovative Tourism Development | Polytechnic Institute of Viana do Castelo

Alexandra I. Correia Polytechnic Institute of Viana do Castelo UNIAG founded by FCT: Project n. º UID/GES/4752/2019 CITUR (Centre for Tourism Research, Development and Innovation)

Abstract/ Resumo

In a context where constant demand for new Num contexto em que a constante procura tourism-related experiences supplies the emer- por novas experiências turísticas contribui para gence of a new offer, tourists encounter the ‘ru- o aparecimento de novas ofertas, os turistas pro- ral world' looking for new and memorable tour- curam o “mundo rural” à procura de experiências ism experiences (Murgado, 2013). Tourists' mo- diferentes e memoráveis. As motivações e com- tivations and behaviours have changed over the portamentos dos turistas têm vindo a alterar-se years, and today, their expectations are enor- ao longo dos anos e atualmente, as expetativas mous and diverse (Alonso & Krajsic, 2013), são, cada vez mais, maiores e diversificadas, while increasingly looking for environmental, com destaque para a procura de experiências re- cultural and heritage-related experiences. In this lacionadas com a Natureza, Cultura e Patrimó- context, rural-based regions stand out, given the nio. É neste contexto que as áreas rurais se des- opportunity to contact with nature and with the tacam, dadas as oportunidades para que os turis- traditions of communities (Partidário, 2003), in tas contatem com a Natureza e com as Tradições particular with food and local gastronomic tradi- das comunidades locais, em particular, com as tions (Stewart, Bramble & Ziraldo, 2008). This tradições gastronómicas. A relação entre os pro- context links local products, food, gastronomy, dutos locais, a gastronomia e turismo constitui and tourism, a perfect symbiosis, with the rural- uma simbiose perfeita em áreas rurais, conside- based regions providing opportunities to the de- rando o seu potencial para o desenvol-vimento velopment of various creative activities and de diferentes atividades e experiências, como é o unique experiences, as it is the case of olive oil caso do azeite e do olivoturismo. and tourism. Tendo por base a revisão da bibliografia e a aná- Based on a literature review, and on a content lise de conteúdo de websites e de redes sociais analysis of websites and social media (of olive (de atividades de olivoturismo), este estudo tem oil tourism-related activities), this study aims to como principal objetivo analisar o potencial do analyse the potential of olive oil to the develop- azeite para o desenvolvimento de experiências ment of new Creative Tourism experiences, turísticas criativas e para o desenvolvimento tu- while contributing to sustainable development of rístico sustentável de áreas rurais. O contexto tourism in rural-based areas. The geographic geográfico deste estudo é o norte de Portugal. context is the northern region of Portugal, where Nesta região, a produção do do azeite é, particu- the olive oil production has economic and social larmente, importante em termos, económicos e importance and where the tourism in rural re- sociais, e o turismo tem captado um crescente in-

Revista Portuguesa de Estudos Regionais, nº 51 gions has gained increasing interest and demand, teresse e procura turística, o que constitui uma creating an opportunity for the development of clara oportunidade para o desen-volvimento de new creative experiences. novas experiências turísticas.

Keywords: Creative experiences, Olive Oil Palavras-chave: Experiências Criativas, Olivo- Tourism, North of Portuga turismo, Norte de Portugal

JEL codes: Z310, Z320, Z330 JEL codes: Z310, Z320, Z330

1. INTRODUCTION as a tourist product (Millán-Vázquez de la Torre, Arjona-Fuentes, & Amador-Hidalgo The profile of tourists has changed over the 2017), with a high potential to complement the years. Currently, tourists travel more, prefer activity of production and commercialization of short trips, are increasingly demanding, have olive oil, to create new employment opportuni- different expectations (Alonso & Krajsic, ties, to preserve the traditions associated with 2013), and seek new experiences and new des- olive oil, and to the existence of new companies, tinations (Murgado, 2013). It is also worth high- products and experiences (Alonso & Northcote, lighting the appreciation of memories that result 2010; Campón-Cerro et al., 2017). from these experiences (Faizan et al., 2016), the The olive tree and the olive oil can also be growing interest in culture (Tussyadiah & analysed in the context of Creative Tourism. As Fesenmaier, 2009), traditionsand customs, na- acknowledged the literature, Creative Tourism ture, the rural environment, (Partidário, 2003; gives visitors the opportunity to have meaning- Alonso & Krajsic, 2013), in particular for tradi- ful experiences (Binkhorst, 2007), to learn more tional cuisine based on local products (Stewart, about the local skills and traditions (Richards & Bramble & Ziraldo, 2008). Gastronomy reflects Wilson, 2006), and to engage with local people a heritage, a social, cultural and landscape his- and local culture (UNESCO, 2006:3; Hull & tory of a people (Brunori & Rossi, 2001), so, Sassenberg, 2012:92; Richards & Wilson, more and more, local gastronomy and agricul- 2006:1218; Richards, 2011). Thus, and once the tural products are seen as an attraction and mo- olive tree and oil allows visitors to learn about tivation for tourists to visit regions and/or local- different folk traditions linked to the cultivation ities (Stewart et al., 2008), particularly in rural of olive trees, for example, and to participate in areas. gastronomic activities featuring olive oil as the The search for experiences in rural areas main attraction (Millán-Vázquez de la Torre et (Alonso, 2010; Millán et al., 2014; López-Guz- al. 2017); one can argue that Olive Oil Tourism mán et al., 2016) and supply of activities and also represents opportunities for the develop- products/services around local products have ment and promotion of creative tourism experi- been particularly crucial for the dynamisation ences in rural areas. and sustainability of rural areas, characterized However, in spite of this recognition, Olive by desertification, unemployment rates and de- Oil Tourism is still underdeveloped in some re- mographic imbalances (Campón-Cerro et al., gions with a strong tradition in the cultivation of 2017). For example, wine tourism that contrib- the olive tree and olive oil (Vlontzos & Du- utes to the economy, diversification, and sus- quenne, 2007; Orgaz et al, 2017), in particular tainability of rural areas, to the promotion of ag- concerning the supply of experiences, as in the riculture and local products, and to the perma- northern region of Portugal. nence of people in rural areas (Hall, 2004; Byrd Give the above context; this study aims to et al., 2016). Another more recent example is analyse the potential of olive oil for the devel- Olive Oil Tourism, based on olive oil, a product of strong traditions, deeply rooted in the culture opment of new tourist experiences in the field of different countries, such as Portugal, Italy of Creative Tourism and the sustainable devel- (De Salvo, 2013) and Spain (López-Guzmán, opment of tourism in rural-based areas. The ge- 2011), and strongly associated with gastron- ographical context of the study in Portugal, in omy. Olive Oil Tourism is already recognized particular, the northen region of de country.

56 The Potential of Olive Oil For Creative Tourism Experiences in The Northern Region…

A literature review and a content analysis As consumers become more knowledgeable were conducted on Olive Oil Tourism, and Ol- and demanding, leisure and tourism markets ive Oil tourism supply, in particular in websites have become more competitive, forcing suppli- and social networking platforms, Facebook and ers to innovate and develop new service con- Instagram, in national and international concepts (OECD, 2012), making experiences crit- texts. The analysis was made to companies and ical to businesses’ and destinations’ differentia- entities with responsibility for promoting olive tion and competitiveness (Mossberg, 2007; oil and its related activities, which appeared in Stamboulis & Skayannis, 2003; Morgan et al., the first three pages of the search engine 2008). Experiences that allow tourists to have Google. an interactive and participative role (Binkhorst, The structure of the paper is as follows. Sec- 2007), connect with those who reside in a par- tion 2 outlines the theoretical background of the ticular place, to learn more about the local skills, research, which addresses experiences, Creative traditions, arts, heritage, and unique qualities of Tourism, the Olive tree and olive oil, its mille- the places they visit, contribute to an engaged nary tradition and its role in different contexts and authentic experience, are related to what is (e.g., religious, agricultural, gastronomy). Also considered as Creative Tourism (Richards & in this section, the experiences related to olive Wilson, 2006; UNESCO, 2006). Creative tour- oil are analysed, with a particular emphasis on ism gives visitors the opportunity to have mean- Olive Oil Tourism concept and activities; Sec- ingful experience (UNESCO, 2006:3; Creative tion 3 presents and explains the methodology Tourism New Zealand, 2007; Binkhorst, adopted to meet the aim of the study; Section 4 2007:128), to develop creative potential and de- presents the main results and discussion. Fi- velop skills (Richards & Raymond, 2000; nally, Section 5 presents the main conclusions Briggs, 2005; UNESCO, 2006), by being ac- and the implications of the study. tively involved in the creative processes (Rich- ards & Raymond, 2000; Binkhorst, 2007:128; 2. THEORETICAL BACKGROUND UNESCO, 2006), by exchanging and engaging with local people and local culture UNESCO, 2.1. Experiences and Creative Tourism 2006:3; Hull & Sassenberg, 2012:92; Richards & Wilson, 2006:1218; Richards, 2011) , while Experiences are increasingly valued in the being part of the process of co-creation together tourism industry (Neuhofer et al., 2014) and with people in local community (Richards & have become essential elements for current Raymond, 2000; Binkhorst, 2007:128) , and tourism research and management (Tung & learning experiences which are the characteris- Ritchie, 2011), as well as for practitioners, and tic of the destination where they are under- consumers. In the last decades, consumers have taken” (Richards & Raymond, 2000:18). been increasingly searching for experiences The interest in Creative Tourism has been (Pine & Gilmore, 1999) and more and more, ex- growing in the last decades (Richards & Wilson periences influence tourists’ choice to visit a 2006, 2007; Wurzburger et al., 2008; Richards, destination (Quan & Wang, 2004). Tourists are 2011; Hull & Sassenberg, 2012; Tan et al., looking for rewarding and often novel experi- 2013). The growth of creative tourism can be ences in which their interaction with the combi- related to the need to meet the desire of tourists nation of food, culture, and terroir helps create for more fulfilling, interactive and meaningful and reinforce their groups and identities, facili- experiences (Gilbert, 1989; Poon, 1989; Pren- tate personal development (through learning, tice, 2001, 2005; Smith 2006; Richards & for example), and gives them a great story to Marques, 2012:2), active engagement with the talk about later (Getz et al., 2014). Also, to- culture and contact with people in the visited day’s tourists are empowered by digital media communities (Richards, 2008), and the need for communications, which have a significant im- destinations to innovate their products (Rich- pact on their overall experience (Kempiak et ards & Wilson, 2006), and resources, as it is the al., 2016). More and more, tourists use social case with traditional heritage sites (Smith, media to share their tourism experiences online 2005), in an increasingly competitive environ- and this substantial amount of user-generated ment (Richards & Wilson, 2007). content on social media influences their deci- Although creative tourism is therefore often sions (Liu, Norman & Pennington-Gray, 2013). seen as a development of cultural tourism and

57 Revista Portuguesa de Estudos Regionais, nº 51 as an alternative to mass cultural tourism (Rich- target audiences, which are often widely dis- ards, 2011), it is not just based on cultural herit- persed (Richards & Wilson, 2007). age, but also on the knowledge generated by Despite the challenges, and in order to de- contemporary creativity by both producers and velop creative activities and creative tourism, consumers (OECD, 2014). Creative tourism is industry practitioners must identify the activi- centred on contemporary creativity, innovation ties which are closely linked to their region and, intangible content (OECD, 2014) and (Richards, 2005), which are the aspects give therefore, a creative tourism approach provides tourists a specific motivation to visit the region the potential for the development of new narra- (Richard, 2011), and which are the key success tives and meanings for destinations, and places factors that can differentiate their businesses distinctiveness (Richards, 2011), to develop (Tan et al., 2013). Also, managers need to en- new products/experiences and expand markets gage more actively concerning product innova- (OECD, 2014), with the activities offered to tion and in recognising the creative potential of tourists having a critical role in the production tourists (Richards & Wilson, 2006). Tourism and consumption of creative tourism (Tan et al., organisations should also assume a more signif- 2013). Creative tourism development can help icant role in creative tourism content production to attract visitors, increase and diversify de- and distribution (OECD, 2014). For example, mand, reach new target groups and stimulate specific local skills can be taken into account for growth (OECD, 2014), and be an option for des- developing and offering creative tourism-re- tinations seeking to avoid problems of serial related activities, such as local crafts, that can lead production of culture (Richards & Wilson, to the development of creative craft-based crea- 2006). tive experiences for tourists (Richards, 2011). Although the development of creative tour- Another example is design-related skills, in par- ism might be very appealing to businesses and ticular in Italy, which is worldwide renowned, regions, given its potential benefits, it is also that has led to the development of design-in- challenging (Smith, 2005; Richards & Wilson, duced tourism (and also fashion-induced tour- 2007) for several reasons. Creative Tourism is ism) (OECD, 2014). Moreover, gastronomy and not limited to a single actor, whether they are cookery in Barcelona, Catalonia, is another ex- businesses, or the tourists themselves. Instead, ample, one of the most preferred in the context Creative Tourism and creative tourism activities of creative tourism. Based on gastronomy, an involve different actors, namely, producers, element strongly associated to cultural unique- consumers, policymakers and landscapes (Rich- ness of the destination, different activities are ards, 2011). Also, creative tourism involves col- offered to tourists, with an emphasises on the laboration between the different actors, leading active involvement and learning experiences of to dispersed value networks, rather than linear participants (Richards & Wilson, 2006). value chains (OECD, 2014). The development In this context, rural-based regions allow the of creative tourism should also be underpinned contact with nature and with the traditions of by a closer relationship between the tourism and communities (Partidário, 2003), in particular cultural sectors, as “cultural managers often with food and local gastronomic traditions have essential creative skills which can be used (Stewart, Bramble & Ziraldo, 2008). This con- to innovate the tourism experience, while tour- text links local products, food, gastronomy, and ism managers can bring the economic and mar- tourism, a perfect symbiosis, with the rural- keting skills that are essential to make the prod- based regions providing opportunities to the de- uct viable”, (Richards & Wilson, 2006:1221). velopment of various creative activities and Besides, active policy approaches are needed to unique experiences, as it is the case of olive oil capture the opportunities of creative tourism ef- and tourism (Millán et al., 2015). fectively and to bring producers, consumers, and places together to generate and co-create value (OECD, 2014). Moreover, the develop- 2.2. Olive Tree and Olive Oil, a mille- ment of creative activities may happen in pe- nary tradition. ripheral located areas, or even in economically disadvantaged areas. Finally, the development The olive tree, with a sturdy trunk and strong of creative tourism requires skills, implies in- symbolism, appears related to the Greek my- vestment and attracting as well as reaching thology, the Old Testament, the Bible and the

58 The Potential of Olive Oil For Creative Tourism Experiences in The Northern Region…

Koran. Consequently, it can be said that the ol- wood for fuel (Böhm, 2013). The predominant ive tree, the olive and olive oil are all deeply self-subsistence economy drew extensive rooted in Mediterranean culture, in art, religion patches of irregular, scattered and peri-urban ol- and in its food (Paquete, 2013), with the juice of ive grove areas throughout the country (Böhm, its fruit, az-zait, being a part of the trilogy of 2013). Mediterranean food: bread, wine and olive oil Although the olive tree became widespread (Paquete, 2013). throughout the country, currently in Portugal, The earliest traces of the culture of the olive the most important olive groves are located tree and olive oil date back to the Neolithic mainly in Alentejo and Trás-os-Montes and are times, possibly in Mesopotamia, then on to associated with annual crops, namely cereals Egypt, the islands of Asia Minor, Continental and vegetables, and perennial crops, such as Greece, Assyria and spreading through the vines, figs and almond trees (Böhm, 2013). Ac- Mediterranean basin from the 6th century BC cording to Böhm (2013) in other areas of the (Böhm, 2013), where, even today, most of the country, an inheritance of faded olive groves of- world's olive oil is produced (International Ol- ten remains, surviving olive trees that are still ive Council, 2017). The production of olive oil standing today as ornamental trees for gardens, is well documented, and five thousand years signalling withered rurality, they are forgotten ago, its cultivation was already practised in trees on lands which have not yet surrendered to Phoenicia, Syria, and Palestine, and it is of great urbanisation. Accordingly, many of the mills importance for the Phoenicians, Greeks, Ro- have disappeared, places filled with cultural mans, and Arabs, who have yielded to the ben- heritage, they have either disappeared or suf- efits of olive oil (Paquete, 2013). One of the old- fered changes becoming more mechanised re- est books known, from the 2nd century BC "De sponding to the market's need for greater and Agri Cultura"' of Catos de Elder, has an entire faster production. chapter dedicated to planting, harvesting, and In recent years, there has been an increase in pressing olives and continuously refers to the the production of olive oil, in the dynamics as- olive oil from Hispania (Caldas, 1998), demon- sociated with innovation and rural develop- strating its importance in their diet at that time. ment, above all, a result of the policy instru- Olive oil is also referred to in other contexts and ments for investment support in specific sectors other uses, for example, as fuel, as a remedy to of agriculture. In 2015, Portugal achieved the cure the ailments of the body, as a beauty cos- largest olive oil production of the last decades; metic, as a sacred oil used in religion and, as a reaching 106 thousand tons (INE, 2015), only source of light and ointment, a symbol of purity going back to 1961 can we find similar levels of and peace (Paquete, 2013). production (Nunes, 2012). Throughout history, olive oil became used Another important element for the valorisa- essentially for culinary purposes, and food has tion of olive oil in Portugal has been the inter- played an essential role (Paquete, 2013), the national recognition, since Portuguese olive oils cuisine has acquired new functions associated have recently obtained international awards in with social, cultural, health-related and pleasure several categories and important competitions, needs (Murgado, 2013). such as Mario Solinas Quality Award, Olive Ja- In the Iberian Peninsula, the olive tree or pan, Olive Oil China, NYIOOC - New York Olea Europaea arrived with the Phoenicians Competition, Terra Olivo Israel (Olive Oil around 900 BC (Paquete, 2013). The crops Times, 2017). In May 2017, the Olive Oil spread, focusing their location on the right bank Times, a well-known international press, pub- of the Tagus River, towards the South of Portu- lished an article titled "Portugal's Skyrocketing gal. The olive groves emerged around the settle- Olive Oil Industry" (Olive Oil Times, 2017), ments, and the mills were built next to the highlighting how Portugal became the seventh nearby streams (Caldas, 1998). In the specific largest olive oil producer in the world and fourth context of Portugal, olive oil also had some uses largest exporter of this product. and was deeply rooted within the Portuguese culture, used not only in food, benefiting one's 2.3. Olive Oil, Tourism and Experiences: health but also for lighting purposes and the lu- Olive Oil Tourism brication of machinery (Paquete, 2013). Olive trees began to be seen as a source of economic Olive oil has played a key role in different income, for they supplied olives, olive oil and areas, such as the economy, agriculture,

59 Revista Portuguesa de Estudos Regionais, nº 51 cosmetics, and gastronomy. More recently, ol- oil tourists" also search for new experiences ive oil has also attracted interest in other con- (Alonso & Northcote, 2010) and those that "es- texts, particularly in Tourism, through the de- cape" an urban environment, associating tran- velopment and offer of new products/services quillity, harmony, and leisure to the rural envi- and experiences, which has been called Olive ronment. Tourists seek activities that permit di- Oil Tourism (Murgado, 2013; Millán-Vazquez rect contact with the region and its traditions, de la Torre et al., 2017). Tourism, in turn, due such as visiting and getting to know the differ- to its economic, social and environmental im- ent trails, visiting olive groves, olive oil mills, portance, is an important pillar for the develop- museums and interpretive centres (Alonso, ment and sustainability of the countries and the 2010). This is an integrative vision that re- regions (UNWTO, 2017) with a strong rural na- sponds to what is referenced as Partidário ture (Campón-Cerro et al., 2014). (2003:115-126), in particular, that the rural ar- Although the study of Olive Oil Tourism is eas are characterised "in general, by having an recent, it is an area of research, which has seized interest in natural and cultural resources that of- the interest of several authors in recent years, fer multiple opportunities for use." which has, in turn, contributed to the existence From the supply perspective, Olive Oil of several studies, with an emphasis on the cases Tourism is characterised by being strongly re- of Australia (Alonso, 2010), Italy (De Salvo, lated to gastronomy and different popular tradi- 2013) and Spain (López-Guzmán, 2011). In the tions linked to the cultivation of the olive tree literature on Olive Oil Tourism, several differ- (Murgado, 2013). In particular, Olive Oil Tour- ent themes can be highlighted: definition and ism includes various activities such as: olive oil concept (Alonso, 2010); demand (Murgado, tastings; the participation in gastronomic festi- 2013), as for example, the motivation that leads vals; the participation in thematic dinners in the tourist to look for Olive Tourism, of the rural which olive oil has a major role; visits to farms world and the world of olive oil (Alonso & and the contemplation of the landscape, the ol- Northcote, 2010); supply (Murgado, 2013), also ive groves, visits to the locations where olive oil highlighting the importance of the articulation is produced, the participation in events related of this product with other existing trails, mainly to the production of olive oil; taking part in the gastronomic trails (Alonso, 2010; Alonso & routes; visits to different contexts in order to ob- Northcote, 2010; Northcote & Alonso, 2011). tain knowledge about features of other indus- Olive Oil Tourism, from a demand perspec- tries related to olives and olive oil, as for exam- tive, focuses on tourists and on what they are ple, cosmetics, preserves, wooden handicrafts, looking for. Tourists seeking Olive Oil Tourism table olives. are people who wish to deepen their knowledge According to Murgado (2011), Olive Oil about the cultivation of the olive tree and olive Tourism implies diverse experiences in the rural oil (Murgado, 2013). On the other hand, "olive world and represents them as follows:

Figure 1. Components of na olive oil tourist experience

Source: Murgado et al,. 2011. p.202.

Millán-Vázquez de la Torre et al. (2017) in discovered as a tourism product and is this new their recent study state that olive oil is being type of tourism. Their study profiles the olive-

60 The Potential of Olive Oil For Creative Tourism Experiences in The Northern Region…

oil tourists as someone that dedicates holiday culinary experiences (Hashimoto & Telfer, time to a place in order to study more deeply the 2003). Vargo and Lusch (2004) state that creat- culture underlying the olive and its oil and taking value provides opportunities for innovation, ing part in some of the following activities: Vis- thus making a product or a destination more at- its to olive presses; to old olive mills; to old tractive. This is the primary challenge of Olive farm manors (cortijos); to oleotecas (shops); ol- Oil Tourism, namely, to create attractive prod- ive oil museums; visits to olive groves and the ucts based on olive oil to capture tourism de- aesthetic contemplation of olive grove land- mand (Alonso, 2010). This supply could in- scapes; participation in olive oil festivals; clude a relationship between olive oil produc- knowledge about different folk traditions linked ers, the hotel sector, local entities and promot- to the cultivation of olive trees; participation in ers, to the local community (Murgado, 2013). gastronomic activities featuring olive oil as the Alonso and Northcote (2010), for example, in main attraction; tour routes linked to olive oil; their study on the development of Olive Tour- attendance at trade shows related to the produc- ism in Australia, an industry conside red to be tion of olive oil; learning about the characteris- emerging, developed a study based on surveys tics of other industries related to olives and olive to producers, to be able to present, on the one oil (cosmetics, canning, wood crafts, marinated hand, strategies to attract tourists with a partic- olives, etc.) ular interest and their associated aspects, and on Experiences constitute the essence of the the other, marketing opportunities for its prod- tourism industry (Neuhofer et al., 2014:340- ucts. 350). In this context, Schmitt (1999:53-67) re- As to Olive Oil Tourism supply, Spain is one fers to experiences as private events that occur of the countries that stand out, being the largest in response to a few stimuli (for example, as producer of olive oil in the world, with strong provided by marketing efforts before and after traditions in its production, counting on thirty- the purchase), and which often result from di- two PDO - Olive Oil Designations of Origin rect observation and/or participation in events (Millán-Vázquez de la Torre et al., 2014, 2017). whether they are real or not, dreamlike, or vir- Undoubtedly, olive oil is a highly recognized tual. However, the experience is also analysed product in Spain, not only because of its im- more from an individual perspective, and it is portance from an economic point of view (Mil- described as a subjective mental state felt by lán-Vázquez de la Torre et al., 2014), but also tourists (Faizan et al., 2016). It further deepens, for the image associated with its gastronomy, the growing demand for new experiences in and also for its significant contribution in the di- tourism, including in rural areas, makes the sec- versification of rural areas, as far as it has cre- tor increasingly complex, making the constant ated new offers, allowing companies to have ad- renewal and supply of new products/services ditional revenues, besides their agricultural ac- necessary (Murgado, 2013). Just like viticul- tivity (Millán-Vázquez de la Torre et al., 2014). ture, which served as a motto for the creation of In this context, it is possible to find routes and Wine trails and a strong tourism product - Wine products associated with olive oil in Spain, such tourism, olive-growing is taking its first steps as Jaen, Cordoba, Seville, Cadiz, Granada, Ara- towards the expansion of Olive Oil Tourism. gon, Extremadura and Catalonia (Murgado, The growing popularity of Wine Tourism in re- 2013). cent decades demonstrates how activities in the The region of Andalusia, that represents 70 'rural world' can contribute to the development to 75% of Spanish olive oil production (Minis- of tourism in rural locations (Hall et al., 2000; terio de Agricultura, Alimentación y Medio Alonso, 2010; Alonso & Northcote, 2010; De Ambiente España, 2017) is characterised by be- Salvo et al., 2013). Wine and wineries can pro- ing a region with outstanding natural and patri- vide the wine tourist with culinary and educa- monial resources, with a strong stake in the sup- tional experiences. Therefore, Wine Trails can ply of routes, such as Jaen and Córdoba, and help emphasise gastronomic experiences in ru- various activities and experiences associated ral areas, and those who visit wineries can ap- with Olive Oil Tourism (Table 1). preciate not only a wine product but also other

61 Revista Portuguesa de Estudos Regionais, nº 51

Table 1. Main Olive Oil Tourism Experiences in Spain • Visitable oil mills;

• Speciality shops;

• Museums (e.g., Museo de la Cultura del Olivo, Museo de Artes y Costumbres Populares, Museo del Alto Guadalquivir de Cazorla; Museo de Jodar);

• Visits to Olive Grooves and centenary olive trees;

• Festivities and Fairs (e.g., Fiesta de la aceituna, Feria Internacional del Aceite de Oliva e Industrias Afines EXPO- LIVA, Feria Internacional del Olivar Ecológico ECOLIVA);

• The Oil Train (Montilla);

• Workshops on olive oil and heritage;

• Olive oil thematic restaurants; • Tourism products (The route of the olive tree and the olive oil greenway route);

• Oil thematic park;

• Thematic rural accommodation in rebuilt mills and farms. Source: Adapted from Murgado (2013)

Still, in Europe, Greece, and Italy are also 2020. However, as in the plan, there are refer- strong olive oil producers and Olive Oil Tour- ences to Wine and Gastronomy, it may be ism begins to gain some prominence, mainly thought that there is an opportunity here to fit through the supply of museums linked to olive Olive Oil, associated with gastronomy. On the oil and its production (Alonso, 2010). Outside other hand, the Plan mentions the use of authen- of Europe, Australia (rural area of Gingin) and tic Portuguese products as communication an- South Africa (Cape Town), countries recog- chors, in which there is a reference to olive oil, nized for their Wine Tourism and Wine Trails in addition to wines, cork, and footwear. Table and Routes, are also countries that highlight Ol- 2 presents a more specific content analysis on ive Oil Tourism, offering a variety of activities Olive Oil Tourism in Portugal, a synthesis of the and experiences: visits to farms producing olive analysis of supply and communication at a na- oil, olive oil and other related products, as well tional level, from different national entities. as visits to the different existing routes. The According to Table 2, there are already some next section will focus on Olive Oil Tourism in references to Olive Oil Tourism. However, Portugal. there is also a significant gap, especially concerning visitor information, and in particular, 2.4. Olive Oil Tourism in Portugal the experiences that can be realised when visiting a particular region. Nevertheless, it is no- If Olive Oil Tourism is internationally ac- ticed that the supply of Olive Oil Tourism in cepted as a structured and growing supply, at a Portugal is based, mainly, on visits to Museums and Mills. national level, the panorama is different. As a Also, Table 2 presents the region of product, the potential of olive oil is enormous, especially for the catalytic role it may have for Alentejo, as a region with many references to other activities that can benefit from it, such as Olive Oil Tourism. The Alentejo is, moreover, Tourism. In this context, and despite there being one of the pioneer regions of the country to have already initiatives around olive oil (in particular a stake in Olive Oil Tourism, and where some in Alentejo and Trás-os-Montes), that already activities and experiences can be found around show some recognition toward olive oil oppor- olive oil. In 2012, the Municipalities of the tunities for Tourism and Gastronomy, the truth Alentejo Region and the Alentejo Tourism is that in Portugal, Olive Oil Tourism is at an launched Olive Oil Tourism as the new tourist early stage. product for the Alentejo (Turismo do Alentejo, In Portugal, the term Olive Oil Tourism, as a 2014). This commitment resulted from the product, does not appear in the National Strate- recognition by the region's entities of the strong gic Plan for Tourism in Portugal - Tourism potential between Olive Oil and Tourism, as

62 The Potential of Olive Oil For Creative Tourism Experiences in The Northern Region…

Table 2. Synthesis of the analysis of the communication of Olive Oil Tourism and olive oil by national entities Turismo do Alentejo ● A link that leads to a section entitled Olive Oil Tourism, which presents a Google map of the country, without any information regarding olive oil and associated offers http://www.visitalentejo.pt

● Olive Oil Tourism appears as an autonomous product/offer; ● Information is scarce; ● It highlights olive oil as a product of national excellence and the six Protected Denomination of Origin regions in the production of olive oil: Trás-os-Montes, Beira Interior, Ribatejo, Moura, Alentejo Interior and North Alentejo; Turismo de Portugal - Vi- ● Suggestions for visiting: agricultural cooperatives in the PDO regions where olive oil is pro- sit Portugal duced and can be tasted; routes organised by producers and municipalities; Tasting of the "Ti-

borna" (hot bread soaked in olive oil usually given on visits to olive oil routes); https://www.visitportu- ● The indication of Museums (e.g., Museu do Azeite; •Museu do Azeite em Belmonte, Lagar de gal.com Varas do Fojo em Campo Maior, Museu do Palácio Visconde d’Olivã; Núcleo Museológico do

Azeite - Complexo de Lagares de - Proença-a-Velha); ● Mills (e.g., Lagar das Varas); ● Links to locations are not displayed.

Centro de Estudos e Pro- ● Varied information on Alentejo's olive oil, events, awards; moção Azeite do Alentejo ● Reference that the Alentejo Olive Route will be created; ● e-mail address for more information. http://www.azeitedoalentejo.pt/inicio.html

● Detailed information about olive oil and the surrounding world, as well as the national gastron- Confraria do Azeite omy; ● Reference to the route Rota dos Lagares, an initiative of Confraria do Azeite, which aims to http://www.confrariadoa- reward the signalling of Mills that respect the best practices in the processing of Olive Oil and zeite.pt extraction of the best Extra Virgin Olive Oil; ● Lack of information on or to do these routes; ● The indication of specific places to visit.

Casa do Azeite ● Presents information on olive oil and its members; ● Also presents recipes with olive oil. http://www.casadoazeite.pt

Source: authors well as the growing demand for accommodation not benefit from a strong recognition and asso- in areas with activities associated with olive oil. ciation of olive oil, as a differentiating product At the time, and in some of the region's mu- for the territory. It was also missing a vision nicipalities, there was also an effort to recover and a joint project to align desires and strate- mills, turning them into museums, creating ac- gies, whether of the producers, of the munici- tivities and spaces for promotion and education palities or the tourism agents themselves, both on olive oil, and organising and promoting ref- public and private. In this context, the Regional erence events with this product. Also, some mu- Tourism Authority of Alentejo launched an nicipalities also reaffirmed, together with res- Agenda for the Development of Olive Oil Tour- taurants, the importance of olive oil in gastron- ism in Alentejo (2014), with seven intervention omy, making it more visible in the global tourist axes, which sought to answer the main problems experience. Moreover, being a determinant as- and questions for structuring this product: 1) pect for the organisation and commercialisation Branding and marketing; 2) Structuring of the of the supply, it was verified the interest of the Supply; 3) Training of Agents; 4) Creation of tourist promoters in hotel projects, due to the itineraries and the product Olive Oil Tourism; growing interest in Olive Oil Tourism, and also 5) Structuring Networking in various locations the willingness of the mills to receive visitors. in the Alentejo; 6) Promotion and Image; and 7) However, although these are fundamental Internationalization and the connection to aspects for the appearance of Olive Oil Tourism tourism. in the Alentejo, there was also in the region the However, since this challenge has been recognition that Portugal and the Alentejo do launched five years have passed. At the time of

63 Revista Portuguesa de Estudos Regionais, nº 51 publication of this study, no response was re- differentiated aspects in terms of contemporary ceived to understand the impact that the Agenda design/architecture; with a focus on new hotel and the planned actions had on the development concepts, linked to the strategic assets of the ter- of Olive Oil Tourism in this region. ritory (wine, olive oil, cork); and adapt to mar- Still, in Alentejo, the Strategic Plan for Tour- ket preferences (families, seniors, traveller mul- ism in the Alentejo 2014-2020 includes Olive ticulturalism). Oil Tourism as a tourism product for the future, Based on the previous analysis, places and mentioning the requalification and creation of activities were identified where visitors would new tourism products, and integrating the Olive enjoy Olive Oil Tourism. Next, follows the Oil Tourism agenda into the product Gastron- analysis of the places and experiences that are omy and Wines. It also refers to the need to available. Of the 26 items analysed, only 10 had modernise and qualify the tourist accommoda- sites with information about visits. Table 3 pre- tion supply, focusing on the design and remod- sents a more detailed analysis of this supply: elling of projects that incorporate clearly

Table 3: National Olive Oil Experiences identified online Primary objective: to show the visitor the techniques of the production of Ol- ive Oil and the importance it had in the local economy. The Museum has an outdoor area with a leisure area and the preservation of an olive grove and where most of the information is located, with the following themes: • The Olive Tree and Civilization; Museu do Azeite em Belmonte • The Olive tree in Portugal; • Olive groves of Cova da Beira; • http://cm-belmonte.com • The ecological importance of the olive grove; • Câmara Municipal de Belmonte • The annual cycle of olive growing and olive oil production; • Introduction to Belmonte's Mill technology; •bExplanation of the Local Production Process; • Types of Olive Oil; • The Future of Olive Oil - Valuation Experiences.

• Two Mills; Complexo de Lagares de Proença-a-Velha – Núcleo • It presents an exhibition of the synthesis of the problem of olive oil in Portu- do Azeite gal; • It features a modern olive oil extraction unit; • http://roteiromuseus.ccdrc.pt • Contains area for workshops and also available for schools; • Câmara Municipal de Idanha-a-Nova • Exhibitions to promote local traditions and products (Olive Oil Festivals, Smoked Sausages, and Soups).

• Aim: to present the whole process that goes from taking care of the olive grove and the harvesting, until its final transformation in olive oil; Lagar - Museu do Palácio Visconde D´Olivã • Dedicated to olive growing; • Rebuilding an oil mill and all its functioning; • http://cm-campo.maior.pt • Multimedia room, ethnography area, and temporary exhibitions; • Tutela da Câmara Municipal de Campo Maior • The guided tour includes: Visit the Lagar-Museu; Permanent Exhibition; Visualization of a film on the theme of olive cultivation; Visit the Ethnogra- phy Room; Olive Oil tasting from the Municipality of Campo Maior; Olive tasting from the Municipality of Campo Maior.

•Currently, the Levada de Tomar is in the process of valorisation and museal- Lagares d’El Rei em Tomar isation, intending to its asset activation and public enjoyment; • http://www.cm-tomar.pt •Buildings can be visited once the equipment is in an open space. • Câmara Municipal de Tomar

• Visits accompanied by a guide that explains all the stages of olive oil pro- Lagar do Marmelo – Oliveira da Serra. duction Oliveira da Serra, from the reception of the olive to intensive and su- perintensive olive grove systems, where the visitor can get a sense of the ex- • http://www.oliveiradaserra.pt tension of the olive grove; • Grupo Sovena • Stop at the Marmelo Dam, an infrastructure integrated into the Alqueva pro- • Ferreira do Alentejo ject; • Olive oil tasting, where the aim is to distinguish the main differences between the Oliveira da Serra's olive oils.

Melara Picado Nunes - Lagar Museu (Centro de • Aim: to provide a journey through the roots of Alentejo's knowledge, includ- Interpretação do Azeite) ing the history of the family, the mill, and Marvão's olive oil, addressing tech- • http://www.mn.pt nical topics about olive groves and known methods of extraction; • Aldeia de Galegos em Marvão • Possibility to visit the olive grove, the present mill, explanation of the process of extraction of olive oil;

64 The Potential of Olive Oil For Creative Tourism Experiences in The Northern Region…

• Visits to the old mill, journey through the milling process of the old mill, with visualisation of interactive videos; • Olive oil tasting accompanied with products from the region; • Workshops, product presentation, wine tasting, thematic dinners, small cinema auditorium; • Two-day programs with accommodation in the village, olive harvest, milling and olive oil tasting at dawn; • Study visits with a special program for children; • Reception of university students to develop studies on the Galician olive; • Visits for people with reduced mobility.

• Old mill rebuilt that has as aims to serve as a didactic and exhibition space of Núcleo Museológico do Lagar de Azeite de Lavan- traditional techniques related to the manufacture of olive oil; deira • The visitor can witness how the oil was produced in an old mill; •http://www.museudamemoriarural.com/lagarazeite • The organisation of the themes "Mill Conversations" and "Memories of the • Bragança, Carrazeda de Ansiães, Lavandeira Mill"; • Study visits with a special program for children.

• Belongs to the Family Sá Miranda Patrício and is part of the Trás-os-Montes Núcleo Museológico do Azeite Solar dos Cortiços Olive Oil Route. The building is an old mill, in shale and granite, which •https://www.cm-macedodecavaleiros.pt stopped working in 1953 and was recovered in 2005. Here the visitor gets in • Bragança, Macedo de Cavaleiros, Cortiços touch with the world of olive oil and the history of the old village of Cortiços and Cernadela.

• A museum, where storage and old techniques of olive oil production can be observed, traditional from this region when production had not yet resorted to Lagar de Varas do Fojo/Jardim das Oliveiras machines. This mill is one of the rare examples of Iberian mills presses and its •https:// www.mouraturismo.pt typology comes from the Roman mills; • Beja, Moura, Santo Agostinho • Prior booking: Advisable for groups; • Observations: It is classified as a Public Interest Monument; • Available services: Restaurant and Shop.

• A project of the olive oil producers Cooperativa de Olivicultores from the region of Fatima, the Museum was inaugurated in March of 2014. Installed in the first mill of the region, original headquarters of the Cooperativa de Olivi- Museu do Azeite - Azeite Fátima cultores; • http://www.azeitefatima.pt • The recovery of this old mill had as aim building a room for olive oil tourism • Leiria, Fátima where events can be held and promote the "Fátima Olive Oil", with locals, tourists, and professionals of the sector.

Source: authors

According to analysis to Table 4, Olive Oil communicated through texts or images (Bardin Tourism supply provided by private entities 1979; Neuendorf 2002; Smith 2017), in the spe- consists on thematic accommodation, with em- cific context of olive Oil Tourism. The primary phasis on the olive tree and the final product, purpose of this technique in this study was to olive oil, with the possibility of tasting and buy- identify and analyse the Olive Oil Tourism sup- ing this product, as well as other products of the ply (activities and experiences) in both, public region, e.g., the wine. Once again, the presence and private organisations. The analysed organi- of the Olive oil Tourism supply in the south of sations were first identified on an initial search the country stands out, which also shows an on Google using specific keywords of olive oil, enormous potential of development and diversi- and olive oil tourism. The results that appeared fication, in particular, for the northern region of in the first three pages of the search engine were the country. analysed. After this initial search, a specific and directed search was conducted on the official 3. METHODOLOGY websites and Social Media of private organisations and also of the Portuguese National and This is an exploratory study in Portugal fo- Regional Tourism Organisations. cusing on Olive Oil Tourism, an area where lit- Moreover, and in the particular context of tle is known, in particular about the experiences the Northern region, a more detailed search on that are being put into place and promoted by Google search engine was always done includ- different organisations. ing the same keywords, namely olive oil and ol- A content analysis was conducted systemat- ive oil tourism. The obtained results included a ically and objectively to examine what is being vast list of results regarding prizes obtained by

65 Revista Portuguesa de Estudos Regionais, nº 51 some of the olive oil brands, which were not Art Sites in the Côa Valley and Siega Verde considered for analysis, and also, activities re- (Douro river). lated to olive oil, such exhibitions, fairs, muse- Northern Portugal is often referred to as the ums, olive mills, restaurants and other hospital- ‘green’ region of Portugal, due to the dominant ity-related enterprises. These activities were colour of its natural scenery of mountainous ter- then selected for further analysis with a two- rain that meets with the Atlantic coast (Sam- fold purpose: to identify which and how many paio, 1991). This region is a symbiosis between olive oil-related activities are being promoted in the new and the old, the past and the present. the region, and visitors can experience that, and Modern cities such as Porto, Braga, Guimarães to analyse the potential for the development of blend with a very present traditional rural way new Creative Tourism experiences, while con- of life. The north is rich in heritage, landscapes, tributing to a sustainable development of tour- traditions, wine, and gastronomy and rich in op- ism in rural-based areas. Overall, the period of portunities for tourism (Sampaio, 1991). analysis ranged from May 2017 to May 2018. Northern Portugal is often referred to as the With the objective to complement the con- ‘green’ region of Portugal, due to the dominant tent analysis of the online information, national colour of its natural scenery of mountainous ter- and regional tourism organisations, along with rain that meets with the Atlantic coast (Sam- private organisations, were contacted by email paio, 1991). This region is a symbiosis between to participate in the study. Despite the several the new and the old, the past and the present. attempts, and except for one of the private or- Modern cities such as Porto, Braga, Guimarães ganisations, it was not possible to obtain addi- blend with a very present traditional rural way tional information regarding the existing and/or of life. The north is rich in heritage, landscapes, future supply of Olive Oil tourism in Portugal. traditions, wine, and gastronomy and rich in opportunities for tourism (Sampaio, 1991). 4. OLIVE OIL AND OLIVE OIL It is hard work for a destination to attract in- TOURISM EXPERIENCES IN THE vestors, entrepreneurs, talented and creative NORTHERN REGION OF people and also tourists (Kotler et al., 1999; PORTUGAL Florida, 2002; Anholt, 2007). To ensure the sustainable development of regional tourism poten-

tial, TPNP - Tourism of Porto and the North of The northern region of Portugal (NUTS II) Portugal is in charge of enhancing tourism as a (Fig.1) is the most populous region in Portugal strategic sector of the economy of Porto city and and the third most extensive area, 21,278 km². the northern region as a whole. The promotion The region has 3,689,173 inhabitants according of tourism in the North, according to TPNP to the 2011 census, representing 35 per cent of Marketing Strategic Guidelines for 2015-2020 the national resident population (INE - Instituto is based on the following strategic products: i) Nacional de Estatística, 2013). It includes eight nature tourism; ii) touring and cultural land- sub-regions (NUTS 3): Minho-Lima, Cávado, scape; iii) health and wellness tourism; iv) city Ave, Grande Porto, Tâmega, Entre Douro e and short breaks; v) religious tourism; vi) gas- Vouga, Douro, and Alto Trás-os-Montes and is tronomy and wine; and vii) business tourism. divided into 86 municipalities (municípios), Along with these strategic products arise which in turn are subdivided into 1,426 civil new opportunities for a growing number of cer- parishes (freguesias). The northern region is the tified products with a designation of origin. The Portuguese region with the most significant bor- northern region is an exhibition of authenticity der area with the Spanish Autonomous Commu- with products such as wine, smoked sausages, nities of Galicia and Castile-Leon and a total of maize bread, honey, olive oil, and other agro- 144 kilometres of Atlantic coast. Also, four cul- food products, as well as handicraft products, tural assets, classified by UNESCO (United Na- embroidery, filigree, and others. These products tions Educational, Scientific and Cultural Or- along with the region’s cultural and landscape ganization World Heritage Sites), with tourism heritage have led to the creation of specific pro- potential are part of the northern region: i) Alto motional instruments, such as the wines routes Douro Wine Region (Douro river); ii) Historic Vinhos Verdes and the Port Wine Route and the Centre of Guimarães (Guimarães city); iii) His- Olive Oil Route in the region Trás-os-Montes toric Centre of Oporto, Luiz I Bridge and Mon- (CCDRN, 2013). astery of Serra do Pilar, and iv) Prehistoric Rock

66 The Potential of Olive Oil For Creative Tourism Experiences in The Northern Region…

Portugal, as over 345 000 hectares of olive national region, after Alentejo, with the most groves and according to INE (2016) 469 olive significant production of olive oil. Olive oil is, mills, produced 94 000 tons of olive oil in 2017. without doubt, a strategic product that has been The region of Alentejo represents 62% of the growing side by side with tourism (Orgaz, production followed by Trás-os-Montes with 2017). 17%, Ribatejo e Oeste with 6%, Beira Interior Based on the previous analysis, places and with 6%, Beira Litoral 6%, Algarve 2% and En- activities were identified where visitors would tre Douro e Minho with 1%. The northern re- enjoy Olive Oil Tourism experiences in the gion of Portugal due to the sub-regions of Trás- northern region of Portugal (Table 5). os-Montes and Alto Douro is the second

Figure 2. Map of the Northern Region of Portugal

Source: Turismo Porto e Norte de Portugal (2015)

Table 5: Olive Oil Tourism and Experiences identified in the northern region of Portugal • Mills: Lagar de Azeite Tradicional - Vieira do Minho (Traditional olive mill) • Shops: Oliva & Co (Porto) (Specialised shop on olive oils) • Museums: - Lagar de Azeite de Fafião - Montalegre (Olive mill) - Museu de Azeite da Espinhosa - São João da Pesqueira (Olive oil museum) - Núcleo Museológico do Lagar de Azeite de Lavandeira - Museu da Memória Rural – Bragança (Olive oil museum) - Núcleo Museológico do Azeite Solar dos Cortiços - Bragança - Macedo de Cavaleiros – Cortiços (Olive oil museum) - Museu Lagar de Azeite – Vinhais (Olive oil and mill museum) - Museu da Oliveira e do Azeite – Mirandela (Olive tree and olive oil museum) • Festivities and Fairs: - Feira Nacional de Olivicultura – Valpaços (National fair dedicated to olive production) - Mercado Magriço – Penedono (A fair dedicated to regional products) - Feira da Castanha – Valpaços (A fair dedicated to regional products, in highlight the chestnut) - Feira Franca - Valpaços (A fair dedicated to regional products) - Festa das Vindimas 2017 – Tabuaço (The grape harvest festivity) - Feira do Folar de Valpaços (A fair dedicated to regional products, in highlight the traditional sweat bread “folar”) - Feira do Azeite, Vinho e Produtos Regionais Murça. (A fair dedicated to regional products, in highlight olive oils and wines)

67 Revista Portuguesa de Estudos Regionais, nº 51

- XXII Feira da Maçã, do Vinho e Azeite - Carrazeda Ansiães. (A fair dedicated to regional products, in highlight the apple, wine and olive oil)

. Thematic exhibitions: - Exposição - "Da Azeitona ao Azeite" Centro Interpretação do Mundo Rural Mogadouro (exhibition with the theme the olive and olive oil)

. Routes:

- Caminhos do Contrabando – Chaves (ancient routes used for smuggling goods such as olive oil, wine, coffee, tobacco and others that were cheaper in Spain) - Rota Terra Quente (thematic routes dedicated to the region of Trás-os-Montes)

. Thematic Restaurants: - Fins-de-semana gastronómicos (Gastronomic Weekends)

. Rural accommodation in rebuilt mills and farms: - Casa de Santo António de Britiande - Lamego - Hotel Rural Casa dos Viscondes da Várzea - Lamego - Casa do Sardão - Alfândega da Fé - Casal de Tralhariz - Carrazeda de Ansiães - Quinta das Herédias- Tabuaço - Quinta do Lamego - Santa Marta de Penaguião - Casa de Cochêca - Baião - Casa do Rio Vez - Arcos de Valdevez - Casa das Pipas - Quinta do Portal- Sabrosa - Quinta dos Espinheiros - Casa de Turismo - Sabrosa - Casa da Torre - Baião - Casal Agricola de Cever - Santa Marta de Penaguião - Casa dos Becos - Marco de Canaveses

5. CONCLUSIONS development of new Creative Tourism experiences, while contributing to sustainable devel- Experiences are increasingly valued in the opment of tourism in rural-based areas. tourism industry, and the search for experiences Olive Oil Tourism as an international tour- in rural areas and supply of activities and prod- ism product is already well structured and pro- ucts/services around local products have been moted, as analysed in the case of Spain and the particularly crucial for the dynamisation and region of Andalusia. At a national level, alt- sustainability of rural areas. hough the region of Alentejo already presents Olive Oil Tourism, based on olive oil, a some examples of Olive Oil Tourism activities product of strong traditions, deeply rooted in the and communication, in Portugal, it can be said culture of different countries, is already recog- that Olive Oil Tourism still presents a high po- nised as a tourist with a high potential to com- tential for growth and development. At a strate- plement the activity of production and commer- gic level, there is a lack of guidance from the cialization of olive oil, to create new employ- national and regional organisations through a ment opportunities, to preserve the traditions as- structured plan for this product. The develop- sociated with olive oil, and to the existence of ment of Olive Oil Tourism could be coordinated new companies, products and experiences. and networked by national and regional tourism Also, by allowing visitors to have meaningful organisations, municipalities, tourism stake- experiences, to learn more about the local skills holders, and the entire chain of olive oil opera- and traditions, and to engage with local people tors that can contribute to the structuring of the and local culture, one could argue that Olive oil Olive Oil Tourism product. Tourism represents opportunities to the devel- Besides, Olive Oil Tourism can enrich regions' offer and help to maximise other prod- opment and promotion of creative tourism ex- ucts; such as the proximity and even the over- periences in rural areas. This paper, based in lapping of visitors' motivations with the cul- Portugal and the northern region of the country tural, nature-based or gastronomic Tourism. in particular. Attempted to address this issue by This study shows there is still a need to under- analysing the potential of olive oil to the stand the best way to integrate Olive Oil

68 The Potential of Olive Oil For Creative Tourism Experiences in The Northern Region…

Tourism, which is done in complementarity This study provides several managerial im- with other offers, as in a multiproduct logic (ar- plications. Its results can help different organi- ticulation with wine route and other local prod- sations related to olive oil. On the one hand, it ucts). can help stakeholders to understand better the Considering the aim of this study, one can importance of and opportunities in the existing conclude that there is potential for olive oil ex- in developing olive oil tourism experiences. On periences in Portugal, more specifically in the the other hand, this study identifies the different northern region. On the one hand, there are sev- activities offered and who offers them. eral activities and complementary services (e.g. This study contains several limitations that restaurants, accommodations, specialised lead to opportunities for further research. Alt- shops) linked to the thematic already being of- hough a content analysis is an important tech- fered. On the other hand, there are also several nique to have a view of the offered experiences events related to olive oil (e.g. festivities, mar- by different organisations, future studies could kets), providing opportunities to integrate these consider, not only, a more extensive analysis, elements in a more organised and structured ol- but also an understanding of the perceptions of ive oil tourism offer. Also, important to high- the different stakeholders, complementing the light are the characteristics of the northern re- study with a qualitative approach. Qualitative gion for the olive oil production, as also the ex- studies could help understanding more about isting traditions (e.g. traditional harvest, olive the interest, opportunities and challenges/con- oil products, local gastronomy) that allow the straints in developing olive oil tourism in asso- design and implementation of creative experi- ciation with creative experiences. In order to ences related to olive oil. Nevertheless, to ex- complement a qualitative approach, quantitative tend olive oil-related experiences to creative studies based on surveys could also be devel- tourism, visitors need to have the opportunity to oped to understand the demand preferences, ex- interact more with the local host community, to pectations and experiences related to olive oil have more active participation in these activi- and creative tourism. This information shall be ties, while developing their creative potential significant not only to extend knowledge on the offering them memorable and engaging experi- topic, but also to help businesses to develop and ences. / or improve and diversify their offer and communication.

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Tussyadiah, I., & Fesenmaier, D. R. (2009). Turismo de Portugal (2016) Plano de Ação Mediating tourist experiences: access to places para o desenvolvimento do turismo em Portugal via shared videos. Annals of Tourism Research, – Turismo 2020, http://www.turismodeportu 36(1), 24–40 gal.pt. Acesso ao longo do mês de Maio 2017 Turismo do Alentejo (2013). Documento es- tratégico para o Turismo do Alentejo 2014 – http://www.azeitedoalentejo.pt/inicio.html 2020: Visão, Prioridades Estratégicas e Eixos http://www.casadoazeite.pt de Intervenção, https://www.visitalentejo.pt. http://www.confrariadoazeite.pt Acesso ao longo de Maio 2017. http://www.herdadedaurgueira.com UNWTO (2017). Tourism Highlights. Ma- http://www.internationaloliveoil.org/ drid, UNWTO. http://www.mpn.pt Vargo S.L. and Lusch R.F., (2004). The four http://www.oliveiradaserra.pt services marketing myths: Remnants from a http://www.quintadasaveleiras.pt manufacturing model, Journal of Service Re- http://www.visitalentejo.pt search, 6, 4, pp. 324-335. https://www.airbnb.pt/rooms/18240786 During the months of April 2017 and May https://www.visitportugal.com 2018, access to the following sites: http://www.capeoliveroute.com http://www.mapama.gob.es/es/ http://www.oliveoilmuseums.gr http://cm-belmonte.com https://www.ine.pt http://cm-campo.maior.pt http://www.internationaloliveoil.org http://evora.luxhotels.pt http://roteiromuseus.ccdrc.pt

72 Artigo submetido a 17 de Agosto de 2018; versão final aceite a 7 de Fevereiro de 2019 Paper submitted at August 17, 2018; final version acepted at February 7, 2019

Creative Tourism Experiences in Guimarães: A Twofold Analysis of Visitors’ and Suppliers’ Perspectives

Experiências de Turismo Criativo em Guimarães: Uma Dupla Análise de Perspectivas de Visitantes e Fornecedores

Carla Melo Polytechnic Institute of Portalegre

Alexandra I. Correia Polytechnic Institute of Viana do Castelo UNIAG founded by FCT: Project n. º UID/GES/4752/2019 CITUR (Centre for Tourism Research, Development and Innovation)

Marta Cardoso

Vítor Marques

Abstract/ Resumo

Considering its genesis and evolution, crea- Atendendo à sua génese e evolução, o tu- tive tourism can be seen as a development of cul- rismo criativo é considerado uma evolução do tural tourism, more suited to respond not only to turismo cultural, mais apto a dar resposta, não só the needs of contemporary travellers, who are às necessidades dos atuais visitantes, que procu- seeking for more active, fulfilling and meaning- ram experiências mais ativas e com maior grau ful experiences, but also to the need of destina- de envolvimento, como também à necessidade tions to stand out and ensure the differentiation dos destinos de se diferenciarem e asse- gurarem of their offer. a competitividade da sua oferta. Although creative tourism is receiving increas- Embora o turismo criativo tenha vindo a receber ing attention in the literature due to its rising po- uma atenção crescente por parte do meio acadé- sitioning as a development strategy, studies have mico, em muito devido ao seu posicionamento been focusing primarily on the supply-led per- privilegiado enquanto estratégia de desenvolvi- spective. Hence, more research is needed, partic- mento turístico, os estudos focam, fundamental- ularly to investigate consumer views’ on the cre- mente, a perspetiva da oferta Importa, neste sen- ative experiences being delivered, since they tido, desenvolver estudos que explorem as per- have often been appointed as a value driver of ceções dos consumidores relativamente à dispo- today’s tourism products. nibilidade, relevância e qualidade de experiên- Given the above, the objective of this explora- cias criativas dos destinos, uma vez que estas são tory study is to understand the perceptions of frequentemente identificadas enquanto impor- both visitors and tourism services providers. tantes indutores de valor nos produtos turísticos. The geographical context of this study is Face ao exposto, o objetivo do presente estudo Guimarães, a cultural destination in the north of exploratório é compreender simultaneamente as Portugal, classified as World Heritage Site by perceções dos visitantes e dos principais agentes UNESCO. Visitors’ perceptions will be col- turísticos.

Revista Portuguesa de Estudos Regionais, nº 51 lected through a survey, based on a self-admin- O enquadramento geográfico do presente estudo istrated questionnaire. In the case of tourism ser- é Guimarães, destino de turismo cultural situado vices providers, namely hotels, restaurants and no Norte de Portugal, classificado pela leisure businesses, data will be collected through UNESCO como Património Mundial. As prece- a semi-structured interview. ções dos visitantes foram analisadas tendo como The findings of this study are expected to offer base um questionário autoadministrado e, no insights regarding the development and promo- caso das empresas turísticas, nomeadamente ho- tion of long-lasting creative experiences. The téis, restaurantes e empresas de animação turís- limited studies approaching the visitors’ per- tica, uma entrevista semiestruturada. spective, specifically in this kind of destinations, Os resultados do presente estudo visam retirar makes this study a contribution to the literature conclusões relativamente ao desenvolvimento e on creative tourism. promoção de experiências criativas e duradou- ras. Atendendo à bibliografia existente relativa à perspetiva da procura, especificamente em destinos com as características de Guimarães, este estudo visa ser um contributo para a bibliografia sobre turismo criativo.

Keywords: Creative Tourism; Experiences; Palavras-chave: Turismo Criativo, Experiên- Guimarães cias; Guimarães

JEL codes: 310, Z320, L830, O210 Códigos JEL: 310, Z320, L830, O210

1. INTRODUCTION Hence, traditional business solutions and culture-oriented tourism development strategies As the importance of tourism as a worldwide started being reengineered in light of new mar- phenomenon increases and destinations’ econo- ket trends, with the aim of maintaining and en- mies significantly benefit from its effects, com- suring a greater level of differentiation of desti- petition between destinations intensifies and nations and long-term success, which are di- stakeholders seek new and innovative strategies rectly connected to the capacity to innovate and to ensure the competitiveness of their tourism adapt to a changing environment. offer. Over the last decades, and given the na- However, the ability of destinations to inno- ture of the tourism industry, prone to continuous vate and adapt is affected by several factors, es- and rapid transformations, the patterns of tour- pecially globalisation. In particular, urban des- ism products consumption has shifted its gaze tinations, such as middle-sized cities, are in- from cultural icons, traits of cultural tourism, to creasingly challenged by issues such as urban the search for engaging experiences grounded in regeneration, social inclusion, economic devel- the intangible cultural capital of the destinations opment and environmental sustainability, (Gordin & Matetskaya, 2012). Designing mem- among others. In many cases, especially in Eu- orable and innovative experiences that integrate ropean cities, culture and creativity have been these elements becomes mandatory then, in or- seen as a support engine that can help cities to der for destinations to attract and retain tourists deal with their everyday problems and innovate (Chang, Backman & Chih Huang, 2014). (Comunian, 2011). Creative cities, a concept In effect, while in the past the consumption firstly introduced by Landry (2005, cit. in Co- of cultural heritage in a spectator-like, passive munian, 2011), has been widely approached in manner was sufficient to ensure destinations’ at- the literature in order to highlight the relation traction power, in the current marketplace there between creativity, innovation and culture in is the need to innovate in order to ensure the sat- different cities (e.g. Florida, 2000; Stolarick & isfaction of today’s consumers, with ever in- Florida, 2006; Evans, 2007). In this context, the creasing needs and desires. concepts of creativity and innovation are Indeed,consumers’ needs became central to pointed out in the literature (e.g. Teodorescu, the development of innovative strategies.

74 Creative Tourism Experiences in Guimarães: A Twofold Analysis of Visitors’ and Suppliers’ …

Stancioiu, Ravar & Botos, 2015) to highlight research. Main results from both the question- their potential for creative tourism. naire and interview are then described and dis- Creative tourism, which derives from the cussed. The last section is intended to summa- aforementioned changes in consumption pat- rize main findings and implications and also terns, as consumers look for opportunities to ac- identify main limitations of the research. tively participate in experiences, learn about their surroundings and for personal develop- 2. LITERATURE REVIEW ment (Richards & Wilson, 2006), has been gaining more and more attention by academics and 2.1. Creative tourism: from cultural practitioners, as it is seen as an innovative and tourism to creative tourism experiences critical option for differentiation and competitiveness in urban destinations (OECD, 2014). In recent decades, destinations have been However, and despite the recognition of its promoting themselves through their cultural importance and the undeniable advances in in- identity (Richards & Wilson, 2007). However, ternational academic research on the creative culture is no longer seen as a distinctive element tourism concept and its development patterns, of destinations (Richards & Wilson, 2007) and there is a substantial lack of knowledge regard- given the massive use of culture-led developing not only the supply side, but also, and spe- ment strategies, along with the application of cifically, the demand side, in particular, on tour- the same development parameters and guide- ists’ viewpoints concerning creative tourism ex- lines all over the globe, destinations have lost periences (Tan, Luh & Kung, 2013). their differentiating power (Jelinčić & Žuvela, Given the above, the research questions are 2012). Therefore, destinations need to deliver as follows: experiences that are closely linked to the con- How is creative tourism perceived and expe- cept of creativity, capable of enhancing the at- rienced by visitors to a mainly cultural destina- tractiveness of destinations’ tourism offer, as tion? How is creative tourism generally per- the concept of creativity itself is linked with the ceived by tourism service providers in a mainly destinations capacity to innovate their products cultural destination? More specifically, is crea- (Richards & Wilson, 2006; Tan, Luh & Kung, tive tourism seen as an opportunity for business 2014; Teodorescu et al., 2015). Creativity is in- and destination development? What are the ex- deed held by suppliers as a significant option for pected benefits? What are the perceived rele- stimulating a range of economic, cultural and vant resources for creative tourism develop- social outcomes (WEF, 2016; Pivac, Blešić & ment? How can creative tourism be managed Kliček, 2017). As per Richards & Marques and governed? (2018), those places that are attractive to live in Thus, the objective of this research is two- are also attractive to visit. Creativity can then fold. First, it aims at understanding both visi- play an important role as a key growth resource tors’ and tourism service providers’ knowledge in the process of adapting spatial, economic and and attitudes toward creative tourism. Second, cultural systems of cities to the new economy it aims to unveil main tourists’ perceptions re- (Durmaz, Platt, & Yigitcanlar, 2009). The link garding their active participation in creative between tourism development and creativity tourism experiences. The geographical context and creative industries has the potential to foster of the research is the municipality of demand, stimulate innovation in tourism expe- Guimarães, in the northwest of Portugal, a well- riences, revitalise tourism products, add atmos- known destination due to its historic and cul- phere to destinations and improve place image, tural background. Results draw upon a survey by providing creative content for tourism expe- carried out with visitors and tourism services riences and supporting innovative approaches to providers. tourism development (OECD, 2014). As for the structure of this research, the first The words culture and creativity started section provides a review of significant litera- merging together and strategies based on deliv- ture on the creative tourism concept and its core ering creative experiences as a reaction, or an pillars, along with a brief analysis of its devel- extension of cultural tourism started being de- opment. Research design and methodology veloped and implemented, resulting in the adopted are outlined in section three, followed emergence of creative tourism (Richards & Wil- by a section dedicated to providing background son, 2006; Wurzburger, Aageson, Pattakos & of the study area in order to contextualize the Pratt, 2010; Jelinčić & Žuvela, 2012; Chang et

75 Revista Portuguesa de Estudos Regionais, nº 51 al., 2014; Tan et al., 2013; Cardoso, 2014). The concept of creative tourism, neverthe- Studies emphasise that while cultural tourism less, raises some questions, namely in regard to mostly focuses on exploring the cultural and what makes creative tourism creative, and who historical heritage in a mostly passive manner, decides what is creative (Designated Areas for creative tourism has a broader scope and has Sustainable Tourism Administration, 2018). more potential than traditional cultural tourism This occurs because different places have their to add value and innovate products (Richards & own definitions of creative tourism (Tan et al., Wilson, 2006), since the tangible cultural herit- 2013) and because creativity is a complex phe- age merges together with the intangible capital. nomenon widely believed to be inaccessible to creative tourism is then seen as a more sustain- analysis and even less so to measurement able alternative to its cultural counterpart, since (Candy & Bilda, 2009). This seeming lack of its focus moves away from physical resources, consensus regarding the creative tourism con- to which tourism can, in some situations, be cept can challenge the tourism production sys- harmful (Gordin & Matetskaya, 2012). In fact, tems as well as research into the phenomenon. creative tourism has been appointed as the next It is also noteworthy that, according to the generation of cultural tourism that satisfies the European Commission (2009), creativity is an higher-level need of self-actualisation with a evolving concept that can be affected by several primary focus on active skills development factors which include individuals’ personal (Ohridska-Olson & Stanislav, 2010). traits and unconscious psychoanalysis of the so- The concept of creative tourism is conceptu- cial cultural and economic context where it is alized by UNESCO (2006, p. 3) as the type of being developed, cognitive skills and manage- travel “(…) directed toward an engaged and au- ment processes applied to creative develop- thentic experience, with participative learning ment. in the arts, heritage, or special character of a Furthermore, as highlighted throughout the place, and it provides connection with those literature, current definitions of creative tourism who reside in this place and create this living are all supply-led, focussing solely on the per- culture”. This concept follows Richards & Ray- ceptions of service providers. The disregard of mond’s (2000) study, which emphasised the the tourist’s viewpoint is particularly damaging growing supply and demand for experiences since it is widely accepted that tourists are seen characteristic of the host destination that allow as co-creators of their creative experiences, the active participation of visitors and the devel- whose active participation is key for the creative opment of their creative potential. Also, Gordin experiences to exist (Maitland, 2007; Tan et al., & Matetskaya (2012, p. 57) state that “the main 2013). Moreover, in the few existing studies goal of creative tourism is experiencing things about creative tourism demand, a mismatch be- first-hand, living through new emotions, acquir- tween the perceptions of stakeholders and touring new knowledge and skills through engaging ists was unveiled, mainly due to practitioners’ in creative activity shared with fellow tourists, lack of understanding of the needs of this type and through interactions with the locals”. Cul- of tourists and consequent poor adjustment of ture is therefore seen throughout the literature their tourism offer (e.g. Lindroth, Ritalahti & as a source of creativity, and creative experi- Soisalon-Soininem, 2007; Gordin & ences as a method for using and developing cul- Matetskaya, 2012), which can seriously com- tural resources (Stojanovic, Petkovic & promise the success of tourism products or des- Mitkovic, 2012) in a more effective manner in a tinations. Tan et al. (2013, p. 154) thus defend highly demanding contemporary market. Gor- the need for “more sophisticated analysis of cre- din & Matetskaya (2012, p. 58) defend in this ative tourism that draws on the tourist’s per- sense that “the existence of cultural tourism spective, especially with regard to, how is it dif- supports the development of creative tourism, ferent from other types of tourism, what are the and many cities boast an effective combination basic building blocks of creative experiences, of these kinds of tourism”. and how do these elements interact in creative The ultimate goal of the current broader con- tourism systems”. cept of creative tourism is to let the tourist be Creative experiences comprise the engage- part of and interact with the surroundings of the Ment and active involvement, as deeper and host destination, giving the opportunity to the more meaningful experiences are sought by vis- tourist to become part of the creative core of a itors. Indeed, visitors are increasingly changing destination (Den Dekker & Tabbers, 2012). their role and are actively participating and

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engaging in experiences within the communi- identified key factors which influence the rise ties visited (Prentice & Andersen, 2007; Potts, of this type of tourism in St. Petersburg, such as Cunningham, Hartley & Ormerod, 2008; Ray- its existing cultural heritage (included on mond, 2010; Ohridska-Olson & Stanislav, UNESCO’s list of cultural and historical herit- 2010; Richards, 2011), while seeking more gen- age), the cities’ fame as a tourism brand and in- uine experiences instead of staged ones (Bink- centives given to creative industries, and the horst, 2007; Zacchiroli, 2010; Ohridska-Olson current evolution of the market which calls for & Stanislav, 2010; Zukin, 2010; Richards, new and creative experiences. This can be un- 2011; Den Dekker & Tabbers, 2012). By inter- derstood as a reinforcement of (i) the im- acting with the place, community and context, portance of cultural resources, (ii) the link to tourists are co-creating their own experiences, creative industries, as well as (iii) the role ensuring the integration of production and con- played by the market, linking together the sup- sumption processes (Richards & Wilson, 2006; pliers and tourists, and the need for more inte- Binkhorst, 2007; Richards, 2011). In this con- grated creative tourism development models. text, intangible elements such as the living and Gordin & Matetskaya (2012, p. 59) argue popular culture of the places assume a greater that consumer behaviour determines demand importance (Richards & Wilson, 2006; Mait- for creative tourism, identifying the following land, 2007; Richards, 2011; OECD, 2014). as core market factors: the degree and nature of Creative experiences, then, should allow consumer participation in cultural and creative tourists to meet their desire for self development practices; cultural heritage preservation; broad- and creative expression (Prentice & Andersen, ening channels and formats of human interac- 2007; Ohrisdka-Olson & Stanislav, 2010; Rich- tion in society and the growth rates of cultural ards, 2011; Stojanovic et al., 2012), to learn tourism and other forms of tourism. Other stud- more about the local skills, expertise, traditions ies show that from a demand-side perspective, and unique qualities of the places they visit many tourists desire small, intimate and per- (Richards & Wilson, 2006, cit. in Tan et al., sonal experiences (Maisel, 2009 cit. in Tan et 2013). Creative tourism practices and experi- al., 2014). Thus, the main demand factors which ences should consider the symbiotic relation- should then be pondered by suppliers are: par- ship between the need to produce and deliver ticipation in culture, innovation, cultural herit- new experiences and consumer drive towards a age preservation, authenticity, human interac- fun and distinctive tourism supply (Pantzar & tion and cultural immersion (Ohridska-Olson & Shove, 2005, cit. in Richards, 2011). Conse- Stanislav, 2010). quently, the need for suppliers to ensure the In spite of the consensus that consumer transformative power of the experiences created needs should be the starting point of any crea- is becoming more and more evident (Gottlieb tive development strategies, most studies on Duttweiler Institute, 2006; Richards & Wilson, creative tourism have focused on the supply- 2006; Prentice & Andersen, 2007; Ohrisdka-Ol- side perspective, with few concentrating on the son & Stanislav, 2010; Richards, 2011; Stoja- tourists’ perspective. Despite the few existing novic et al., 2012), and the capacity of creative studies, Tan et al. (2014, 2016) developed sig- tourism to defy conventional models of produc- nificant research on the perceptions, motivation, consumption and delivery is manifest tions and characteristics of creative tourists, in- (Prentice & Andersen, 2007). cluding a taxonomy of creative tourists that Ohridska-Olson & Stanislav (2010) propose identifies five distinct types: the novelty seek- a creative tourism business model in which they ers, knowledge and skills learners, those who identify the main factors that determine creative are aware of travel partners’ growth, those who tourism supply, namely, the local tourism infra- are aware of green issues and the relax and lei- structure, hospitality, unique local arts and sure type. crafts, unique local cultural offerings, creative industries and other types of tourism, as well as 2.2. Creative tourism development involvement, cooperation and interaction be- The development of creative tourism experi- tween all stakeholders in the process of creative ences requires of tourism suppliers the capacity tourism development. Furthermore, in their re- to mobilize and include experiential elements in search on the existing and potential competitive their offer, as well as embedding creativity in advantages of St. Petersburg as a creative tour- the destination so tourists visit the place where ism destination, Gordin & Matetskaya (2012) creativity is produced (OECD, 2014). Also,

77 Revista Portuguesa de Estudos Regionais, nº 51 there is the need to capitalize on tourism de- themselves towards the resolution of common mand, rooting their offer in consumers’ needs problems (UNESCO, 2006). Richards & and desires, which will make their products Marques (2012) also emphasize the importance unique and invaluable (Tan et al., 2014), and it of creating these networks, especially when is thus suggested throughout the literature that considering the lack of formal policies on crea- the competitiveness of tourism operators is tive tourism. nowadays grounded in their capacity to move In an even broader analysis, besides the pub- away from traditional forms of delivering the lic and private sectors, local communities also service and creatively satisfying consumers’ in- have an important role in the development of dividual needs (e.g. Teodorescu et al., 2015). creative tourism, because they are the natural The development of adequate policy frame- ‘owners’ of most of the resources used (e.g.: works for the interconnected growth of tourism cultural, natural and social heritage,) and they and the creative industries is, however, a rela- must guarantee the control of the management tively new and complex process (OECD, 2014). process, in order to prevent the deterioration of The world Economic Forum (WEF) (2016) those assets (DASTA, 2018) and to optimize identifies as core factors the role of the govern- their own benefits and the tourist experience. ment in creating conditions for creative economies to flourish, and the role of entrepreneurs 3. METHODOLOGY who inspire and train other creative entrepreneurs, creating a multiplier effect. In addition, Drawing from the previous sections, while and according to WEF (2016), policy-makers, relevant research has been written on creative when aiming at developing creative economies, tourism (e.g. Richards & Wilson, 2006; Mait- should consider factors such as local strengths, land, 2007, Binkhorst, 2007) and creative cities with the goal of bringing communities and ideas (e.g. Comunian, 2011), more research is still closer together, through the proximity with the needed, particularly focusing on perceptions of academic community and cultural centres and demand (Tan et al., 2013; Chang & Backman, also the power of place since creative econo- 2016). However, a more detailed understanding mies are established where people want to live of creative tourism would need to consider not due to location and amenities. Another factor to only the demand perspective, but also the sup- be considered is the use of digital technology, ply side. These two perspectives are critical to given that it allows for new and innovative ven- expand knowledge on creative tourism, which tures to be rapidly launched and maintained. is, in turn, important for the development and A major difficulty for suppliers regarding promotion of more active, fulfilling and mean- creative tourism development is to ponder on ingful creative experiences. Suppliers need to whether to implement incremental or disruptive root their offer in consumers’ needs and desires innovation strategies, which can lead to short- in order to make their products distinguishable term and long-term wins, respectively (Caniëls (Tan et al., 2014). As such, this paper aims at & Rietzschel, 2015). This is because disruptive understanding both visitors’ and tourism service innovation is often costlier and riskier and providers’ knowledge and attitudes toward cre- therefore frequently disregarded by organiza- ative tourism and experiences, as well unveiling tions which implement safer options regardless the main perceptions of on creative tourism and of current market development patterns. It is also regarding their active participation in crea- worthy of note that, while cultural tourism is tive tourism experiences. Empirical data was often funded by the public sector, which pos- gathered by means of a survey through the use sesses the cultural physical assets, creative tour- of a self-administered questionnaire applied to ism is often stimulated by the private sector visitors, and by a semi-structured interview, ad- (Sano, 2016), which is mostly oriented towards ministered to tourism service providers. making profit in short amounts of time. The questionnaire was based on a literature However, both public and private sectors review on creative tourism, particularly focus- should have important responsibilities in crea- ing on the concept, experiences, activities, and tive tourism development (OECD, 2014), pillars of (e.g. Richards & Wilson, 2006; Rich- whereas the public sector is responsible for the ards, 2011; Stojanovic et al., 2012; Tan et al., creation of an enabling environment and the pri- 2013). Three main sections were included: char- vate sector is responsible for their own self-pro- acterization of the visit, visitors’ perceptions motion, coordination and networking between and experiences on creative tourism, and visi-

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tors’ profile. The questionnaire was pre-tested regarding whether they would or would not like with the aim of testing the clarity, ambiguity to participate in creative activities in the future. and comprehensibility of the questions. The However, when the test was run and assump- pre-test was conducted in a different city, Viana tions were not met, results are not presented. In do Castelo, also in the Minho region, in the addition, Mann-Whitney tests were conducted northwest of the country. This city is strongly to test significant differences in relation to re- associated with its cultural characteristics and spondents’ motivations to visit Guimarães and resources, such as folklore, handicrafts, build- their overall satisfaction with the visit, as well ing heritage, popular festivals, pilgrimages, as to the importance of the availability of crea- fairs, and a gastronomic variety of regional food tive tourism experiences for their decision to (ADRIL, 2012; Sampaio, 1994). Because of visit a particular city/tourist destination in the these features, Viana do Castelo is one of the future. When significant differences were found main destinations chosen by visitors when vis- (based on a significance level of 0.05), results iting the north of Portugal (Marques, 2011). are presented with the information about the ef- With regard to the visitor profile, in his study fect size. dated of 2011, Marques stated that from the vis- Although the reduced number of question- itors to Guimarães interviewed, 11% included naires can be considered a limitation of this ex- Viana do Castelo in their visit to the region. ploratory study, the results obtained are still rel- Viana de Castelo is a city where a local ini- evant to identify key aspects based on the de- tiative is being branded, named Viana Criativa mand perspective, which could be explored in (Creative Viana) (Fernandes & Rachão, 2014) more detail in further research. The limitaions that highlighted the local know-how and crea- of the stufy are explained in greater detail in the tive skills for the provision of creative tourism final section of the paper (conclusions). experiences. Given its main characteristics, ini- In addition, perceptions of local tourism ser- tiatives and experiences provided, Viana was vice providers were collected through semi- considered adequate for the application of the structured interviews, conducted between the pre-test. 15th May and the 12th of June, 2018. The After a few minor changes as a result of the themes addressed in the interviews were con- pre-test, a Portuguese version of the question- cerned with the main research aim and research naire was obtained and then translated into Eng- questions mentioned previously. In addressing lish. Special attention was paid by researchers these themes, it was expected that responses in order to avoid the possible danger of lost would identify their perceptions on creative meanings and incorrect interpretations (Efendi- tourism. Respondents were selected through a oglu & Yip, 2004). Also, and in order to ensure convenience sampling method. A total of 10 in- accuracy, the questionnaire was checked by a terviews were held with managers of tourism- bilingual, experienced researcher and academic. related businesses, namely providers of tourism The questionnaires were implemented in the accommodation services (n = 6), tourism enter- historic centre of Guimarães and in other main tainment services (n = 1) which promote their tourist attractions. Questionnaires were applied offer as creative tourism experiences, food and in the last two weeks of May 2018. The sample beverage (n = 2) and tour operating services (n was obtained using volunteer sampling tech- = 1), all located in Guimarães. The interviews nique, which is a convenience and non-proba- lasted an average of 45 minutes each and were bility sampling method (Teddlie & Yu, 2007; transcribed and analysed manually, in a system- Byrd, Canziani, Hsieh, Debbage & Sonmez, atic and objective way, based on a matrix. This 2016). A sampling of 140 questionnaires was matrix encompassed the following topics: fa- obtained. Descriptive statistics were conducted miliarity with creative tourism concept; creative using SPSS Version 24.0. Frequency analysis tourism as an opportunity for business and des- was used to describe the characteristics of tour- tination development and expected benefits; rel- ists’ demographics, perceptions and experi- evant resources to creative tourism develop- ences in relation to creative tourism. In order to ment, creative tourism management and gov- better understand the features of different users, ernance; and perceived changes in tourism de- chi-square tests were employed (with a signifi- mand and in creative tourism demand (in the cance level of 0.05) to determine, for example, last three years). This form of content analysis if significant differences existed between Portu- was based on Krippendorff’s (2004) framework guese and international respondents’ answers, and was considered adequate as the answers to

79 Revista Portuguesa de Estudos Regionais, nº 51 the interview questions were used to answer the This decline led, in the late 1990s, to the munic- research questions. Respondents’ answers were ipality promoting a strategy of tourism develop- coded in numbers ranging from one to ten, for ment supported by urban regeneration, which instance, Respondent 1 was coded R1, Re- had its main recognition in the classification of spondent 2, R2 and so forth. its Historic Centre as a Cultural Heritage of Hu- manity in 2001 and the hosting of the European 4. THE GEOGRAPHICAL CONTEXT: Capital of Culture in 2012. The city also com- GUIMARÃES mitted to the implementation of cultural and sporting structures capable of providing spaces The municipality of Guimarães is located in and conditions for the presentation of a broad Vale do Ave (NUTS III), in the northwest of annual programme of activities.1 Portugal, covering an area of 241 km2, with a The hosting, in 2004, of a few European Cup total of 153 995 inhabitants in 2016 (INE, Football matches provided major national and 2016). The resident population was 162 572 in- international visibility. It also had the merit of habitants in 2006 (INE, 2006), which represents preparing the city for hosting large events with a drop in population of 5.3% in the last decade. greater amounts of visitors. Analysing the economic structure of the mu- The opening in 2005 of the Guimarães Mul- nicipality, it can be said that despite the difficul- tipurpose Pavilion, able to host major cultural, ties that industries in general are facing, textile sporting and conference events, and the opening and clothing industries still have a critical role in 2006 of the Centro Cultural Vila Flor, with in the local economy, contributing greatly to ex- two auditoriums, conference rooms and a large ports and employment. Tourism is also gaining exhibition area, projects developed for Euro- increasing importance to the local economy and pean Capital of Culture 2012, also reinforced employment, given the growing number of tour- the position of the municipality in the national ists visiting the region and the number of busi- context in the area of cultural and urban tour- nesses that have been created in the last decade.1 ism. In fact, in the past, the decline of some in- These public investments and the new dy- dustrial activities was reflected in local hotels, namics imprinted on the city’s tourism was re- with a reduction not only in occupancy rates but flected in the installed hotel capacity, which also in the level of average expenses per guest. registered positive development between 2013 and 2017, as shown in Table 1.

Table 1. capacity of accommodation and number of establishments in Guimarães 2013 to 2017 2013 2014 2015 2016 2017 Accommodation Capacity 1707 1824 1983 1924 2289 Establishments 23 26 33 30 39 Source: National Statistics Institute (2013 to 2017)

The indicators of tourism activity show a number of overnight stays and in the number of positive evolution between 2013 and 2017, with guests (Table 2). The number of overnight stays an increase of 34.1% in the accommodation ca- shows a positive evolution of 74.7% between pacity and of 69.6% in the number of existing the years 2013 and 2017. For the same period, establishments. It is notable that there was a sig- the number of guests also shows an increase of nificant investment in the hotel sector, mainly 67.8%. Guimarães also shows a strong capacity within the four-star category. to attract international markets which continues In recent years, demand for Guimarães has to grow, representing 49.6% of international registered a positive evolution. There is sus- guests in 2017 (Table 2). tained and continuous growth, both in the

1 1 https://www.cm-guimaraes.pt accessed 22nd April 2018

80 Creative Tourism Experiences in Guimarães: A Twofold Analysis of Visitors’ and Suppliers’ …

Table 2. Evolution of the number of overnight stays, number of guests and % of international guests in Guimarães from 2013 to 2017 2013 2014 2015 2016 2017 Number of nights 178429 108987 222534 256531 311737 Number of guests 110558 129441 141946 156270 185554 International guests (%) 41.9% 42.0% 43.2% 47.1% 49.6% Source: National Statistics Institute (2013 to 2017)

With regard to the visitor profile, in his study In order to shed light to the existing offer that dated of 2011, Marques stated that visitors to is related to creative tourism experiences, exam- Guimarães were aged between 26 and 65, with ples are provided here. One promoter offers special focus on the age group between 26 and rickshaw and walking tours in the area of the 45. Also, most visitors had higher education and historic centre. Two promoters are focused on were married. The visit to Guimarães was part bike-related experiences: one provides tradi- of a broader visit to the region. Visitors choose tional MTB bike tours and the other provides the destination because it is a World Heritage bike tours and bike rental services. The offers Site, highlighting the gastronomy and wines and go from traditional bike tours, to combinations also cultural activities as other reasons for their of bike tours with historical heritage, sports ac- visit. Visitors appreciate local hospitality and tivities and health and beauty treatment / SPA leave with the intention of recommending a visit experiences. There are also two promoters that to family or friends. Previous studies indicate offer a game experience that can be classified as that visitors to Guimarães have cultural inter- escape games. These are experiences where the ests, but are also willing to participate in activi- participants are challenged to solve a series of ties/experiences, which can be considered as a puzzles and riddles using clues, hints, and strat- positive predictor for the development of crea- egy to complete the objectives at hand. Players tive tourism-related experiences. are given a set time limit to unveil the secret plot In regard to the creative tourism supply, one which is hidden within the rooms. The Breakout can argue that Guimarães possesses the neces- Guimarães Escape Game has the future and sary historical heritage, built tourism infrastruc- space missions as the main theme. The other tures, cultural dynamics and identity. There is a promoter offers a problem-solving experience. significant number of stakeholders in the mu- In Guimarães one promoter can also be found nicipality who could focus on developing and offering an exploring experience close to the promoting this type of tourism, such as tourism concept of a treasure hunt, "the artifact" – leisure companies and local tour operators, Guimarães outdoor mystery. This game consists along with a growing number of businesses, of a combination of historical, heritage and cul- such as restaurants and accommodation facili- tural exploration mainly located in the historic ties, that could potentially organise experiences centre area, related to an artifact of D. Afonso to complement and enhance their offer, even Henriques, the first Portuguese King who is though that would not be their core business. generally accepted as having been born in The Guimarães Tourism website, Guimarães. The game includes visits to places www.guimaraesturismo.com, has an area des- of interest and tasting of local traditional pas- ignated as Experiences on its home page. Ex- tries. ploring this item, it can be observed that some In the national tourism register2 (Turismo de of the references are related to facilities such as Portugal, 2018), there are in fact 16 tourism en- the cable car, and others are suggested places to tertainment companies registered in Guimarães visit by theme, medieval bridges, Castro Cul- which focus on cultural touring (8), nature and ture or the Historic Centre. One can also find adventure activities (9) and activities related to specific references to promoters and businesses water tourism (6). Activities include developing that offer integrated programmes to the public, thematic routes and other heritage discovery which may align with the definition of creative routes, museum visits, bicycle and Segway tourism. tours, boat rental and water tours, and activities

2 National Tourism Register managed by Tourism Portugal, the National Tourism Authority, which comprehends a register of all tourism businesses by typology.

81 Revista Portuguesa de Estudos Regionais, nº 51 such as obstacle courses, nature observation ac- respondents were 48 years old (standard devia- tivities, hiking, canyoning and similar outdoor tion: 13.7). Most of the respondents had higher activities. These are relatively typical experi- education degrees and had an income higher ences offered in many destinations, and there- than 501 euros/month. fore represent a lower differentiating power for According to Richards (2009), cultural tour- destinations. ists are usually associated with high levels of In addition to the above mentioned, four of education as well as high incomes, which is one the companies offer activities directed towards of the reasons why this form of tourism is of discovering ethnographic heritage and popular particular interest to destinations, not only due and traditional games, but only one of those spe- to its direct economic effects, but also because cializes in more creative programmes such wine the tourist receipts generated by cultural tourism and gastronomic activities, pottery and tradi- consumption can be reinvested in the preserva- tional embroidery workshops, storytelling and tion and revitalization of cultural assets, which other agricultural, pastoral, artisanal and similar is crucial in a period where local and national activities. Only one leisure business promotes governments are dealing with strong financial itself as offering creative tourism activities. restrictions. When considering specifically the Some businesses such as restaurants, accom- case of creative tourists, and according to the modation and housing units also offer wine tast- Creative Tourism Network (n.d.), these type of ing, cooking experiences, and organic farming tourists usually allocate a substantial part of workshops. However, in all these cases, they are their budget for the fulfilment of creative tour- non-regular offers that require prior booking ism activities/experiences, which can also be of and a minimum number of participants, which significant interest to the destination providers poses challenges to marketing initiatives. who seek to deliver innovative products and in- Given the above, the creative offer is consid- crease their revenues. ered scarce, and it seems that there is still a greater dependence on cultural tourism pro- 5.2. Characterisation of the visit (to grammes with a lesser degree of activation Guimarães) amongst tourists, and their involvement with the community. Further sections of this paper will The majority of the respondents (75.7% in focus on the perceptions of tourists and service total; n = 140) were visiting Guimarães for the providers regarding the creative tourism supply first time. Those who had visited the destination in Guimarães. before had visited 3 times on average (n = 29; standard deviation: 2.4). As shown in Table 4, 5. FINDINGS AND DISCUSSION most of the respondents were visiting the destination with family (n = 74; 52.9% in total) and 5.1. Demographics of the respondents with friends (n = 43; 30.7% in total). Visitors’ main motivations were investigated by This section provides a description of the asking respondents to rate the importance of ten profile of the respondents. A total of 140 visi- reasons presented for visiting Guimarães (on a tors participated in the study. The general de- 5-point scale ranging from 1 = no importance, 2 mographic profile is presented in Table 3. As = not very important, 3 = neutral, 4 = important, shown in the results, 80% of the respondents to 5 = very important), which were generated were international visitors. For the purpose of after the literature review. The descriptive re- the study, any individuals who lived in the mu- sults show that historical and cultural heritage nicipality were considered residents and were are the most important reasons for visiting the therefore excluded from the study. Of the inter- destination (see Table 5). These results are in national visitors, 35.7% (n = 40) were from Bra- line with previous work suggesting that zil, followed by Spain (n = 21; 18.8%), and by Guimarães is mainly visited because of its his- France (n = 14; 12.5%). These results are in line torical and cultural context and that the majority with the overall statistics of international visi- of tourists are satisfied with their visit tors to Portugal, where the three countries men- (Marques, 2011; Remoaldo, Cadima, Ribeiro tioned are traditionally among the most signifi- Vareiro & Freitas Santos, 2014). Based on a cant source markets (INE, 2018). Mann-Whitney test, significant differences with In total, 49% of the respondents were female a small a small effect size) were found between and 50.7% were male. On average, the Portuguese (Md = 4; n = 28) and international

82 Creative Tourism Experiences in Guimarães: A Twofold Analysis of Visitors’ and Suppliers’ …

Table 3. Demographics of the respondents N % Nationality Portuguese 28 20.0 Other country 112 80.0 Total 140 100 Country of Origin Germany 9 8.0 Argentina 3 2.7 Brazil 40 35.7 Spain 21 18.8 France 14 12.5 The Netherlands 5 4.5 UK 5 4.5 Other 15 13.4 Total 112 100 Gender Female 69 49.3 Male 71 50.7 Total 58 100 Age <= 38 36 26.7 39 - 48 40 28.6 49 - 58 29 20.7 > 59 35 25 Total 140 100 Mean (48 years) Standard Deviation: 13.7 Educational Background Primary school 4 2.9 Secondary school 14 10.0 Vocational education 6 4.3 Bachelor’s degree 3 2.1 Graduation Degree 37 26.4 Postgraduate studies 12 8.6 Master’s degree 25 17.9 PhD 6 4.3 Post doctorate 4 2.9 Total 111 100 Income (monthly) < 500 1 0.7 501-1000 31 22.1 1001-1500 40 28.6 1501-2000 29 20.7 >2000 39 27.9 Total 140 100

visitors (Md = 3; n = 99) with regard to when 4.5 (standard deviation = 0.91) on a 5-point their motivation is ‘To visit a World Heritage scale ranging from 1 = very dissatisfied, 2 = dis- City” (U = 1006.5, z = -2.267, p = 0.023, r = satisfied, 3 = neutral, 4 = satisfied, to 5 = satis- 0.2). The results show that this motivation was fied). There were no significant differences be- considered as ‘important’ for 82.6% and ‘very tween the degree of satisfaction of the visit be- important’ for 75% of international visitors. tween Portuguese (Md = 5, n = 27) and interna- The degree of satisfaction in relation to the visit tional visitors (Md = 5, n = 105), U = 1302.5, z was also evaluated. Overall, the respondents = -.776, p = .438). were very satisfied, as shown by the high rate of

83 Revista Portuguesa de Estudos Regionais, nº 51

Table 4. Visiting Guimarães alone or with family or friends N SD Alone 23 16.4 With family 74 52.9 With friends 43 30.7 Total 140 100 Nr. of people (family) in the group: Mean: 3 (Standard Deviation: 1.6) Nr. of people (friends in the group: Mean: 12.9 (Standard Deviation: 17.7)

Table 5. Motivation for the visit to Guimarães Motivation for the visit Mean SD

To have a different experience 4 0.91

To learn/have contact with the historical and cultural her- 4 0.94 itage To visit a World Heritage City 4 0.92 To visit historic cities 4 1.00

To learn/experience the region's gastronomy and wines 4 1.10

*SD: Standard deviation

5.3. Visitors’ perceptions and experi- Respondents were also asked about their in- ences about creative tourism tentions to participate in creative tourism experiences in the future. In total, 53% (n = 74) in- The majority of the respondents had not dicated that they would like to participate in cre- heard about creative tourism before (82% in to- ative experiences, and 47% (n = 66) indicated tal; n = 115). Those who had heard about crea- they would not like to participate in creative ex- tive tourism before were asked to explain and/or periences in the future. When asked to explain indicate the context. Only 4 respondents had the answer, 3 of the respondents who indicated heard about creative tourism before and they ‘no’, stated that they had ‘no interest’ (n = 2) had heard about it in the context of their jobs. and that they ‘do not know what it is’ (n = Considering the objectives of the study, all 1).Those who indicated they would like to par- respondents were asked to indicate the main ticipate in creative experiences, referred to ‘new idea they would associate with creative tourism, experiences/new knowledge’ (n = 17). A chi- despite their previous knowledge about it. Only square test for independence (with Yates’ con- 15 respondents answered the question. The re- tinuity correction) indicated no significant dif- sults suggest that respondents have vague ideas ferences between nationality and if they would, about creative tourism, considering what they or would not like to participate in creative tour- associate with it and their previous participation ism activities in the future (X2 2.453; d.f = 1;p in creative experiences. Respondents associated = .117). creative tourism with ‘new experiences’ (n = 3), In order to better understand the respond- ‘interesting’(n = 5) and ‘different’ (n = 4), and ents’ perceptions, they were all asked to indicate 5 had already participated in creative tourism the degree of importance (on a 5-point scale experiences before the current visit, namely ranging from 1 = no importance at al, 2 = not cooking (n = 1), dancing (n = 1) and theatre (n very important, 3 = neutral, 4 = important, to 5 = 1). Those who had heard about creative tour- = very important) that several aspects (that ism before considered that the existence of cre- emerged from the literature) could have, in their ative tourism experiences rated its importance motivation to participate in creative tourism ac- in their decision to visit the destination as 3.3 tivities, in the future. None of the aspects iden- (on a 5-point scale ranging from 1 = no im- tified emerged as particularly important for re- portance, 2= not very important, 3 = neutral, 4 spondents to participate in creative tourism ex- = important, to 5 = very important). periences. Nevertheless, the aspects with higher

84 Creative Tourism Experiences in Guimarães: A Twofold Analysis of Visitors’ and Suppliers’ …

mean were: ‘Relax/leisure’ (mean=3.5; destinations, particularly at a time when desti- Sd=0.91), ‘Fun’ (mean=3.5; Sd=0.87), ‘Enter- nations need to stand out (Richards & Marques, tainment’ (mean=3.4; Sd=0.97), ‘Preservation 2012), when it is emphasised that creative tour- of local traditions’ (mean=3.4; Sd=0.91), ism has more potential than traditional cultural ‘Learning’ (mean=3.4; Sd=0.86), and ‘Contact tourism to add value and innovate products with local traditional activities’ (mean=3.3; (Richards & Wilson, 2006) and that creativity Sd=0.079), These results might suggest that ei- and creative tourism experiences are significant ther respondents are not very interested in par- for destinations’ competitiveness and capacity ticipating in different activities with the aspects to innovate their products (Richards & Wilson, identified, or that they do not identify with the 2006; Tan et al., 2014; Teodorescu et al., 2015). motives for creative tourism activities at all. In addition, this study supports the idea that Respondents were also asked to indicate the there is a need for further research on the tour- importance of the availability of creative tourist’s perspective (Tan et al. 2013), especially in ism experiences in their decision to visit a par- terms of what tourists mean and what they are ticular city/tourist destination in the future (on a looking for when searching for more active, ful- 5-point scale ranging from 1 = no importance, 2 filling, meaningful and engaging experiences. = not very important, 3 = neutral, 4 = important, to 5 = very important). On average, respondents 5.4. Tourism services providers’ percep- rated it as 3.2 (SD = 1.16). Significant differ- tions ences with small size effect were found between Portuguese (Md = 4, n = 17) and international A total of ten semi-structured interviews visitors (Md = 3, n = 58) with regard to the im- were conducted with local tourism services pro- portance of the availability of creative tourism viders. The interviews covered the topics iden- experiences in their decision to visit a particular tified as the most relevant to the research, as de- city/tourist destination in the future (U = scribed in the methodology, and the results ob- 339.000, z = -2.026, p = 0.043, r = 0.2). The fre- tained are presented and discussed in the fol- quency results show that the availability of cre- lowing section. ative tourism experiences is important for 74% of respondents’ decision to visit a particular 5.4.1. Familiarity with the creative tour- city/tourist destination in the future. ism concept Finally, and in order to provide further insights into the respondents’ perceptions, they The results show that only half (n = 5) of the were asked to indicate their level of interest re- tourism services providers were somehow fa- garding the following creative tourism activity miliar with the concept of creative tourism. areas that also emerged from the literature (on a Those that were not familiar with the concept, 5-point scale ranging from 1 = not interesting at when asked which ideas they would associate all, 2 = not very interesting, 3 = neutral, 4 = in- with it, mentioned ‘something related to the teresting, to 5 = very interesting). The results arts’, ‘artistic creation’ or ‘tourism for artists’. show that the respondents did not show much When compared with the results obtained interest in the activities presented, even though from the demand perspective, it is worth men- one can identify traditional gastronomy (mean tioning that the majority of visitors surveyed = 3.7) and wines (mean = 3.7) as the activities were also not familiar with the concept of crea- that had more interest shown. tive tourism (82% of the total, n = 115), but as- Overall, these findings show visitors’ lack of sociate it with ideas such as ‘new experiences’ awareness or interest in participating in creative (n = 3), ‘interesting’ (n = 5) and ‘different’ (n = tourism activities, despite the recognition in the 4). literature that visitors are increasingly changing In conclusion, both perspectives (supply and their role and actively participating in experi- demand) showed reduced familiarity with the ences while looking for deeper and more mean- concept of creative tourism, which is not sur- ingful, and engaging experiences (Ohridska-Ol- prising. These results are in line with some of son & Stanislav, 2010; Richards, 2011). Also, it the topics covered in the literature review sec- is evidenced in this study that the existence of tion, according to which, the concept of creative creative activities is not particularly relevant to tourism is far from reaching a wide and univer- the respondents’ decisions to visit destinations, sal acceptance, even in academia, as it is con- which is important for service providers and sidered quite complex to define what creativity

85 Revista Portuguesa de Estudos Regionais, nº 51 means in different destinations and from differ- cooking workshops (n = 2) and wine & gastron- ent perspectives (Candy & Bilda, 2009; Tan et omy-based experiences (n = 2). al., 2013). The above presented results reinforce some In the present study, it is worth mentioning of the ideas covered by the literature on creative the association of creative tourism with the arts tourism concerning its potential contribution to- which service providers made, which gains rel- wards the diversification of destinations’ offer evance when considering the respondents allu- and the development of innovative tourism sions to the ‘cultural and artistic atmosphere’ of products (Richards & Wilson, 2006, 2007). In a Guimarães, the emergent creative industries la- time of increased competitiveness when all des- bour market and the increased presence of ‘art- tinations are struggling to attract more tourists, ists’ and ‘creative people’ in the destination. the identification of creative tourism as an op- These intangible elements, namely, the ‘living portunity to further develop tourism in cultural and place atmosphere’ are frequently Guimarães with the aforementioned perceived considered by several authors (Richards & Wil- benefits can be considered a positive indication son, 2006; Maitland, 2007; Richards, 2011) as about the willingness and awareness of local relevant conditions for the development of cre- tourism agents on the subject. ative tourism experiences, as the interaction between creative tourists and local communities 5.4.3. Relevant resources to creative and place are crucial to the co-creation of tour- tourism development ism experiences. Human resources were considered the most 5.4.2. Creative tourism as an oppor- important resource required to develop creative tunity for business and destination de- tourism experiences by all respondents, includ- velopment and expected benefits ing those that didn't consider creative tourism as an opportunity to develop their own business (n When asked about the potential benefits of = 5). The most important reason pointed out by creative tourism to the destination development, these latter stakeholders is the inadequacy of all respondents agreed and pointed out ad- creative tourism products in relation to their vantages such as increased demand (n = 8) and own business model, although lack of facilities touristic receipts (n = 3), diversification of tour- and human resources were also mentioned as ism supply (n = 3), more employment (n = 2) potential constraints. Other relevant resources and longer stays (n = 3). referred to were facilities, specialized Looking in particular to the potential bene- knowledge, creativity, demand and economic fits of creative tourism to their own businesses, profitability. 5 respondents considered creative tourism as an When asked specifically about their own opportunity for their business, and all consid- business, 5 of the interviewed agents considered ered that the development of creative tourism they have the required resources, such as human could attract more clients (n = 10), more re- and material resources, and specialized ceipts (n = 5) and longer stays (n = 2). knowledge. The other 5 service providers that All the tourism providers surveyed mani- considered not having the needed conditions in- fested their interest in the future development of dicated a lack of important prerequisites such as creative tourism offer, some of them because facilities and human resources. they already positioned themselves in the crea- All respondents considered that Guimarães tive tourism market (n = 3), but mostly due to has the necessary conditions to develop creative the expected benefits, namely, increased tour- tourism. International and national recogni- ism demand (n = 5), diversified offer (n = 1) and tion/market visibility was pointed out as one of longer stays (n = 1). Those that specified the do- the reasons why the destination could further mains in which they would prefer to develop develop its creative tourism offer. their creative tourism offer (n = 4) pointed out Despite considering that Guimarães already the opportunity to develop new products/ser- has the necessary resources to further develop vices that are basically related to their current creative tourism (n = 10), some agents referred offer, such as: nature-based experiences (n = 2), to the lack of entrepreneurship and private in- nutrition and local products based experiences vestment as possible constraints (n = 2). On the (n = 1), walking-tours and other tours (n = 2), other hand, the diversified tourism offer, cul-

86 Creative Tourism Experiences in Guimarães: A Twofold Analysis of Visitors’ and Suppliers’ …

tural heritage, gastronomy, 'artistic atmosphere' interviews, with the results being presented in of the city, the status as European Capital of the next section. Culture and the emergent creative industry labour market were highlighted as examples of fa- 5.4.4. Creative tourism management and vourable conditions for this development. governance The role of human resources (associated with specialized knowledge) in the develop- All respondents agreed on the importance of ment of creative tourism products assumed sig- having a 'creative tourism management organi- nificant relevance in the tourism services pro- zation' in order to deal with and manage com- viders’ answers, with some of the agents inter- mon problems (n = 1), to facilitate networking viewed referring the importance of ‘a highly and partnerships (n = 2) or even to help in the motivated team’, a ‘creative team’ or a team organization and commercialization of creative ‘with specialized knowledge to develop creative tourism experiences (n = 2). The required finan- products’. cial resources are considered as the most im- The importance of human resources in tour- portant constraint to the creation of such an en- ism innovation processes is well covered by the tity (n = 1). As to the nature of the association, literature, with some authors establishing links some of the stakeholders consider a private as- between creativity, innovation, good team spirit sociation the best government model (n = 6) and (Wilenius, 2004 cit. in Lindroth et al., 2007) and some of them consider that the local govern- co-operative attitudes in organizations as criti- ment should assume such competences. cal to destinations development (Håkansson & Networking between companies, associa- Snehota, 1995 cit. in Lindroth et al., 2007). Ac- tions and public organizations is considered by cording to Amabile (1998, cit. in Zontek, 2016) all respondents as a positive condition for the “the creativity which exists in every organiza- improvement of the creative tourism market, tion is a function of three elements: expertise, namely, supporting communication and promo- creative thinking and motivation”. tion (n = 2) and distribution (n = 2), insofar as Although interrelated and all pillars of crea- all involved in such networking would be moti- tive tourism development, the resources which vated and that this partnership could be widely were pointed out might need to be considered spread. from a different perspective, a more integrated According to Richards & Marques (2012, approach that includes the design model/pro- pp. 8-9), “The networks are important in the cess. That is, it should be considered if the most sense that they join together (glocal) partners important resource is not, in fact, a shift from with different interests, in this case from the the traditional business/development model to a tourism field, the cultural and creative indus- more creative and innovative one. tries and government. For the time being, crea- According to DASTA (2018), whereas “In tive tourism policies seem to be largely reactive, traditional cultural tourism development strate- rather than proactive”. The authors further em- gies, the development process begins with an in- phasize that “some of the most developed exam- ventory of cultural resources (…) Creative tour- ples of creative tourism activities are provided ism development begins from an inventory of by creative networks aimed at linking tourists local skills from all walks of life, something and locals” (Richards & Marques (2012, p. 3), which requires a much more imaginative ap- with Creative Tourism New Zealand and Crea- proach”. tive Tourism Barcelona being stated as two of As previously mentioned, Guimarães has the best examples (Richards, 2010). been traditionally marketed and perceived as a cultural tourism destination, so it is not surpris- 5.4.5. Perceived changes in tourism de- ing that even the service providers that show mand and creative tourism demand some interest in developing a creative tourism offer are still aligned with a more traditional de- As relates to perceived changes in tourism velopment model, and therefore, more concen- demand in the last three years, opinions were di- trated on traditional resources and less aware of vided, with half of the respondents pointing out this needed shift of thought. an increase in demand for outdoor and nature- This leads to the issue of management and based experiences (n = 4) and gastronomic and governance, which was also covered in the wine related experiences (n = 2) as well as a

87 Revista Portuguesa de Estudos Regionais, nº 51 new, better informed tourist profile. On the effect rated as the main reasons for visiting the other hand, the five respondents that didn't destination, while ‘to have a different experi- acknowledge significant changes in tourism de- ence’ was rated as the second main motivation. mand referred to the constant preference for tra- This search for new experiences reinforces the ditional gastronomy (n = 2). Similarly, only 5 idea that visitors are increasingly looking for tourism services providers considered the in- new experiences, which is indicative that the crease in creative tourism demand to be related novelty element is important for demand and to their own businesses and clients. that visitors are willing to participate in creative On this particular topic, in the absence of tourism experiences. Creative tourism is in- significant perceived changes in creative tour- tended to attract and retain tourists, to increase ism demand, it is worth mentioning the specific overall satisfaction with the destination and also case of gastronomy and wine-related experi- to foster repeat visits. ences, referred to both from the perspective of Traditional gastronomy and wine related ac- the respondents that acknowledged some de- tivities seem to emerge as some of the most rel- mand changes and from those that didn’t. In ad- evant experiences that can also be linked to the dition, through the interviews some of the concept of creative tourism. Both visitors and agents pointed out gastronomy and crafts as tourism service providers pointed out these type good examples of local heritage which can form of experiences, with visitors showing their in- the basis for a further level of development of terest in participating in gastronomy and wine- creative tourism in Guimarães. related experiences, also acknowledged by the Although this study found that both the in- local agents as one of the most required activi- terviewed visitors and service providers of ties at the destination. Guimarães, mainly a cultural tourism destina- Even though half of the service providers in- tion, have limited knowledge of creative tour- terviewed were also not familiar with the con- ism, previous studies (e.g. OECD, 2014) have cept of creative tourism as a type of tourism, often indicated the importance of creative tour- they associated it with artistic and cultural crea- ism; therefore, it is still expedient to consider tion and the of the city itself. The interviewees that creative tourism experiences can contribute recognize the potential to benefit from creative to tourists’ overall fulfilment, as well as increas- tourism, showing interest in developing these ing the destination’s attractiveness. initiatives and experiences in the future. The existence of a qualified workforce, networks and 6. CONCLUSIONS partnerships were considered central to the successful implementation of these experiences. Throughout the theoretical background, it The increase in demand and a consequent in- was suggested that culture, creativity, and inno- crease in tourism receipts were some of the po- vation are considered points which are focal to tential benefits that can emerge from a further the satisfaction of demand needs and to the de- development of creative tourism in Guimarães. velopment of enriching and engaging experi- Although in general, respondents agree that ences, capable of simultaneously enhancing the city has the necessary resources to imple- destinations’ attractiveness. ment creative tourism, and tourism could bene- The present research aimed to offer insights fit from its development, taking into account the into visitors’ and service providers’ perceptions results of this research, it can be argued that the about creative tourism. Although there is a core pillars of creativity are not being success- growing academic focus on this type of tourism, fully applied in the region. results show that there is a low level of aware- It is in fact not surprising that both visitors ness in the marketplace concerning this phe- and service providers do not associate nomenon, particularly with regard to the con- Guimarães with creative tourism since the city’s sumers’ viewpoint, since the majority of the re- promotion initiatives focus mainly on its cul- spondents had not heard about creative tourism tural offer. and had no clear ideas associated with the con- Considering that the traditional and static cept. In this sense it is not surprising that the format of Guimarães tourism’ offer can, in the availability of creative tourism experiences was long-term, compromise its competitiveness, and not a key motivation to visit the city (present bearing in mind the awareness towards creative and future visit). Motivations associated with tourism benefits shown by tourism providers, it visiting historical and cultural heritage were in can be considered that this study highlights an

88 Creative Tourism Experiences in Guimarães: A Twofold Analysis of Visitors’ and Suppliers’ …

opportunity for a deeper reflection on destina- aforementioned transition from a cultural tour- tion positioning in this matter, both by destina- ism-based destination towards a creative tour- tion managers and local tourism services pro- ism destination, by exploring its intangible ele- viders. ments. If creative tourism is considered a strategic Some limitations of this study must be adoption for the destination, then there is the need dressed. First, the qualitative analysis may be to improve and design innovative experiences, limited due to the small number of responses which constitute the core of the creative devel- and the adoption of matrix-based content analy- opment, increasing their availability and qual- sis that aimed to obtain information to answer ity. Tourism agents should act as facilitators for specific research questions. Therefore, in-depth this purpose. Also, there is a clear need for the studies are needed in the future to obtain a com- destination to develop communication strate- prehensive understanding of the perceptions of gies regarding creative tourism experiences. creative tourism suppliers. Second, the fairly re- From a practical perspective, this study has duced number of questionnaires is also a con- some implications for practitioners and policy cern, as it is difficult to obtain and examine a makers to consider. The study has shown that wide-ranging perspective of the demand. Also, there is an opportunity to stimulate the develop- there is some concern regarding this type of sur- ment of creative tourism experiences, specifi- vey, namely self-selection biases and practical cally focusing on wine and gastronomy. This difficulties of surveying people. Despite these implication results not only in the willingness of limitations, and although results cannot be gen- visitors to experiment with something different eralised, this exploratory study is still able to and new, but also in the disposition of service provide useful and noteworthy insights that also providers to develop that kind of offer. This is result from the answer to the research questions. also shown by the analysis of the already exist- However, more thorough survey procedures ing offer that is being promoted on the should be implemented in future research. Also, Guimarães tourism website as creative tourism other perspectives would need to be taken into experiences. consideration to obtain a more comprehensive In addition, it can be said that Guimarães view of creative tourism, in particular the views might be in a privileged position to initiate the of local of community and local government.

7. REFERENCES

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Remoaldo, P.C., Cadima Ribeiro, J., Varei- Stojanovic, M. Petkovic, N.& Mitkovic, P. ro, L. & Freitas Santos, J. (2014), “Tourists’ (2012). Culture and Creativity as Driving perceptions of world heritage destinations: The Forces for Urban Regeneration in Serbia. World case of Guimarães (Portugal)”, Tourism and Academy of Science, Engineering and Technol- Hospitality Research, 14(4), 206-218. ogy, 67. Richards, G. and Raymond, C., (2000) Cre- Tan, S., Luh, D. & Kung, S. (2013). A Model ative tourism, ATLAS news, 23, 16 – 20. of ‘Creative Experience’ in Creative Tourism. Richards, G. & Wilson, J. (2006) Develop- Annals of Tourism Research, 4, 153-174. ing creativity in tourist experiences: A solution Tan, S., Luh, D. & Kung, S. (2014). A tax- to the serial reproduction of culture?, Tourism onomy of creative tourists in creative tourism. Management, 27, 1209– 1223. Tourism Management, 42, 248-259. Richards, G. & Wilson, J. (2007) The Crea- Teddlie, C., & Yu, F. (2007). Mixed Meth- tive Turn in Regeneration: Creative Spaces, ods Sampling. Journal of Mixed Methods Re- Spectacles and Tourism in Cities in Smith, M. search, 1(1), 77–100. (ed.) Tourism, Culture and Regeneration, Wall- Teodorescu, N. Stancioiu, A. Ravar, A. & ingford: CABI, 12–24. Botos, A. (2015). Creativity and innovation - Richards, G. (2009) Turismo cultural: Pa- sources of competitive advantage in the value drões e implicações. in de Camargo, P. and da chain of tourism enterprises. Theoretical and Cruz, G. (eds.) Turismo Cultural: Estratégias, Applied Economics, Volume XXII, 1, 35-48. sustentabilidade e tendências. UESC: Bahia, Turismo de Portugal (2018) Registo Nacio- 25-48. nal de Turismo. Available at https://rn t.turis- Richards, G. (2011). Creativity and Tourism modeportugal.pt/RNT/Con- the State of the Art, Annals Of Tourism Re- sultaAoRegisto.aspx accessed 1st May 2018. search, 38(4), 1225–1253. UNESCO (2006) Towards Sustainable Richards, G. & Marques, L. (2012) Explor- Strategies for Creative Tourism Discussion ing Creative Tourism: Editors Introduction, Report of the Planning Meeting for 2008 Journal of Tourism Consumption and Practice, International Conference on Creative Tourism 4(2), 1-11. Santa Fe, New Mexico, USA October, 25–27. Richards, G. & Marques, L. (2018). Creating WEF [World Economic Forum] (2016) Fac- synergies between cultural policy and tourism tors for Enabling the Creative Economy. for permanent and temporary citizens, available Wurzburger, R., Aageson, T., Pattakos, A. & at accessed http://www.agenda21culture.net/ Pratt, S. (Eds.). (2010). A global conversation. sites/default/files/files/cities/content/in- How to provide unique creative experiences for forme_2018_bcn_cultural_policy_and_tour- travelers worldwide, 152–155. ism_-eng_1.pdf accessed 29th November 2019. Zontek, Z. (2016). The role of human re- Sampaio, F. (1994) O Produto Turístico do sources in enhancing innovation in tourism en- Alto Minho II. Viana do Castelo: Região de Tu- terprises. Managing Global Transitions, 14(1), rismo do Alto Minho, Costa Verde, Portugal. 55-73. Sano, H. (2016). Theoretical consideration Zukin, S. (2010). Naked city: The death and on creative tourism. Journal of Global Tourism life of authentic urban places. Oxford: Oxford Research, 1(2), 127-132. University Press. Stolarick, K., & Florida, R. (2006). Creativ- Zacchiroli, B. (2010) “Music, Festivals and ity, Connections and Innovation: A Study of Gastronomy”, In R. Wurzburger, T. Aageson, Linkages in the Montréal Region. Environment A. Pattakos, & S. Pratt (Eds.), A global conver- and Planning A: Economy and Space, 38(10), sation. How to provide unique creative experi- 1799–1817. ences for travelers worldwide, 152–155.

Artigo submetido a 1 de Dezembro de 2018; versão final aceite a 5 de Fevereiro de 2019 Paper submitted at December 1, 2018; final version acepted at February 5, 2019

Creative Tourism and Urban Sustainability: The Cases of Lisbon and Oporto

Turismo Criativo e Sustentabilidade Urbana: Os Casos de Lisboa e Porto

Cláudia Henriques [email protected] Department of Economics, School of Management, Hospitality and Tourism, University of Minho Al- garve (ESGHT/UALG), (CIEO – Centre for Spatial and Organizational Dynamics)

Maria Cristina Moreira [email protected] Department of Economics, School of Economics and Management and research centre: Interdiscipli- nary Centre of Social Sciences, University of Minho (CICS.NOVA.UMinho)

Abstract/ Resumo

The paper contributes to the emergent de- O artigo contribui para o debate emergente bate on cultural and creative tourism and sus- sobre as interconexões entre o turismo cultural e tainable development interconnections base on criativo e o desenvolvimento sustentável, com two cases studies: Lisbon and Porto, discussing base em dois estudos de casos: Lisboa e do a set or composite of indicators that contribute to Porto, discutindo-se um conjunto de indicadores, assess cultural/creative tourism dynamic and nomeadamente o Cultural and Creative Cities policy, such as ‘Cultural and Creative Cities Monitor (CCCM/JRC) e Creative Cities Index Monitor’ and ‘Creative Cities Index’. The study (Charles Landry). Sublinha-se a crescente im- underlines the growing importance of cultural portância do turismo cultural/criativo nas duas and creative tourism in the two Portuguese cities, cidades portuguesas assente na existência de Pa- based for instance in the existence of UNESCO trimónio Mundial (UNESCO) e em iniciativas World Heritage Sites, initiatives such as Euro- europeias, tais como Capital Europeia da Cul- pean Capital of Culture, Expo and Euro, interna- tura, Expo e Euro, nacionais, regionais e locais tional thematic festivals, growing dynamic of patentes numa maior dinâmica do tecido empre- Cultural and Creative industries, among many sarial cultural e criativo. A comparação entre other international, national, regional and local Lisboa e Porto evidencia a cidade capital com initiatives. Comparing Lisbon and Oporto, the melhor performance, em termos de “vibração capital reveals a better performance in “cultural cultural”, “economia criativa” e “ambiente”. vibrancy”, “creative economy”, “enabling environment”.

Keywords: creative tourism; cultural tourism; Palavras-chave: turismo criativo; turismo cultu- sustainability; Lisbon; Oporto; creative cities tural; sustentabilidade; Lisboa; Porto; Cidades criativas

JEL codes: Z1; Z32; Z38 Códigos JEL: Z1; Z32; Z38

Revista Portuguesa de Estudos Regionais, nº 51

1. INTRODUCTION policy in the two Portuguese cities based in a set of cities culture/creativity indices, such as Cul- Cities’ cultural and creative assets are often tural and Creative Cities Monitor highlighted to promote tourism development. In (CCCM/JRC), Creative Cities Index (Charles this context, this article discusses the im- Landry). portance of culture in cities, as a driver of tour- Finally, there’s the results comparative dis- ism development, and how to measure it cussion and main conclusions. through key indicators. As UNESCO (2016b) emphasizes, the Cul- tural and Creative Industries (CCIs) and related 2. SUSTAINABILITY AND URBAN activities make an important contribution to CULTURAL AND CREATIVE TOUR- economic growth, in particular because of their ISM CHALLENGES weight in GDP, cultural employment, and household spending on culture. In addition, the 2.1 Culture and sustainability develop- importance of CCIs for development is recog- ment models: interconnections nized by identifying their direct and indirect effects on competitiveness, more and better jobs, Culture is recognised as a key resource for sustainable development, innovation, cohesion, sustainable urban development (UNESCO, and local development. For example, at Euro- 2016b). As the UNESCO Global Report on Cul- pean level, a study by the European Commis- ture for Sustainable Urban Development points sion (EC, 2011) showed that the regions with out, “the valuing of local cultures, old and new, the highest levels of prosperity were those and the promotion of cultural expressions, the where CCIs had a greater weight in the produc- arts and heritage [are] pillars of sustainable so- tive structure. According to UNCTAD (2017a), cial and economic development” (UNESCO, in 2015 the trade in creative products amounted 2016b: 17). to 510 billion dollars. With this in mind, it is clear that “our under- Culture and creativity have an important role standing of culture is no longer limited to appre- in the sustainable development of tourism in cit- ciating ‘art for art’s sake’ or for its entertain- ies. The European Commission’s document ti- ment value – rather, culture is now recognised tled European Tourism Indicators System for as being a competitive and resilient economic Sustainable Destination Management under- sector in its own right as well as having broader lines that tourist destinations “are increasingly impacts: for example, as an attractor of creative being called upon to tackle social, cultural, eco- talent and a catalyst of economic, technological nomic, and environmental challenges. To help and social innovation and change” (JRC, 2017: them measure their performance in relation to 32). sustainability, which is essential, the European As a complex and dynamic concept, culture Commission has developed a ‘European Tour- is difficult to value in the context of culture new ism Indicators System’ (ETIS).” (EC, 2018). meanings and values. In contemporary soci- In this context, the present paper aims at in- eties, culture is not only ‘high culture’, but also vestigating about the growing importance of ‘popular culture’ and ‘everyday culture’ creative tourism in the two major cities of Por- (Menger, 2013). At the same time, the dis- tugal: Lisbon and Oporto. Accordingly, firstly it inction between them [‘high culture’ (elite) and discusses theoretically on one hand the chal- ‘low culture’ (mass or ‘pop’ culture)] are “fuz- lenges of urban cultural and creative tourism as “zier and fuzzier” (Larsen, 2012). Simultane- well as the interconnections between culture ously, culture encompasses not only tangible and sustainability development models. On the heritage, but cultural landscapes and intangible other hand it also highlights recent research in heritage. the monitorization of cultural and creative tour- Due to its new nature, the value of culture is ism sustainable development through a set of in- associated with use and non-use value (Menon dicators. Economics, 2017), among many others, such as Secondly, the paper considers the case study cognitive, symbolic, educational, semiologic, approach associated with sustainable cultural artistic, and economic significance (Navrud & and creative tourism in Lisbon and Oporto. Read, 2002; O’Brien, 2015). Thirdly, it presents a discussion and assessment Culture is also associated with the “triangle about cultural/creative tourism dynamic and of value”, namely “intrinsic”, “institutional”

94 Creative Tourism and Urban Sustainability: The Cases of Lisbon and Oporto

and “instrumental” values (Holden, 2006: 15). Additionally, as JRC (2017: 32) underlines The fact induces culture to play new roles, the “potential of the so-called ‘cultural and cre- where economy emerges “highly interdepend- ative sectors’ (CCS) is best realised and demon- ent” with social and environmental spheres strated at city level”. The reasons are mainly (UNESCO, 2003: 2). three: - 1) in recent decades cities have acquired Culture, in the framework of Cultural and a greater role in socio-economic development Creative Sector (CCS), is considered as a set of due to the high concentration of people and eco- “activities undertaken by a group of people, and nomic activity; 2) local autonomy has increased the product of these activities, drawing upon en- over time to enable cities better to address spe- lightenment and education of the mind” cific opportunities and challenges; 3) geograph- (Throsby, 2010:10). The concept of CCIs in- ical clustering tend to generates positive exter- volves “creativity, cultural knowledge and in- nalities in the areas where they are located, tellectual property to produce products and ser- ranging from improved image and reputation vices with social and cultural meaning”. CCIs and increased numbers of tourists to greater so- are also connected with the emergence of a ‘cre- cial pride and revitalised local economies. ative economy’ that following Rifkin (2000) “The role of public policies is crucial in max- leads us to consider the interconnections be- imising the positive effects of culture and cre- tween “creativity, culture, economics and tech- ativity and avoiding potential traps” (JRC, nology in a contemporary world dominated by 2017: 32). Consequently, urban investment in images, sounds, texts and symbols”. Moreover, culture and creativity is at the centre of urban the CCIs comprise many different sectors, in- development strategies to support policy objec- cluding cultural heritage, publishing, advertis- tives ranging from urban regeneration, eco- ing, events coordination, architecture, design, nomic diversification and rejuvenation to job fashion, film, gaming, gastronomy, music, per- creation and social innovation, economic forming and visual arts, software and interactive health, competitiveness, and cohesion. Further- games, television and radio, and new forms of more, it is important to note that culture “fosters media (OECD, 2014). a sense of belonging and cohesion among citi- CCIs have an important role in the urban life zens; improves quality of life and the attractive- qualification and in the protection of urban ness of cities and regions for citizens, tourists, identities, once culture is recognised as “key to businesses and investors; and ultimately pro- what makes cities attractive, creative and sus- motes peace, inter-cultural dialogue and socio- tainable” (UNESCO, 2016: 17) in the urbani- economic development within and beyond na- zation process. As Musterd and Ostendorf tional borders” (JRC, 2017: 31). (2004) point out cities “feel that they have to Due to its broad definition and understand- adapt to arenas in which knowledge and creativ- ding “culture” can be regarded as a fundamental ity can develop”. Culture in urban spaces is con- issue, even a precondition to be met on the path sequently seen “not just as a condition to attract towards Sustainable Development (SD) that is the creative knowledge workers, but also as a necessary to get to grips with in our various Eu- major economic sector, intricately interwoven ropean societies (Cost, 2018). Cultural sus- with other sectors of the economy” (Musterd tainability is related to 10 major themes: 1) cul- and Ostendorf, 2004). ture of sustainability; 2) globalisation; 3) herit- Cities are growing in importance. In 2050, a age conservation; 4) sense of place; 5) indige- document titled “Realizing the Future We Want nous knowledge and traditional practices; 6) for All” (UN, 2012) forecasts that “70% of community cultural development; 7) arts, edu- world population will live in cities” and thus, cation, and youth; 8) sustainable design; 9) highlights the need of urban planning and man- planning and 10) cultural policy and local gov- agement. Cities as “the new states” (Global In- ernment (Blankenship, 2005: 7). fluence, 2017) have also a high potential for Sustainable development models tend to em- tourism, and namely for cultural and creative phasize culture and its role in promoting ‘inter- tourism. According to UNWTO (2014) “cities connectedness’ (Throsby, 2008: 228) between attract a growing number of visitors every year, the different dimensions of sustainability. generating a positive impact on the local econ- Among several models that put in evidence the omy by creating jobs, stimulating foreign ex- cultural dimension, Stylianou-Lambert et al. change and promoting investment in infrastruc- (2015) theoretical framework stands out. The ture that benefits residents and visitors alike”. authors highlight three major models in which

95 Revista Portuguesa de Estudos Regionais, nº 51 culture can play different roles: culture in sus- supporting CCIs, while enhancing fundamental tainable development, culture for sustainable freedoms and participatory systems of govern- development, and culture as sustainable deve- ance of culture (i.e. SDG 16). lopment. The model “Culture in sustainable de- Sustainable cultural development in urban velopment” considers culture as a new self- places leads us to consider the Habitat process. standing fourth pillar of sustainability, along- In the United Nations Conference on Housing side the economic, environmental, and social and Sustainable Urban Development – Habitat pillars. The model “Culture for sustainable de- III’s (Quito, 2016), New Urban Agenda in its velopment” presents culture in interconnection 10th point “acknowledges that culture and cul- with the other pillars of sustainability. Regard- tural diversity are sources of enrichment for hu- ing the last model, “Culture as sustainable de- mankind and provide an important contribution velopment”, culture is the foundation for to the sustainable development of cities, human achieving sustainable development, in a dyna- settlements and citizens, empowering them to mic process. play an active and unique role in development initiatives”. Furthermore, it “recognizes that 2.2 Cultural and creative tourism in the culture should be taken into account in the pro- context of urban sustainable develop- motion and implementation of new sustainable ment consumption and production patterns that contribute to the responsible use of resources and As of the 1960s, a set of policy documents address the adverse impact of climate change” have contributed to strengthen the role of cul- (UN, 2017: 4). ture and creativity in sustainable development. In its topic “Sustainable and inclusive urban In the last two decades alone, landmark do- prosperity and opportunities for all”, we highli- cuments have been put forward, namely ght the commitment to “developing vibrant, UNESCO’s Universal Declaration on Cultural sustainable and inclusive urban economies, Diversity (2001); UNESCO’s Intangible Heri- building on endogenous potential, competitive tage Convention (2003); The Convention on the advantages, cultural heritage and local resour- Protection and Promotion of the Diversity of ces, as well as resource-efficient and resilient Cultural Expressions (2005); UNESCO’s The infrastructure, promoting sustainable and inclu- Power of Culture for Development (2010); The sive industrial development and sustainable UN’s Creative Economy Report (2013); consumption and production patterns and fos- UNESCO’s first Global Report monitoring the tering an enabling environment for businesses aforementioned 2005 convention (2015); and, and innovation, as well as livelihoods” (UN, The second Global Report on the 2005 conven- 2017: 14). tion (2018). The Muscat Declaration on Tourism and This latter report considers culture as a Culture: Fostering Sustainable Development ‘driver’ and ‘enabler’ of development (UNWTO & UNESCO, 2017) also discusses (UNESCO, 2017). The power of culture to pro- ways to build and strengthen the partnerships mote development is associated with improved between tourism and culture within the frame- sustainability at the local level. work of the 2030 Agenda for Sustainable De- The megatrends towards adding culture as velopment. It discusses the synergies and stra- the fourth dimension of sustainability – initiated tegies for a sustainable development of cultural in 2001 – led to the 2030 Agenda. Its action plan tourism that generates resources for the conser- ‘for people, planet and prosperity’ is based on vation of cultural heritage while creating socio- 17 sustainable development goals (SDGs) with economic benefits for local communities. a total of 169 targets (UNESCO, 2015). Among others, the declaration reaffirms the sig- UNESCO’s culture programme seeks to natories’ commitment to: strengthen the direct implementation of sustai- • Encouraging a creative and innovative nable measures in the following ways: first, pro- approach for sustainable urban development tecting and promoting the world’s cultural and through cultural tourism; natural heritage to make cities inclusive, safe, • Exploring the inter-linkages between resilient, and sustainable (i.e. SDG 11); second, culture and nature in sustainable tourism combatting the illicit trafficking of cultural ob- through development. jects; third, safeguarding and campaigning for Sustainably managed, tourism can contri- cultural and natural heritage; and, fourth, bute to the valuing and safeguarding of the

96 Creative Tourism and Urban Sustainability: The Cases of Lisbon and Oporto

tangible and intangible heritage it relies on, ment Safety and Security; Health and Hygiene; while encouraging the development of arts, Human Resources and Labour Market; ICT crafts, and other creative activities to create Readiness); T&T Policy and Enabling Condi- meaningful (Korez-Vide, 2013), authentic, and tions (Pillars: Prioritization of Travel & Tour- memorable (Pine & Gilmore, 1999) expe- ism International Openness; Price competi- riences. tiveness; Environmental Sustainability); In- fra- Cultural and creative tourism experience structure (Pillars: Air Transport; Infrastructure (Pine & Gilmore, 1999) leads us to consider that Ground and Port Infrastructure; Tourist Service cultural tourism is changing into ‘creative tour- Infrastructure); Natural and Cultural Resources ism’ (Richards & Wilson, 2006) connected with (Pillars: Natural Resources; Cultural Resources a “new generation of tourism products” and Business Travel). (UNESCO, 2006). This type of tourism enables a deeper and synergetic interconnection be- 2.3 Monitoring Cultural and creative tween visitors, service providers, and local com- tourism sustainable development munities, enhancing tourists’ participation in the destinations’ creative life. This participation The sustainable development of cultural and in the construction of the tourist experience in a creative tourism could play an important role in co-creation process could result in value-added cities, as previously mentioned. Thus, it is im- products that strengthen tourists’ sense of portant to measure the impacts of investments, places (Richards, 2011). A creative tourism ty- initiatives, or actions that can deliver cultural, pology of experiences would include, among social, and economic benefits to cities. In this others, creative shows and events, places foster- context, tools to promote mutual exchange and ing creativity, cultural neighbourhoods and/or learning between cities to boost culture-led de- industries, creative clusters, creative economy, velopment, are crucial, namely, in the following and cultural clusters. main domains: 1) cities and culture/creativity, Because creativity is a process, creative tour- and 2) tourism sustainability. The purpose, as ism can potentially add value to destinations’ the JRC (2017: 31) points out is to support po- offers more easily because of its scarcity. This licy makers in identifying strengths, assessing process evokes creative means of using existing the impact of policy action, and learning from resources, ways to strengthen identity and dis- peers; Illuminating and communicating the im- tinctiveness, forms of self-expression and/or portance of culture and creativity for improving discovery, resources for creating an atmosphere socio-economic perspectives and resilience; for places, and ways to recreate and revive lo- Inspiring new research questions and ap- calities (Richards, 2011). While cultural con- proaches to studying the role of culture and cre- sumption is dependent on the concentrations of ativity in cities. cultural resources, performances and artwork As far as cities are concerned, JLL Cities Re- can currently be produced virtually anywhere search Center (2017) identifies the existence of without requiring much infrastructure. Moreo- more than 300 indices associated with urban ver, creativity involves not only value creation spaces. However, only 2.9% of these consider (i.e. economic wealth) but also the creation of “Culture and diversity” topics (JLL, 2017: 10). cultural values (Richards & Wilson, 2006). Cultural and Creative Cities Monitor (CCCM)1, Cultural and creative tourism development Creative Cities Index (developed by Charles in cities within a sustainability framework, Landry and Jonathan Hyams), Sustainable Cit- leads us to establish synergies between tourism ies Index (Arcadis), Redefining Global Cities sustainability and competitiveness. Regarding (Brookings JPMorgan Chase)2, Global Cities tourism competitiveness, the travel and tourism Talent/Competitiveness Index (GCTCI), The competitiveness index (WEF, 2017: XIV) pre- Global Talent Competitiveness Index3, Global- sents 4 sub-indices and 14 pillars. Namely, En- ization & Cities Index GaWC (Loughborough abling Environment (Pillars: Business Environ- University)4, The 2025 City Competitiveness

1 The Joint Research Centre (JRC) of the European Commission 2 In www.brookings.edu/research/redefining-global-cities/ has therefore developed the ‘Cultural and Creative Cities Moni- 3 In https://gtcistudy.com/wp-content/uploads/2018/01/GTCI- tor’, a tool to help assess and analyse the cultural and creative con- 2018-web.r1-1.pdf 4 dition of cities across Europe. The tool considers 168 ‘Cultural In http://www.lboro.ac.uk/gawc/index.html and Creative Cities’ of varying population sizes, employment profiles, etc.

97 Revista Portuguesa de Estudos Regionais, nº 51

Index (The Economist Intelligence Unit Li- C3 considers 3 sub-indices, 9 dimensions, mited)5, are some of the city indices. In this pa- and 29 indicators (Table 1). per, we distinguish the first two, once they high- The Creative City Index considers “a light the comparison between Lisbon and method for assessing cities holistically. This Oporto cities. helps assess their creative abilities and poten- The Cultural and Creative Cities Monitor is tial, a precondition for downstream innovations inspired by the Urban Agenda for the EU, and and economic and cultural vigour” (Charles by the UN Sustainable Development Goals Landry, 2018). It is based on ten cross-cutting (SDG), which call for an urban development domains - headings or groups of indicators for model that is economically, socially, ecologi- creativity. As Charles Landry (2018) point out cally, and culturally sustainable and inclusive. It in each domain there are key traits or questions considers as Cultural and Creative Cities those indicating creativity, such as: Political & public which host or support international initiatives framework; Distinctiveness, diversity, vitality aimed at promoting arts, culture, and creativity & expression; Openness, trust, accessibility & coming from artists, creative professionals and participation; Entrepreneurship, exploration & the related ‘cultural and creative sectors’ (CCS) innovation; Strategic leadership, agility & vi- (Ibidem: 21). sion; Talent development & the learning lands- The Cultural and Creative Cities Monitor cape; Communication, connectivity & net- and its online tool allow users to: working; The place & place-making; Liveabil- Assess how cultural and creative a city is in ity & well-being; Professionalism & effective- relation to others; Benchmark cities within ness.” (Charles Landry, 2018). countries and across Europe; Learn what peers According to this index, “creativity is not the are good at and look for opportunities for fruit- preserve of any single sector. It is important to ful exchanges; Use findings on the relation be- be wide ranging. The sectors assessed include tween culture and creativity on one hand and the education and training system at all levels; growth and resilience on the other for advocacy commerce, industry and business from large to purposes; Create a new ranking by creating new small; the public administration and public bod- entries, adding or changing data for existing en- ies and their facilities; professionals in the de- tries or adapting weights; Simulate the impact sign communities; health and social services ex- of policies (e.g. increased visitor numbers) on a perts; movement and mobility specialists; the city’s performance in the rankings. (JRC, 2017: community and voluntary sector: local socie- 20). ties, social action groups; the culture, arts and If accompanied by appropriate policy acti- gastronomy fields as well leisure, sports, the ons, the Cultural and Creative Cities (C3) of to- hospitality industry and tourism institutions and morrow will have the capacity to launch new the media and communications industries.” waves of local development that: (Charles Landry, 2018). - Aligns the cities’ economies with their his- Regarding the domain of “tourism and sus- torical and cultural identities (authentic deve- tainability”, we highlight the European Tou- lopment); rism Indicators System for sustainable destina- - Empowers culturally diverse people to be tion management (ETIS). It is “a management the key agents of innovation, entrepreneurship, tool, supporting destinations who want to take a and job creation (people-centred development); sustainable approach to destination manage- and, ment a monitoring system, easy to use for col- - Promotes social interaction and inclusion lecting data and detailed information and to let by fostering the collaborative culture typical of destinations monitor their performance from the cultural and creative sectors and by deve- one year to another an information tool (not a loping accessible cultural infrastructure and certification scheme), useful for policy makers, public spaces that help connect diverse people, tourism enterprises and other stakeholders (EC, including migrants (inclusive development) 2018). The indicators encourage tourist destina- (JRC, 2017: 43). tions to adopt a “more intelligent approach to tourism planning” (EC, 2018).

5 In http://www.citigroup.com/citi/citiforcities/pdfs/hotspots2025 .pdf

98 Creative Tourism and Urban Sustainability: The Cases of Lisbon and Oporto

Table 1: The Cultural and Creative Cities Monitor’s conceptual framework, weighting scheme and indicators Subindex Dimensions Indicators Sights & landmarks Museums Cultural Venues & Facilities Cinema seats (50%) Cultural Theatres Vibrancy Concerts & shows (40%) Tourist overnight stays Cultural Participation & Attracti- Museum visitors veness (50%) Cinema attendance Satisfaction with cultural facilities Jobs in arts, culture & entertainment Creative & Knowledge-based Jobs Jobs in media & communication (40%) Jobs in other creative sectors Creative Intellectual Property & Innovation Community design applications Economy (20%) ICT patent applications (40%) Jobs in new arts, culture & entertainment enterprises New Jobs in Creative Sectors Jobs in new media & communication enterprises (40%) Jobs in new enterprises in other creative sectors Graduates in arts & humanities Human Capital & Education Graduates in ICT (40%) Average appearances in university rankings Foreign graduates Foreign-born population Enabling Openness, Tolerance & Trust Tolerance of foreigners Environment (40%) Integration of foreigners (20%) People trust Passenger flights Local & International Connections Potential road accessibility (15%) Direct trains to other cities Quality of Governance (5%) Quality of governance Source: JRC (2017: 52)

Table 2. ETIS indicators Economic value indicators Social and cultural impact indicators Environmental impact indicators Tourist nights Visitors per resident Modes of transport Daily spending Beds per resident Climate change mitigation Length of stay •Employment by gender Waste recycling Occupancy rates Accessibility Sewage treatment Employment Cultural heritage Protection Water consumption Use of local product Social and cultural impact indicators Source: Adapted from EC (2018)

ETIS benefits to tourism destinations are Simultaneously, we adopt a comparative pers- highlighted, such as: improved information for pective regarding the last data available (year of decision-making; effective risk management; 2018). prioritisation of action projects; performance The assumption is that culture and creativity benchmarking; improved community buy-in could be measured through a composite of indi- and support for tourism stakeholders; enhanced cators. In accordance, the methodological visitor experience; increased bottom-line/cost framework of this paper is based on three main savings; increased value per visitor (EC, 2018: strands. 11). Firstly, we present a theoretical discussion regarding creative tourism and sustainable de- 3. METHODOLOGY velopment interconnections. Secondly, we consider the case study ap- Cultural and creative tourism is a growing proach associated with sustainable cultural and motivational segment in urban places. From this creative tourism in two Portuguese cities. angle, the present paper investigates the rele- Thirdly, regarding the two cities, we discuss vance of this type of tourism in the two major the set or composite of indicators that contribute cities of Portugal: Lisbon and Oporto. to assess cultural/creative tourism dynamic and

99 Revista Portuguesa de Estudos Regionais, nº 51 policy. We consider two main domains of indi- The ‘Global Destination Cities Index – cators: 1) cities and culture/creativity, and 2) 2016’ (Mastercard, 2016) shows that Lisbon oc- tourism and sustainability. The assumption is cupies (among 132 cities) the 37th place in that the existence of indices/indicators can fos- terms of ‘international overnight visitors’ (3,63 ter a qualitative and quantitative understanding millions), of which more than 70% are foreign of the role of culture and tourism in sustainable visitors. development (Citiscope, 2015), justified by the The European cities hotel forecast 2018 & growing need for systematic and comparable in- 2019 (Pwc, 2018: 2) “analyses past trading dicators to analyse cities’ data in order to esta- trends and provides econometric forecasts for blish comparisons. 12 cities, all national or regional capitals of fi- This paper focus on the first domain of indi- nance, commerce, culture or tourism”. The fore- cators put in evidence a set of cities’ culture/ cast underlines that in 2018 Oporto “on top of creativity indices, such as Cultural and Creative four years of consecutive double-digit growth” Cities Monitor (CCCM/JRC), Creative Cities achieves the highest potential growth with over Index (Charles Landry). The emphasis is mainly 10% RevPAR (revenue per available room) fol- on the former. There is also the consideration of lowed by Amsterdam, Lisbon, and Prague, with Lisbon and Oporto in the following fields: around 7% RevPAR. In 2019, Lisbon occupies Tourism satisfaction surveys; Tourism main the top position with 6.5% RevPAR growth ex- attracttions visited. pected, followed by Paris with 6.4% and Oporto Regarding the second domain of indicators – with 5% (Pwc, 2018). tourism and sustainability, there is a theoretical Lisbon is the fifth fastest-growing European reference to ETIS system of indicators. city in terms of international tourists. “Between Is important to point out that the case study 2009 and 2016, the number of international vis- is based mainly on the CCCM/JRC. ETIS itors staying in Lisbon grew by 7.4% per cent, approach is intended to be an analytical comple- placing the Portuguese capital in the top 5 of ment and as an important framework for future Europe's fastest growing cities after Hamburg, research. Berlin, Istanbul, and Copenhagen.” (Master- card, 2016). 4. CASE STUDY: LISBON AND Lisbon and Oporto comparison leads us to OPORTO CHALLENGES IN consider the importance given to international CREATIVE TOURISM and European contexts and the different territorial scales interconnection. Portugal is integrated in the most important In terms of the two cities comparison, table tourism region of the world – Europe. The coun- 3 shows the reference to UNESCO World Heri- try ranks 14th and 27th respectively in Europe tage Sites in each mentioned city, as well as the and world in terms of arrivals (UNWTO, 2016). reference to a significant number of interna- It occupies the 11th and the 24th positions re- tional events. Lisbon associated World Heritage spectively in Europe and world receipts ranking Monuments and Fado. (Henriques, 2016). The (UNWTO, 2016). Among 136 countries, Portu- award of World Cultural Heritage by UNESCO, gal ranks 14th in travel and tourism competi- in 1996, to Oporto’s historic centre contributed tiveness (WEF, 2017). to the appreciation of cultural destination of The importance of tourism is high once the Oporto (Moreira and Cordeiro, 2016). economy of travel and tourism represents Simultaneously, relevant European initia- 17.3% of GDP and 20.4% of total Employment tives are also emphasized, such as European (WTTC, 2017). Capital of Culture, Expo ’98, and Euro 2004. Lisbon and North are the Portuguese regions The historic quarters and its rehabilitation pro- (NUT II), in 2017, where the two biggest cities cess is also highlighted, as well as important cultural and creative events (Lisbon Architec- are located: Lisbon (capital) and Oporto. In ture Triennale, the Lisbon Fashion Week and terms of overnight stays and guests, Lisbon re- the Lisbon & Estoril Film Festival, European gion presents respectively 14,283,582 and Creative Hubs Forum; Festivals, Festivals for 6,176,156 and the North 7,402,145 and Europe - labelled festivals). Regarding Oporto 4,100,902. The growth rate in 2017/16 (%) is events, it could be highlighted São João Festi- above the country average (Portugal: 9,8%) in val, NOS Primavera Sound, Porto’s New Year’s Lisbon (10.2%) and under average in North Eve, several international congresses (Pwc, (7.8%) (IMPACTUR, 2018). 2018:42), among others.

100 Creative Tourism and Urban Sustainability: The Cases of Lisbon and Oporto

Table 3. Lisbon and Oporto characteristics following European Commission (EU - Science Hub Home, 2018) Lisbon Oporto

Population group 4: 100,000-250,000 Population group 2: 500,000-1,000,000 GDP group 3: €20,000-25,000 GDP group 5: <€15,000 Employment group 3: 68%-73% Employment group 5: <63% Group XL: 500,000-1,000,000 Group S-M: <250,000 |

Lisbon - the capital and largest city of Portugal - is well known as Porto is the second-largest city in Portugal after Lisbon a diverse and multicultural city in the south of Europe. and one of the major urban areas of the Iberian Peninsula.

Lisbon’s rich cultural heritage includes two UNESCO World Heri- tage Sites, namely the Belém Tower and the Jerónimos Monastery Porto is one of the oldest European city centres, and its as beautiful examples of the Manueline architectural style. historical centre was proclaimed a UNESCO World Herit- age Site in 1996. Since 1994, when it was a European Capital of Culture, various international events (such as Expo ‘98 and Euro 2004) have taken place in the city, boosting the local cultural infrastructure and Porto hosts numerous Europe for Festivals, Festivals for activities. Europe -labelled festivals, including three film festivals, namely… Culture is seen as a tool for social cohesion thanks to the positive

experience of the Urban Art Gallery (GAU) (since 2008, Bairro Alto). Porto is a city covered in tiles, and in order to preserve In recent years, the local authorities have taken new action to this particularity, the Bank of Materials has been open to strengthen the economic potential of arts, culture and creativity. the public since 2010 and has welcomed more than Co-working spaces, fab labs and start-up incubators are now avai- 21,000 visitors since. lable in the rehabilitated urban areas. Porto was a European Capital of Culture in 2001. ‘Porto 2001’ was a year-long programme of arts, cultural events In addition to long-lived international events such as the Lisbon and urban regeneration activities and led to big invest- Architecture Triennale, the Lisbon Fashion Week and the Lisbon ment in the cultural infrastructure, such as the major con- & Estoril Film Festival, the city has started to host new creativity- cert hall space Casa da Música related events, such as the European Creative Hubs Forum in 2015, connecting over 200 creative hubs across Europe. Source: Adapted from JRC (2018).

Additionally, the relevance of cultural and and the most affordable night”. Awarded Euro- creative industries is also referred (co-working pean Best Destination in 2017, Porto also won spaces, fab labs, and start-up incubators) (see the World Excellence Award 2018 for Best Table 3). Lisbon and Oporto have received a Startup-Friendly City of Europe by the World significant number of awards. For instance the Business Angels Investment Forum. Moreover, Portuguese capital has already won the Best Eu- Porto obtained a distinction as 8th Best Mid- ropean Destination award in the first edition of Sized City for FDI Strategy by fDi ‘Intelligence the contest in 2010 and then in 2015, distinction European Cities of the Future’ 2018/19 awards, that was awarded to Oporto three times, in 2012, for its quality of life, strategic location, labour 2014, and 2017. In addition, Oporto won several and real estate costs which are important factors prizes and accolades in 2017. Timeout Index to attract investment. The Port of Leixões’ 2018, highlighted that Oporto “is the second Cruise Terminal has been elected ‘Building of most exciting city in the world “for making the Year 2017’ by one of the most prestigious friends, finding love, feeling free to be yourself international awards of ArchDaily. Porto’s

101 Revista Portuguesa de Estudos Regionais, nº 51

Francisco Sá Carneiro’s airport, was voted by Comparing Lisbon and Oporto cities, Table ACI – Airports Council International as one of 4 shows, in descending order, that Lisbon has a the best in the European Region for airports better performance in “Cultural Vibrancy”, handling between 5 and 15 million passen- “Creative Economy”, “Enabling Environment”. gers/year (Pwc, 2018: 42). The main difference is in “Cultural Vibrancy” (namely – 22.3).

Table 4. Cultural and Creative Cities Monitor – 3 sub-indices: Lisbon and Oporto Lisbon Oporto

Index 42.6 27.9 (-14.7)

CV - Cultural Vibrancy 54.3 32 (-22.3)

CE - Creative Economy 36.4 22.5 (-13.9)

EE - Enabling Environment 31.4 30.5 (-0.9) Source: Adapted from JRC (2018).

Cultural Vibrancy is based in 2 dimensions, only performs better in two indicators (Sights & namely: Cultural Venues & Facilities and Cul- landmarks and Satisfaction with cultural facili- tural Participation & Attractiveness. Lisbon ties). presents a better performance when compared Lisbon’s best performance is in indicators with Oporto in the two dimensions, notably in such as “Concerts & Shows”, “Cinema atten- the first one: 63.1 confronting with 33.2. Oporto dance”, “Cinema seats”, among others.

Table 5. Cultural and Creative Cities Monitor – Cultural Vibrancy: Lisbon and Oporto

V - CULTURAL VIBRANCY 54.3 32 (-22.3)

D1 - Cultural Venues & Facilities 63.1 33.2 (-29.9)

I1 - Sights & landmarks 41.3 55.7 (+14.4)

I2 - Museums 51.6 40.4 (-11.2)

I3 - Cinema seats 44.7 7.7 (-37)

I4 - Concerts & Shows 89.6 21.1 (-68.5)

I5 - Theatres 71.8 55.9 (-15.9)

D2 - Cultural Participation & Attractiveness 45.5 30.9 (-14.7)

I6 - Tourist overnight stays 50 30 (-20)

I7 - Museum visitors 70.6 61.5 (-9.1)

I8 - Cinema attendance 56.6 4.4 (-52.2)

I9 - Satisfaction with cultural facilities 7.1 27.1 (+20) Source: Adapted from JRC (2018)

In Creative Economy sub index Lisbon has, cultural vibrancy gap (Tables 5 and 6). The “In- again, a better performance. However, the gap tellectual Property & Innovations” is the di- between the two cities is smaller than the mension which shows more closeness between

102 Creative Tourism and Urban Sustainability: The Cases of Lisbon and Oporto

the two cities. In the dimension “New Jobs in new enterprises in other creative sectors”. In ac- Creative Fields”, Lisbon has a greater dynamic cordance, the “Rise of the Creative Class” (Flo- in CCI, since it generates more “Jobs in new rida, 2012), puts in evidence the growing role of arts, & entertainment enterprises”, “Jobs in new creativity in our economy, once creative ethos media & communication enterprises”, “Jobs in is increasingly dominant.

Table 6. Cultural and Creative Cities Monitor – Creative economy: Lisbon and Oporto CE - Creative Economy 36.4 22.5 (-13.9)

D3 - Creative & Knowledge-based workers 26.9 13.6 (-13.4)

I10 - Jobs in arts, culture & entertainment 32 19.3 (-12.7)

I11 - Jobs in media & communication 22 6.1 (-15.9)

I12 - Jobs in other creative sectors 26.8 15.4 (-11.4)

D4 - Intellectual Property & Innovations 3.9 3.7 (-0.2)

I13 - ICT patent applications 1.6 1.4 (-0.2)

I14 - Community design applications 6.2 6 (-0.2)

D5 - New Jobs in Creative Fields 62.1 40.7 (-21.4)

I15 - Jobs in new arts, & entertainment enterprises 54.3 36.4 (-17.9)

I16 - Jobs in new media & communication enterprises 32.1 15 (-17.1)

I17 - Jobs in new enterprises in other creative sectors 100 70.8 (-29.2) Source: Adapted from JRC (2018).

The sub-index “Enabling Environment” po- different local customs, among others (TL, sitions the two cities near each other. Generally, 2016a: 3). Lisbon presents better performance in the di- The main purpose of visit – visit monuments fferent dimensions and indicators (Human Cap- and museums – is based on the visit to the fo- ital & Education; Human Capital & Education llowing “attractions, monuments and museums” and Governance & Regulations). Oporto (TL, 2016a: 3): Torre de Belém (85,2%), “Openness, Tolerance & Trust” dimension re- Mosteiro dos Jerónimos (82.4%), Padrão veals better performance than Lisbon. “Gradu- Descobrimentos (76.2%), CC Belém (55.1%), ates in arts & humanities”, “Graduates in ICT” Museu Chiado (44.7%), Museu Gulbenkian indicators, rank Oporto ahead of Lisbon (see (44.0%), Sé de Lisboa (41.7%), among others Table 7). (TL, 2015). The comparison between Lisbon and Oporto The ‘Satisfaction and Image Survey - 2015’ shows that tourism motivation is clearly associ- (TL, 2015a: 21) shows the image of ‘Lisbon- ated with these cities’ culture and creativity, Lisbon – Lisbon region’ as a ‘capital city’ since the main motivation segment is “city and (97.0%), ‘city of feelings/sensations’ (93.9%) short breaks”. Regarding Lisbon, a Lisbon ‘ancient city with history’ (92.9%), ‘creative Tourism survey considers “city and short and trendy city’ (92.0%), ‘unique city’ (88.0%) breaks” the most important foreign tourism mo- (% of agreement: ‘agree’ and ‘totally agree’), tivational segment with a weight of approxi- among others (TL, 2015a). Accordingly, in the mately 70% (TL, 2016: 2). In addition, by “pur- Strategic Tourism Plan for the Lisbon region pose of trip” the emphasis is on visit monuments 2015-2019’ (Roland Berger/ERTRL/TL, 2014), and museums, knowledge of Portuguese cul- Lisbon is seen as ‘city/short breaks’ and high- ture, gastronomy and wine, knowledge of lights its ‘culture’ as a transversal ‘qualifier’ of

103 Revista Portuguesa de Estudos Regionais, nº 51 its offer. In the ‘Tourism Strategy 2027 Portu- nature and biodiversity, water), ‘active qualifi- gal’ (TP, 2016) considers Lisbon as being ‘a ers’ (gastronomy and wines, artistic and cultural multicultural destination with a strong interna- events, sports and business), ‘emerging assets’ tional vocation’. It recognises some of Lisbon (well-being, living in Portugal), and a ‘unique assets to achieve it, namely ‘active differentia- transversal asset’ (people). tors’ (climate and light, history and culture, sea,

Table 7. Cultural and Creative Cities Monitor – Enabling Environment: Lisbon and Oporto EE - Enabling Environment 31.4 30.5 (-0.9)

D6 - Human Capital & Education 36.4 36 (-0.4)

I18 - Graduates in arts & humanities 33 39.8 (+6.8)

I19 - Graduates in ICT 34.6 41.2 (+6.6)

I20 - Average appearances in university rankings 41.7 27.1 (-14.6

D7 - Openness, Tolerance & Trust 24.4 24.6 (+0.2)

I21 - Foreign graduates 33.3 31.9 (-1.4)

I22 - Foreign-born population 21.4 11.1 (-10.3)

I23 - Tolerance of foreigners 48.1 48.1

I24 - Integration of foreigners 6.7 6.7

I25 - People trust 12.5 25 (+12.5)

D8 - Accessibility – local & international 28 23.1 (-4.9)

26 - Passenger flights 4.9 0.8 (-4.1)

I27 - Potential road accessibility 75.1 66.1 (-9)

I28 - Direct trains to other cities 3.9 2.4 (-1.5)

D9 - Governance & Regulations 58.2 56.8 (-1.4)

29 - Quality of governance 58.2 56.8 (-1.4) Source: Adapted from JRC (2018).

Since 1999, Oporto has promoted the wine aspx), namely Oporto historic centre, Miguel regions of Vinho Verde wines, Douro Wines and Bombarda, electric transport, Douro river, and Port Wine by the Great Wine Capitals Capital the tiles (Visitporto, 2018). Moreira and Cor- Network which is made up of 9 cities interna- deiro´ (2016: 52) study underlines others factors tionally renowned for their wine regions. that contribute to the increase of tourism de- Oporto has undergone in the last few dec- mand in this city during this decade such as the ades through a process of active reconstruction qualification of the cultural offer of the city and and in result, especially from 2001 but more its Historical Centre, with the creation of new deepened from 2004, the city of Oporto touris- museums (for example, the Museum of Marion- tifies itself. Here one understands touristifica- etas, Museum of Mercy), the emergence of low tion as the appropriation of urban space by tour- cost flights and hostels, and the qualification of ists. the Port of Leixões for large cruise ships, among The cultural heritage is still an important others. topic consulted on Oporto’s tourism website According to Martins (2015: 9), the satisfac- (http://visitporto.travel/Visitar/Paginas/default. tory Oporto´ attributes are: beautiful views,

104 Creative Tourism and Urban Sustainability: The Cases of Lisbon and Oporto

cultural attraction, good nightlife and entertain- Simultaneously, the existence of UNESCO ning, world heritage, unique and different, good World Heritage Sites, the association to other climate, and local gastronomy. Although the international/supranational classifications such last two were also referred as non-satisfactory as European Capital of Culture, Expo, Euro, in- Oporto´s attributes, together with local shop- ternational thematic festivals (e.g. of cin- ping and transportation infrastructure. ema/film, architecture, fashion, creative hubs forums), participation /dynamic of Cultural and 5. CONCLUSION Creative industries (fab labs, start-ups, ...), among many other international but also na- This paper is a contribution to the debate on tional, regional and local initiatives contributed the role of culture and creativity in the sustain- to highlight the cultural and creative attributes able development of tourism in cities. and activities of the two Portuguese major ci- The results of this exploratory analysis un- ties. derline the growing importance of cultural and Comparing Lisbon and Oporto, the first city creative tourism in the two major cities of Por- reveals a better performance in “cultural vi- tugal: Lisbon (a capital city) and Oporto (the brancy”, “creative economy”, “enabling envi- second city of Portugal), and add to the theore- ronment”, following the Cultural and Creative tical discussion on cultural/creative tourism and Cities Monitor. However, it is important to note sustainable development interconnections. that the gap between the two cities is lower in The consideration of a set of city or urban “enabling environment” sub-index. At the same culture/creativity indices, such as Cultural and time, Oporto was better positioned than Lisbon Creative Cities Monitor (CCCM/JRC), Creative in terms of “Openness, Tolerance & Trust”. The Cities Index (Charles Landry), applied to Lis- performance in “Graduates in arts & humani- bon and Oporto could be seen as a crucial tool ties”, Graduates in ICT” indicators also shows in tourism planning and management in the Oporto in a better position. framework of the cities’ own strategy. Cities as As an exploratory study, this paper presents short break cultural destinations could integrate some limitations, once a more in-depth analysis culture to add value to their offer. Namely, in a requires a higher number of indicators in cul- context of a significant growth in their tourism tural and creative tourism domain as well as a demand and supply, as showed through a set of broader and temporal framework. However, our indicators (see: overnights, REVPAR, guest, research has highlighted the significant scope …) of performance in recent years. Monitoring and opportunity that exists for future research cultural and creative tourism sustainable deve- and development to address the questions of loppment is crucial given that they could im- how cities can do the continuous monitorisation prove the assessment of cultural/creative tour- of its cultural and creative sector performance ism dynamic and policy, once culture in the two and how cultural creative public policies could cities is a huge motivator to tourists. improve their urban tourism development.

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EC [European Commission] (2018), “Euro- Korez-Vide, R. (2013), “Promoting Sustain- pean Tourism Indicators System for sustainable ability of Tourism by Creative Tourism Devel- destination - European Commission website”. opment: How far is Slovenia?”, Innovative Is- In http://ec.europa.eu/growth/sectors/tour- sues and Approaches in Social Sciences, Vol. 6, ism/offer/sustainable/indicators_en (consulted No. 1. pp. 78-102. on: 17.05.2017). JLL (2017), “The Universe of City Indices EC (2011), “The European Cluster Observa- 2017 - Decoding City Performance – JLL and tory, Priority Sector Report: Creative and Cul- The Business of Cities”. In http://www.jll. tural Industries”, Dominic Power, Uppsala Uni- com/citiesresearch/Documents/ benchmarking- versity. In http://ec.europa.eu/enterprise/news- future-world-of-cities/JLL-Decoding-CityPerf room/cf/_(consulted on: 05.08.2017). ormance-2017.pdf (consulted on: 03.12.2017). EI [Euromonitor International] (2017), “Top JRC (2017), “The Cultural and Creative Cit- 100 City Destinations Ranking WTM”, London ies Monitor”, JRC/Europeann Commission. In 2017 Edition In http://go.euromonitor.com/rs http://publications.jrc.ec.europa.eu/repository/b /805-KOK719/images/Euromonitor%20Inter- itstream/JRC107331/kj0217787enn.pdf (con- national_WTM%20London%202017_Top%20 sulted on: 07.03.2018) 100%20City%20Destinations.pdf (consulted Martins, M. (2015), “The tourist Imagery, on: 17.02.2018). the Destination Image and the Brand Image”, EU (2017), “The Cultural and Creative Cit- Journal of Tourism and Hospitality Manage- ies Monitor JRC”. In https://compositeindica- ment, December 2015, Vol. 3, No. 2, pp. 1-14 tors.jrc.ec.europa.eu/cultural-creative-citiesmo Menger, Pierre-Michel (2013), “European nitor/ (consulted on: 05.11.2017). cultural policies and the ‘creative industries’ Florida, R. (2012), “The Rise of the Creative turn. European cultural policies and the ‘crea- Class: And How It's Transforming Work, Lei- tive industries’ turn”. In Kerry ThomasKeery, sure, Community, and Everyday”. Basic Books. T. , and Janet Chan, J. (eEds), Handbook of re- GaWC (2017), “Index”. In http://www.lb search on creativity, Cheltenham, UK: Edward oro.ac.uk/gawc/rb/rb23.html (consulted on: Elgar, 2013, chap. 32. In https://wwwwww.re- 03.12.2017). searchgate.net/publication/303314894_Europe Global Influence (2017), “Global City Index an_cultural_policies_and_the_'creative_indus- 2017: The Most Connected Cities”. In tries'_turn_Pierre-Michel_Menger (consulted http://www.globalinfluence.world/en/global- on: 03.12.2017).). city-index-2017-connected-cities/ (consulted Menon Economics (2017), “English Sum- on: 05.01.2018). mary the Value of Cultural Heritage an Eco- Henriques, C. (2016), “Lisbon Fado as Her- nomic Analysis of Cultural Heritage and Cul- itage of Humanity: Interconnections with Tour- tural Environments”. In https://www.menon.no ism”. In Henriques, C., Moreira, M. C., César, /?lang=enDownloads/Verdien%20av%20kultu- P. A. B. (Eds.) (2016), Tourism and History rarv%20-%20engelsk%20sammendrag.pdf World Heritage – Case Studies of Ibero-Ameri- (consulted on: 03.12.2017). can Space, Interdisciplinary Centre of Social Moreira, C. & Cordeiro (2016), “The Impact Sciences – University of Minho of the World Cultural Heritage Classification by (CICS.NOVA.UMinho). In http://www.lasics Unesco on the Cultural Touristic Demand in .uminho.pt/ojs/index.php/cics_ebooks/article/v Oporto”. In Henriques, C., Moreira, M. C., Cé- iew/2516/2427 (consulted on: 17.05.2017). sar, P. A. B. (Eds.) (2016), Tourism and History Henriques, C. (2003), “Turismo, Cidade e World Heritage – Case Studies of Ibero-Ameri- Cultura. Planeamento e Gestão Sustentável”, can Space, Interdisciplinary Centre of Social Lisboa: Edições Sílabo. Sciences – University of Minho (CICS.NOVA Holden (2006), “Cultural policy is a closed .UMinho). In http://www.lasics.uminho.pt/ojs/ conversation among experts. What culture index.php/cics_ebooks/article/view/2516/2427, needs is a democratic mandate from the public”, pp 40-54 ( consulted on: 17.05.2017). Demos. In https://www.demos.co.uk/files/Cul- Musterd, S. & Ostendorf, W.J.M. (2004), turalvalueweb.pdf (consulted on: 17.05.2017). “Creative Cultural Knowledge Cities: Perspec- IMPACTUR (2018), “Indicadores de Moni- tives and Planning Strategies”, Built Environ- torização e Previsão da Atividade Turística”. In ment (3), 189–193. http://www.ciitt.ualg.pt/impactur/ (consulted Navrud, S. & R.C. Ready (eds.) (2002), on: 17.03.2018). “Valuing Cultural Heritage. Applying

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Statistics-on-world-trade-increative-products. Italy. UNESCO World Heritage Papers, no. 7. aspx. (consulted on: 03.12.2017). Paris: UNESCO. UNESCO (2017), “Re|shaping cultural poli- UNESCO (2001), “UNESCO universal dec- cies: advancing creativity for development - laration on cultural diversity”, Records of the 2018 – Advancing creativity for development”, general conference, 31st session, 15 October–3 The second report on the 2005 Convention on November 2001, Paris, France. Annex I, Vol- the protection and promotion of the diversity of ume 1 Resolutions. Paris: UNESCO. cultural expressions; Unesco, 2017. In UNWTO [World Tourism Organization] http://unesdoc.unesco.org/im- (2016), “Tourism Highlights”, UNWTO. ages/0026/002605/260592e.pdf. (consulted on: UNWTO (2014), “AM Reports”, Volume 03.12.2017). ten – Global Benchmarking for City Tourism UNESCO (2015), “UNESCO moving for- Measurement. UNWTO, Madrid. (UNWTO). ward the 2030 Agenda for Sustainable Develop- In http://cf.cdn.unwto.org/sites/all/files/pdf/gl ment. UNESCO Task Force on the 2030 obal_benchmarking_hr.pdf (consulted on: 03.1 Agenda for Sustainable Development” In 2.2017). http://en.unesco.org/sdgs. (consulted on: 03.12 UNWTO/UNESCO (2017), “The Muscat .2017). Declaration on Tourism and Culture: Fostering UNESCO (2010), “The power of culture for Sustainable Development”, Year of Sustainable development”. Paris: UNESCO. Tourism for Develoment 2017, Muscat, Oman, UNESCO (2006), “Towards sustainable 11-12 dezembro 2017. strategies for creative tourism: creative cities UNWTO/UNESCO (2015), “UN- network”, Santa Fé, Nwe Mexico, october 25- WTO/UNESCO World Conference on Tourism 27,2006. In http://unesdoc.unesco.org/im- and Culture: Building a New Partnership. ages/0015/001598/159811e.pdf. (consulted on: 2015”, Cambodia, Siem Reap. In https:// 03.12.2017). en.unesco.org/themes/culture-sustainable-de- UNESCO (2006a), “Tourism, culture and velopment (consulted on: 03.12.2017). sustainable development” (M. Robinson and D. Visit Porto (2018), “Site official do Porto”. Picard). http://unesdoc.unesco.org/images/0014 In http://visitporto.travel/Visitar/Paginas/defa /001475/147578e.pdf (consulted on: 03.12. ult.aspx (consulted on: 03.12.2017). 2017). WEF [World economic Forum] (2017), UNESCO (2016b), “Global report on culture “The Travel & Tourism Competitiveness Re- for sustainable urban development”. In ww port 2017 Paving the way for a more sustainable w.unesco.org/new/en/culture/themes/culture-an and inclusive future WEF (2017)”, The Travel d-development/culture-for-sustainableurban-de & Tourism Competitiveness Report 2017 Pav- velopment/ (accesesd 26 March 2016). The ing the way for a more sustainable and inclusive UNESCO Global Report on Culture for Sus- future. tainable Urban Development (2016b) (con- WTTC [World Travel & Tourism Council] sulted on: 03.12.2017). (2017), “Tourism Economic Impact –World”, UNESCO (2003), “Cultural landscapes: The WTTC. In: http:www.wttc.com (consulted on: challenges of conservation”, Proceedings of the 03.12.2017). workshop, 11–12 November 2002, Ferrara,

Acknowledgements This research was funded by national funds through the FCT- Foundation for Science and Technology under the project UID/SOC/04020/2013.

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NORMAS PARA OS ARTIGOS A SUBMETER À REVISTA PORTUGUESA DE ESTUDOS REGIONAIS

A. Normas respeitantes à aceitação e (1) O artigo é admitido para publicação tal avaliação dos artigos como está (ou com meras alterações de porme- nor) e é inserido no plano editorial da revista. 1. Embora a Revista Portuguesa de Estudos Neste caso, a data previsível de publicação será Regionais (RPER) não seja membro do Com- de imediato comunicada aos autores. mittee on Publication Ethics (COPE), a sua (2) O artigo é considerado aceitável mas Direção Editorial decidiu declarar a sua adesão sob condição de serem efetuadas alterações aos princípios do Código de Conduta do CO- significativas na sua forma ou nos seus conte- PE, com efeitos a partir de 1 de Janeiro de údos. Neste caso, os autores disporão de um 2012 máximo de 6 semanas para, se quiserem, pro- (http://publicationethics.org/files/Code%20of cederem aos ajustamentos propostos e para %20conduct%20for%20jounal%20editors4. voltarem a submeter o artigo, iniciando-se, pdf). após a receção da versão corrigida, um novo 2. Só serão em princípio aceites para avali- processo de avaliação. ação na RPER artigos que nunca tenham sido (3) O artigo é recusado. publicados em nenhum suporte (outra revista ou livro, incluindo livros de Atas). Excetua-se 5. A RPER poderá organizar números espe- a divulgação anterior em séries do tipo “wor- ciais de natureza temática, na sequência de king papers” (eletrónicas ou em papel). Outras conferências, workshops ou outros eventos exceções pontuais podem ser aceites pela Dire- relevantes na sua área de interesse. Embora ção Editorial, se os direitos de reprodução esti- nestes casos o processo de avaliação dos arti- verem salvaguardados. gos possa ser simplificado, a RPER manterá ainda assim, escrupulosamente, o princípio de 3. Ao enviar uma proposta de artigo para a revisão pelos pares de todos os artigos. Revista, os autores devem renunciar explicita- mente a submetê-la para publicação a qualquer 6. Excecionalmente a RPER poderá contu- outra revista ou livro até à conclusão do pro- do publicar artigos “por convite”, ou seja não cesso de avaliação. Para o efeito deverão sem- sujeitos ao crivo de revisores. A singularidade pre enviar, juntamente com o artigo que sub- destes artigos será sempre assinalada, de forma metem, uma declaração assinada neste sentido. transparente, na sua primeira página. No caso de recusa do artigo pela Direção Edi- 7. A RPER reconhece o direito dos mem- torial, os autores ficarão livres para o publicar bros da sua Direção Editorial (incluindo o seu noutra parte. Diretor) a submeterem artigos para publicação. 4. Os artigos submetidos à Direção Editori- Sempre que um membro da Direção Editorial é al para publicação serão sempre avaliados autor ou coautor de um artigo, então é necessa- (anonimamente) por dois especialistas na área, riamente excluído do processo de revisão, em convidados para o efeito pela Direção Editori- todos os seus passos, incluindo a decisão final. al. Os dois avaliadores farão os comentários 8. A RPER reconhece o direito de recurso que entenderem ao artigo e classificá-lo-ão de de qualquer sua decisão relativa à aceitação de acordo com critérios definidos pela Direção um artigo para publicação. Esse recurso é en- Editorial. Os critérios de avaliação procurarão dereçado ao Diretor que deverá informar toda a refletir a originalidade, a consistência, a legibi- Direção Editorial. Os termos do recurso serão lidade e a correção formal do artigo. No prazo enviados aos revisores, que terão um prazo máximo de 16 semanas após a submissão do máximo de 30 dias para se pronunciarem em artigo, os seus autores serão contactados pela definitivo. No caso de não haver acordo entre Direção Editorial, sendo-lhes comunicado o os dois referees, a Direção Editorial tem obri- resultado da avaliação feita. gatoriamente de indicar um terceiro especialis- O processo de avaliação tem três desenlaces ta. Não existe novo recurso, para uma segunda possíveis: decisão que decorra deste processo.

Revista Portuguesa de Estudos Regionais, nº 51

9. A RPER encoraja a publicação de críticas 3. Na publicação os gráficos, mapas, dia- relevantes, por outros autores, a artigos publi- gramas, etc. serão designados por “figuras” e cados nas suas páginas. Os autores criticados as tabelas por “quadros”. têm sempre a possibilidade de resposta. 4. As eventuais figuras e quadros deverão 10. Os referees estão sujeitos ao dever de ser disponibilizados de duas formas distintas: confidencialidade, quer quanto ao conteúdo por um lado devem ser colocados no texto, dos artigos que apreciam, quer quantos aos com o aspeto pretendido pelos autores. Para seus próprios comentários, devendo mais em além disso, deverão ser disponibilizados em geral garantir que todo o material que lhes é ficheiros separados: os quadros, tabelas e grá- submetido é tratado em confiança. Será sempre ficos serão entregues em Microsoft Excel for enviada aos revisores a informação sobre os Windows, versão 97 ou posterior (no caso dos princípios do Código de Conduta referido em gráficos deverá ser enviado tanto o gráfico 1. final como toda a série de dados que lhe está 11. Uma vez o artigo aceite, e feito o traba- na origem, de preferência no mesmo ficheiro e lho de formatação gráfica prévio à sua publica- um por worksheet); para os mapas deverá usar- ção na revista, serão enviadas ao autor as res- se um formato vetorial em Corel Draw (versão petivas provas tipográficas para revisão. As 9 ou posterior). eventuais correções que este quiser fazer terão 5. As expressões matemáticas deverão ser de ser devolvidas à Direção Editorial no prazo tão simples quanto possível. Serão apresenta- máximo de 5 dias úteis a contar da data da sua das numa linha (entre duas marcas de parágra- receção. Só serão aceites correções de forma. fo) e numeradas sequencialmente na margem 12. Ao autor e a cada um dos coautores de direita com numeração entre parêntesis curvos. cada artigo aceite será oferecido um exemplar A aplicação para a construção das expressões do número da Revista em que o artigo foi pu- deverá ser ou o Equation Editor (Microsoft) ou blicado. o MathType. 13. Os originais, depois de formatados de 6. Salvo casos excecionais, que exigem jus- acordo com as presentes normas, não poderão tificação adequada a submeter à Direção Edito- exceder as 30 páginas, incluindo a página de rial, o número máximo de coautores das pro- título, a página de resumo, as notas, os qua- postas de artigo é quatro. Só deverão ser con- dros, gráficos e mapas e as referências biblio- siderados autores os que contribuíram direta e gráficas. efetivamente para a pesquisa refletida no trabalho. 14. As propostas de artigo deverão ser enviadas por e-mail para [email protected], 7. O texto deve ser processado em página ou pelo correio, para o Secretariado da RPER: A4, com utilização do tipo de letra Times New APDR - Universidade dos Açores, Rua Capi- Roman 12, a um espaço e meio, com um espa- tão João d’Ávila 9700-042 Angra do Heroísmo ço após parágrafo de 6 pt. As margens superi- – PORTUGAL. Para comunicação posterior o or, inferior, esquerda e direita devem ter 2,5 contacto com o Secretariado far-se-á pelo: cm. e-mail: [email protected]. 8. A primeira página conterá exclusivamente o título do artigo, em português e em inglês, bem como o nome, morada, telefone, fax e B. Normas respeitantes à estrutura dos e-mail do autor, com indicação das funções artigos exercidas e da instituição a que pertence. No caso de vários autores deverá aí indicar-se qual 1. Os autores deverão enviar o artigo com- o contacto para toda a correspondência da Re- pleto (conforme os pontos seguintes), por vista. Deve ser também incluída na primeira e-mail ou em CD-rom, para o os contactos página uma nota sobre as instituições financia- referidos no ponto 14 das Normas A. doras da investigação que conduziu ao artigo. 2. Os textos deverão ser processados em Este nota é obrigatória quando pertinente. Microsoft Word for Windows (versão 97 ou 9. A segunda página conterá unicamente o posterior). O texto deverá ser integralmente a título e dois resumos do artigo, um em portu- preto e branco. guês e outro inglês, com um máximo de 800 caracteres cada, seguidos de um parágrafo com

110 Normas para os artigos a submeter à Revista Portuguesa de Estudos Regionais indicação, em português e inglês, de palavras- fortemente a sua adoção em todas as versões chave até ao limite de 5, e ainda 2 a 5 códigos submetidas. do Journal of Economic Literature (JEL) apro- 4. Os autores citados ao longo do texto se- priados à temática do artigo, a 3 dígitos, como rão indicados pelo apelido seguido, entre pa- por exemplo R11. Os títulos, os resumos, as rêntesis palavras-chave e os códigos JEL são obrigató- curvos, do ano da publicação, de “:” e da(s) rios. página(s) em que se encontra a citação. Por 10. Na terceira página começará o texto do exemplo: ao citar-se “Silva (2003: 390-93)”: artigo, sendo as suas eventuais secções ou ca- está-se a referir a obra escrita em 2003 pelo pítulos numerados sequencialmente utilizando autor “Silva”, nas páginas 390 a 393. Deverá apenas algarismos (não deverão utilizar-se nem usar-se “Silva (2003: 390-93)” e não “SILVA letras nem numeração romana). (2003: 390-93)”. No caso de uma mera refe- 11. Cada uma das figuras e quadros deverá renciação do autor bastará indicar “Silva conter uma indicação clara da fonte e ser, tanto (2003)”. quanto possível, compreensível sem ser neces- 5. No caso de o mesmo autor ter mais de sário recorrer ao texto. Todos deverão ter um um trabalho do mesmo ano citado no artigo, título e, se aplicável, uma legenda descritiva. indicar-se-á a ordem da citação, por exemplo: 12. A forma final das figuras e quadros será Silva (2003a: 240) e Silva (2003b: 232). da responsabilidade da Direção Editorial que 6. As referências bibliográficas serão lista- procederá, sempre que necessário, aos ajusta- das por ordem alfabética dos apelidos dos res- mentos necessários. petivos autores no fim do manuscrito. O nome será seguido do ano da obra entre parêntesis, e C. Normas respeitantes às referências da descrição conforme com a seguinte regra bibliográficas geral: Monografias: Silva, Hermenegildo (2007a), 1. A “Bibliografia” a apresentar no final de A Teoria dos Legumes, Coimbra, Editora Agrí- cada artigo deverá conter exclusivamente as cola citações e referências bibliográficas efetiva- Coletâneas: Sousa, João (2002), “Herbici- mente feitas no texto. das e estrumes” in Cunha, Maria (coord.), Teo- 2. Para garantir o anonimato dos artigos, o ria e Prática Hortícola, Lisboa, Quintal Edito- número máximo de citações de obras do autor ra, pp. 222-244 do artigo (ou de cada um dos seus coautores) é Artigos de Revista: Martins, Vicente três e não são permitidas expressões que pos- (2009), “Leguminosas Gostosas”, Revista sam denunciar a autoria tais como, por exem- Agrícola, Vol. 32, nº 3, pp. 234-275 plo, “conforme afirmámos em trabalhos anteri- 7. A forma final das referências biblio- ores (cfr. Silva (1998:3))”. gráficas será da responsabilidade da Dire- 3. O estrito cumprimento das normas à fren- ção Editorial que procederá, sempre que ne- te só é obrigatório na versão final dos artigos, cessário, aos ajustamentos necessários. após aceitação. Ainda assim, recomenda-se

111 Revista Portuguesa de Estudos Regionais, nº 51

NORMS FOR THE SUBMISSION OF PAPERS TO THE PORTUGUESE REVIEW OF REGIONAL STUDIES

A. Norms concerning papers submission or contents. In this case, authors will have a and evaluation maximum of six weeks to make such changes and to submit the paper again. Once the re- 1. Although the Portuguese Review of Re- vised version is received, a new assessment gional Studies (RPER) is not a member of the process starts. Committee on Publication Ethics (COPE), its (3) The paper is refused. Editorial Board decided to adhere to the prin- 5. RPER may organize special issues on ciples of the COPE Code of Conduct, from Ja- specific themes, following conferences, work- nuary 1st 2012 onwards: shops, or other events relevant in its area of (http://publicationethics.org/files/Code%20of interest. Although, in these cases, a simplifying %20conduct%20for%20journal%20editors4. shorter reviewing process may be adopted, the pdf). principle of peer-review selection will always 2. In principle, only papers that have never be preserved. been published (in another journal or book, 6. Exceptionally, RPER may publish arti- including conference Proceedings) can be con- cles “by invitation”, meaning that they are not si-dered for publication in RPER. The previous subject to the reviewing process. These out- publication in a series of “working papers” standing articles, however, are always clearly (electronic or paper format) is an exception to signaled as such in their front page. this rule. The Editorial Board may agree with 7. RPER acknowledges the right of the other sporadic exceptions, when copyrights are members of its Editorial Board (including its secured. Director) to submit papers to the journal. When 3. When a paper is submitted to RPER, au- an author or co-author is also a member of the thors must explicitly state that it will not be Editorial Board, he/she is excluded from the submitted for publication in any other journal reviewing process in all its stages, including or book until the reviewing process is complet- the final decision. ed. For this purpose, a signed declaration must 8. RPER acknowledges the authors’ right of be sent along with the paper. If the paper is appeal on any publishing decision of the Edito- rejected by the Editorial Board, the authors are rial Board. That appeal is made to the Director free to publish it anywhere else. of RPER that will inform the Editorial Board. 4. Papers submitted for publication will al- The new arguments will be sent to the review- ways be reviewed (anonymously) by two ex- ers, asking for a final judgment within a 30- perts in the area, invited by the Editorial day term. In case of disagreement between the Board. Both referees will offer their comments two referees, the Editorial Board is compelled and classify it in accordance with the criteria to appoint a third reviewer. There is no further defined by the Editorial Board. The reviewing appeal for a second decision ensuing this pro- criteria include originality, consistency, reada- cess. bility and the paper’s formal correction. The 9. RPER positively welcomes cogent criti- authors will be informed by the Editorial cism on the works it publishes. Authors of Board of the results of the evaluation within 16 criticized material will have the opportunity to weeks of its receipt. The assessment has three res-pond. possible outcomes: 10. Reviewers are required to preserve the (1) The paper is accepted for publication confidentiality on the contents of the papers just as it is (or with minor changes) and it is and on their comments, and requested, more included in the editorial plan. In this case, the gene-rally, to handle all the submitted material authors are immediately informed of the ex- in confidence. Proper information on the prin- pected publication date. ciples of the Code of Conduct referred in 1. will always be provided to the reviewers. (2) The paper is considered acceptable pro- 11. Once the paper has been accepted and vided that major changes are made to its form formatted for publishing, it will be sent to the

112 Norms for the submission of papers to the Portuguese Review of Regional Studies author for graphics checking and revision. Any a reasonable explanation is presented to the corrections the author might want to make Editorial Board. Authorship must be limited to must be sent to RPER within five days. Only actual and direct contributors to the conducted formal corrections will be accepted. research. 12. Each author and co-author of accepted 7. Text must be processed in A4 format, papers will be offered a number of the pub- Times New Roman font, size 12, line space 1.5 lished issue and 6 pt space between paragraphs. The upper, 13. Articles cannot exceed 30 pages after lower, left and right margins must be set to 2.5 being formatted according to the present cm. norms, including the title page, the summary 8. The first page shall contain only the pa- page, notes, tables, graphics, maps and refer- per’s title, the author’s name, address, phone ences. and fax numbers and e-mail, and the author’s 14. Papers must be sent, by e-mail to affiliation. In the case of several authors, [email protected] or by normal mail, to please indicate the contact person for corre- the Secretariat of RPER: APDR - Universidade spondence. A remark on funding institutions of dos Açores, Rua Capitão João d’Ávila, 9700- the research or related work leading to the 042 Angra do Heroísmo – PORTUGAL. For article – that is compulsory when it applies – future contact please use the e-mail address: must be placed as well in this first page. [email protected]. 9. Second page shall contain the title and the abstract of the paper, in English and, if B. Norms concerning papers possible, in Portuguese as well, with no more structure than 800 characters, followed by two lines, one with the keywords to a limit of 5, and the other 1. The authors must send a complete ver- with the proper Journal of Economic Literature sion of the paper by e-mail or on a CD-Rom by (JEL) codes describing the paper. JEL codes mail, in the original Microsoft Word file, to the must be from 2 up to 5, with three digits, as for contacts specified in point 14 of Norms (A). example R11. The title, the abstract, the key- 2. Texts must be processed in Microsoft words and the JEL codes area all compulsory, Word for Windows (97 or later version). All at least in English. written text must be black. 10. Text starts on the third page. Sections or 3. Graphics, maps, diagrams, etc. shall be chapters are numbered sequentially using Ara- referred to as “Figures” and tables shall be bic numbers only (letters or Roman numeration referred to as “Tables”. must not be used). 4. Figures and Tables must be delivered in 11. Figures and Tables must contain a clear two different forms: inserted in the text, accor- source reference. These shall be as clear as ding to the author’s choice, and in a separate possible. Each must have a title and, if appli- file. Tables and graphics must be delivered in cable, a legend. Microsoft Excel for Windows 97 or later. 12. The final format of Figures and Tables Graphics must be sent in both the final form will be of the responsibility of the Editorial and accompanied by the original data, prefera- Board, who will allow some adjustments, bly in the same file (each graphic in a different whenever necessary. worksheet). Maps must be sent in a vector format, like Corel Draw or Windows Metafile C. Norms concerning bibliographic Applications. references 5. Mathematical expressions must be as simple as possible. They will be presented on 1. The references listed at the end of each one line (between two paragraph marks) and paper shall only contain citations and refer- numbered sequentially at the right margin, ences actually mentioned in the text. with numeration inside round brackets. Equa- 2. To ensure the anonymity of papers, each tion Editor (Microsoft) or Math Type are the author’s self references are limited to three and accepted Applications for original format files. no expressions that might betray the authorship 6. The paper must have no more than four are allowed (for example, “as we affirmed in co-authors. Exceptions may be accepted when previous works (cfr. Silva (1998:3)”).

113 Revista Portuguesa de Estudos Regionais, nº 51

3. Although their meeting in preliminary 6. References must be listed alphabetically versions is recommendable, the bibliographic by authors’ surnames, at the end of the manus- norms below are mandatory for the final (ac- cript. The name will be followed by year of pu- cepted) version only. blication inside round brackets and the descrip- 4. Authors cited in the text must be indicat- tion, thus: ed by his/her surname followed, within round Monographs: Silva, Hermenegildo (2007a), brackets, by year of publication, by “:” and by The Vegetables Theory, Cambridge, Agricul- the relevant page number(s). For example, the ture Press citation “Silva (2003: 390-93)”, refers to the Collection: Sousa, João (2002), “Weed Ki- work written in 2003 by the author Silva, on llers and Manure” in Cunha, Maria (coord.), pages 390 to 393. If the author is merely men- Farming - Theories and Practices, London, tioned, indication of “Silva (2003)” is suffi- Grassland Publishing Company, pp. 222-244 cient. Journal Papers: Martins, Vicente (2009), 5. In case an author has more than one work Tasty Broccoli, Farmer Review, Vol. 32, nº 3, from the same year cited in the paper, citation pp. 234-275 must be ordered. For example: Silva (2003a: 7. The final format of the references will be 240) and Silva (2003b: 232). the responsibility of the Editorial Board, who will allow adjustments whenever necessary

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INDICE 7 Editorial

Shared Value Creation, Creative Tourism and Local Communities 9 Development: The Role of Cooperation as an Antecedent Álvaro Dias Mafalda Patuleia Georg Dutschke

Empowering Communities Through Capacity Development: The Case of 27 Misfat Al Abriyeen Project Rogelio Policarpio Flores, Jr. Carlos Manuel Martins da Costa

Sunny, Windy, Muddy and Salty Creative Tourism Experience in a Salt 41 Pan Jorge Ramos Veronika Rosová Ana Cláudia Campos

The Potential of Olive Oil For Creative Tourism Experiences in The 55 Northern Region of Portugal Regina Bezerra Alexandra I. Correia

Creative Tourism Experiences in Guimarães: A Twofold Analysis of 85 Visitors’ and Suppliers’ Perspectives Carla Melo Alexandra I. Correia Marta Cardoso Vítor Marques

Creative Tourism and Urban Sustainability: The Cases of Lisbon and 93 Oporto Cláudia Henriques Maria Cristina Moreira

REVISTA PORTUGUESA DE ESTUDOS REGIONAIS PORTUGUESE REVIEW OF REGIONAL STUDIES

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