Bastenegar, M., Hassani, A., Khakzar, M. /Vol. 7 Núm. 17: 541- 554/ Noviembre - diciembre 2018 541

Artículo de investigación Thematic Analysis of creative : Conceptual model design

Análisis temático del turismo creativo: diseño de modelos conceptuales Análise Temática do Turismo Criativo: Projeto de modelo conceitual

Recibido: 20 de septiembre de 2018. Aceptado: 11 de octubre de 2018

Written by: Mehrnoosh Bastenegar176 Ali Hassani*177 Morteza Khakzar Bafruei178

Abstract Resumen

The fundamental changes in tourism supply and Los cambios fundamentales en la oferta y demand, as well as the creation of experiences demanda turística, así como la creación de and the paradigms of the economy based on the experiencias y los paradigmas de la economía knowledge of macroeconomic development, basada en el conocimiento del desarrollo have led tourism to creativity, which is why macroeconómico, han llevado al turismo a la experts believe that the sustainability of tourism creatividad, por lo que los expertos creen que la depends of creative tourism. Using the sostenibilidad del turismo depende del turismo exploratory-fundamental research method and creativo. Utilizando el método de investigación the thematic analysis of the Maxqda software, this exploratorio-fundamental y el análisis temático research explained the concept and the different del software Maxqda, esta investigación explicó dimensions of creative tourism in a new model, el concepto y las diferentes dimensiones del and received the consensus of the experts on the turismo creativo en un nuevo modelo, y recibió opinion of the model using the Delphi technique el consenso de los expertos sobre la opinión del of Two steps. This four-room model, which modelo mediante la técnica Delphi de dos pasos. represents the intersection of ranges based on Este modelo de cuatro habitaciones, que supply and demand and destination activity, representa la intersección de gamas basadas en introduces ecosystem concepts of creative la oferta y la demanda y la actividad de destino, tourism, creative landscape, creative industries introduce conceptos de ecosistema de turismo and creative class (tourist) that can describe creativo, paisaje creativo, industrias creativas y various dimensions of the creative tourism. This clase creativa (turista) que pueden describir model not only covers concepts such as creative varias dimensiones del turismo creativo. Este class, creative city) and creative industries, which modelo no solo cubre conceptos como clase have become widespread since 1998, but also creativa, ciudad creativa) e industrias creativas, uses two new concepts of business ecosystem que se han generalizado desde 1998, sino que and creative landscape, and can explain different también utiliza dos nuevos conceptos de approaches to creative tourism. ecosistema empresarial y paisaje creativo, y pueden explicar diferentes enfoques para el Keywords: Creative tourism, creative landscape, turismo creativo. creative tourism ecosystem, creative industries, creative class Palabras claves: turismo creativo, paisaje creativo, ecosistema de turismo creativo, industrias creativas, clase creativa.

176 PhD student in tourism management, University of Science and Culture, Tehran, Iran. 177 Assistant Professor, University of Science and Culture, Tehran, Iran. * (Correspondig author) 178 Assistant Professor in ACECR Research Institute for Technology Development, Department of Industrial Engineering, Tehran, Iran.

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Resumo

Mudanças fundamentais na oferta e procura turística e criando experiências e paradigmas da economia desenvolvimento macroeconômico baseada no conhecimento trouxe o turismo para a criatividade, para que os especialistas acreditam que o turismo sustentável depende do turismo criativo. Usando o método de pesquisa básica exploratória e análise temática de software MAXQDA, esta pesquisa explicou o conceito e as diferentes dimensões do turismo criativo em um novo modelo, e recebeu o consenso dos especialistas sobre o modelo de revisão pela técnica Delphi duas etapas Este modelo de quatro quartos, que representa a intersecção de intervalos baseado na oferta e demanda e atividade alvo, introduz conceitos de ecossistema de turismo criativo, paisagem criativa, indústrias criativas e criativo classe (economia) que pode descrever várias dimensões da turismo criativo. Esse modelo abrange não apenas conceitos como classe criativa, cidade criativa) e indústrias criativas, que se difundiram desde 1998, mas também usa dois novos conceitos de ecossistema comercial e paisagem criativa, e pode explicar diferentes abordagens para o turismo criativo.

Palavras-chave: turismo criativo, paisagem criativa, ecossistema de turismo criativo, indústrias criativas, classe criativa.

1. Introduction

Technological, economic, cultural and social Changes in foundations of cultural economy: In development affects various aspects of personal this way, the inactive cultural perception which is and social life in societies. Tourism based on tangible resources has evolved in the industry is not an exception. Pioneers in form of active engagement based on the development of tourism are as follows: intangible heritage (Sacco, 2011). In addition, attention to postmodern philosophy of "slow From macroeconomic perspective, human philosophy" which is a reaction to high speed in societies have entered new stages of experience industrial societies. Tourism with development economy after agricultural, industrial and service of "slow destinations" seeks to capture parts of economy. In experience economy, soft spatial market which seek to soft adventurous variables such as aesthetic and cultural welfare experiences (local cultural heritage) (Fernandes, services, search for alternative life styles, ethnic 2012). and racial diversity, and beautiful cultural perspectives replace with hard variables; and All these drivers have developed tourism symbolic concepts and meanings determine industry towards creative tourism (third- economic value of goods. (Pine & Gilmore, generation tourism). Researchers and thinkers 1999). have explored creative tourism from a variety of perspectives. The main research question, which On demand side, today's highly educated tourists is answered in accordance with implemented seek to gain more meaningful knowledge about research model (Figure 1), is how various their lives and give value to their personal dimensions and perspectives of creative tourism experiences (UNESCO, 2006). They are more concept can be explained and presented in a actively involved in local culture and creativity, conceptual model? and turn back products which degrade them to mere observers of local culture (Richards and 1.2 Creative tourism; A concept Wilson, 2007). with multiple approaches

On the supply side, many traditional tourism Tourism industry discourse is experiencing a shift destinations are saturated with demand and from traditional tourism to creative tourism in faced with challenge of inventing new products. which tourists try to participate in local cultures Destinations, which provide more memorable and tend to experience creative activities. experiences, will achieve higher value and Creative tourism is a form of tourism competitive advantage (Voss, 2004). sustainability which offers the opportunity to develop creative capacities through active participation in courses and special learning

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543 experiences of a tourism destination that is one • Creative tourism as a source of of the main characteristics of tourist destinations growth and development of other of these activities. (Richards & Raymond, 2000). economic activities:

Richards (2011) argues that various forms of In this approach, creative tourism should not developed creative tourism in cities range from necessarily be provided by tourism institutions, highly active and creative employment to others and it can have significant economic effects if it individuals' impartial view or even mere purchase involves acquisition or development of skills by of creative products. Creative tourism meets tourists when they live as natives. (Teresa, 2010) higher levels of need for spiritual growth with a central focus on active development of human Ohridska-Olson and Ivanov (2010) claim that skills. In addition, creative tourism is not as there are two forms of creative tourism: dependent on location as since it utilizes resources which are intrinsically kinds of • Depending on a specific tourism process (such as local songs, handicrafts, destination: Creative cities and rural paintings, festivals), and thus it has a more stable areas are created following this nature and contributes to development of approach. tourism destination. "Creative tourism is a journey aimed to achieving a firsthand and • Based on creative activities: This action-oriented experience along with approach follows this hypothesis that participatory learning of arts, cultural heritage or creative tourism products are released specific features of a place, and provides a useful in space and are based on creative link with tourism destination residents who are activities that can be done by non-place- the creators of living culture in that place". based visitors. (Olson & Ivanov, 2010) (UNESCO, 2006). Nowadays, creative tourism includes a vast range Creative tourism is an interdisciplinary activity of creative experiences in which creative content which can be studied according to economic can be considered as the main field, and the level approaches, environment, history, art and of tourism and involvement can be high or low in culture, sociology, anthropology, and physiology creating an innovative experience. In a review of sciences (Teresa, 2010). Some of these relationship between creativity and tourism, approaches are explained as follows: Richards (2011) points out that there are several approaches to creativity including creative • Creative tourism as a service: individuals' activities, creative products and processes, and creative environments. (Richards, In this case, both manufacturer and consumer 2011). can play roles of each other if necessary. An intangible double benefit is created through this Creativity as a background: It includes branding interaction and participation, so that every for creative city and atmosphere. Creative creative service has a different nature. This process of branding for city strongly involves requires transferring knowledge and skills using residents and creative sector. Tourists can gain tangible resources and more importantly experience and learning about local space and intangible resources such as experience, culture through existing creative atmosphere technical knowledge and skills or values. (Teresa, created by local residents or creative sector. 2010) However, it can include low-intensity interactions and activities such as shopping or • Specific type of demand: visit for tourists. (Rabazauskaitė, 2015, and Richards, 2011). In this perspective, creative tourism evolves from an econometric model to a sociological model Creativity as an activity: As an activity, creativity which tends to create a more human-oriented requires a high level of involvement in creative society in a way that tourism models are changed process by local tourists and residents. into more specialized activities in which the Participation in handicrafts or local cooking and traveler's symbols, values, knowledge, other creative or artistic activities will change experience and participation are very important residents to educators, and tourists to learners. (Teresa, 2010). In this case, natives become curious explorers of their cities and provide opportunities for tourists

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to gain local knowledge. This mutual conversion A different classification of creative tourism through natives and tourists' participation is an research specifies hardware-based methods, important feature of creative tourism. This has which are largely dependent on development of an important effect on revitalization of urban and creative spaces and infrastructures, and rural spaces and branding process for places. software-based methods which are heavily (Rabazauskaitė, 2015, and Richards, 2011). dependent on development of experiences (Babaei-Hemmati, 2014: 96). Other studies explain the concept of creativity in tourism development as follows: According to Prentice and Anderson (1999) and Beckhard and Raymond (2000), creative tourism • A tool for involving tourists in creative has a supply-based rather than demand-based life in tourism destinations nature, and apparently this is derived from • A creative tool for using existing creative conditions of cities and regions that are resources interested in developing unique capabilities and • A tool for strengthening identity and finding competitive advantage. (Babaei- individuality Hemmati, 2014: 106). • A form of manifestation and inner discovery Franklin (2003) also believes that people who • A form of recreational- educational learn new skills of interpretation and innovation education along with personality as new learners become dynamic tourists realization because they are able to interpret what they see. • A resource for creation of new spaces They learn skills of interpreting signs and in places (Richards and Marques, 2012) symbols. (Babaei-Hemmati, 2014: 70) These • A resource for reconstruction and dynamic people indicate creative demand-based revitalization of places tourism. In this regard, Clock (2005) focuses on • Development of tourism products and use of a variety of , new routing and experiences location, and new ways of looking at products in • Recovering existing products order to gain creative experiences. According to him, creative tourists are able to fill the gaps and • Increasing the material value of cultural work with producers to create and complete and creative assets different stories and events. (Babaei-Hemmati, • Creating byproducts through creative 2014: 103). development

• Applying creative techniques to 2. Research methodology enhance tourism experiences

• Adding vitality and ventilation to places. Since the present research was exploratory and (Richards, 2014) fundamental and aimed to reach a conceptual

model, a qualitative research strategy based on Richards and Wilson (2006) also identified three Thematic analysis was the appropriate strategy specific forms of creative development about for this research. Data analysis process also used tourism in cities: creative places, events and Grounded Theory (Strauss and Corbin, 2005). tourism among which there is considerable Thematic analysis is a method for identification, integration and overlap. (Richards & Wilson, analysis and report of existing models in 2006). qualitative data. This method is a process for

analyzing textual data and changes distributed Creative place: It refers to institutionalization of and diverse data into rich and detailed data. creativity and creative values in particular places. (Braun & Clarke, 2006) Thematic analysis is a Creative event: As a creative force, which even qualitative process for study of text; proper creates symbolic values in some cases, it creates understanding of supposedly unrelated new cultural events and products and leads to information; qualitative information analysis, and development of tourism. Creative tourism: It systematic observation (Boyatzis, 1998). focuses on relationships between people and allows visitors to live like natives. (Richards, 2014).

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545 2.1 Executive model of research

Executive model of research is shown in Figure 1:

Preparation: Bibliography related to creative tourism and provision of theoretical samples

Descriptive coding through Maxqda software (including

basic study, identification of propositions and definition of initial codes)

Interpretative coding by Maxqda software (descriptive code clustering –axial coding; interpreting meaning of clusters in research question).

Integration through inclusive themes

Designing a conceptual model and its validation according to expert opinion (Delphi)

Presenting the conceptual model of creative tourism

Figure 1- Executive research model: An Integrated process of Thematic analysis and Grounded Theory (GT)

As shown in Figure 1 of this research, a two-step 2. Selection of a panel including experts in Delphi method was used after designing the field of creative tourism by snowball conceptual model by Thematic analysis method sampling technique. in order to obtain the consensus of experts. 3. Designing a questionnaire (based on Delphi's method mainly aims to discover prepared conceptual model) for the innovative and reliable ideas and provide right first period information for decision making. According to 4. Investigating the questionnaire in terms basis of Delphi technique, the experts' opinion on of writing (solving the inferential any scientific domain is the most appropriate ambiguities and ...) one, and it is permissible to rely on expert 5. Sending the first questionnaire to opinion on the fields of inadequate sciences in experts which scientific laws have not been developed 6. Analysis of answers in the first period yet. (Ludwig, & Starr, 2005). 7. Preparing the second-period questionnaire (with required revision) The steps taken to conduct Delphi method are 8. Sending the second-period as follows according to Fawle (1998) in this questionnaire to experts research: (Ludwig & Starr, 2005). 9. Analysis of answers in the second period 1. Creation of implementation team 10. Finalizing designed conceptual model (Researchers)

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2.2 Sample selection, coding, and After investigating the searched references, the designing the thematic network cases with the most information in response to research question were selected according to Table 1 in order to conduct this research.

Table 1- Creative tourism studies (Theoretical samples)

No. Researcher Theoretical samples (literature)

Jong Deriving Strategic Priority of Policies for Creative Tourism 1 won Lee, Heeseok Lee (2015) Industry in Korea using AHP Cultural planning and creative tourism in an emerging 2 Carlos Fernandes (2012) tourist destination Promoting sustainability of tourism by creative tourism 3 Romana Korez-Vide (2013) development: How far is Slovenia? More than sun, beach and heritage:

4 M. Teresa Fernández Fernández (2010) Innovating Mediterranean tourism through creative tourism. Interactions, co-operation, competitiveness and economic development Siow-Kian Tan, Shiann Far Kung, Ding- 5 A model of 'Creative Experience' in creative tourism Bang Luh (2012) Rossitza Ohridska-Olson and Stanislav Creative Tourism Business Model and its application in 6 Ivanov (2010) Bulgaria

7 Jarábková Jana – Hamada Marián (2011) Creativity and

Revitalization of public spaces in the context of creative 8 Vaida Rabazauskaitė (2015) tourism 9 Greg Richards (2016) Creativity and tourism in the city Place reputation: representing Houston, Texas as a 10 Velvet Nelson (2015) creative destination through culinary culture Creative food clusters and rural development through Anne H.J. Lee, Geoffrey Wall, Jason F. 11 place branding: initiatives in Stratford and Kovacs(2015) Muskoka, Ontario, Canada On the Revitalized Waterfront: Creative Milieu for 12 Stella Kostopoulou (2013) Creative Tourism

Siow-Kian Tan, Siow-Hooi Tan, Ding- Understanding tourist perspectives in 13 Bang Luh and Shiann-Far Kung (2015) creative tourism Ilaria Pappalepore, Robert Maitland, Prosuming creative urban areas. Evidence from East 14 Andrew Smith (2014) London Empowering the new traveler: Storytelling as a co-creative 15 Rebecca Pera (2014) behavior in tourism Towards Sustainable Strategies for 16 UNESCO, 2006 Creative Tourism

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547

Antonio Carlos Ruiz Soria, 17 Justyna Molendowska, MSc. griculture Reinventing Costa del Sol Through Creative Tourism (2014) Creative tourism: a preliminary Lan•Lan Chang, examination of creative tourists’ 18 Kenneth F. Backman,YuChi h Huang motivation, experience, perceived value (2014) and revisit intention KAIJA LINDROTH, JARMO RITALAHTI 19 & TUOVI SOISALON-SOININEN Creative Tourism in destination Development (2007) Creative tourism: Development, 20 Greg Richards and Bob Palmer (2010) trends and opportunities Creative tourism: the issues of philosophy, 21 Agnieška Juzefovič (2015) sociology and communication Creative Co-modification of rural life from a performance Ester Bardone, Kristel Rattusand Liisi 22 perspective: A study of two Jääts (2015) south-east Estonian farm tourism enterprises 23 Seyed Amir Mansouri, 2014 Tourism as a wisdom system 24 Greg Richards and Lénia Marques (2012) Exploring Creative Tourism: Editors Introduction Siow-Kian Tan,, Ding-Bang Luh, Shiann- 25 A taxonomy of creative tourists in creative tourism Far Kung (2014) Irma Booyens&Christian M. Rogerson Creative Tourism in Cape Town: An Innovation 26 (2015) Perspective Integrating Western and non-Western cultural expressions 27 Anna Catalani (2013) to further cultural and creative tourism: a case study 28 Babaei, Abbasi (2011) Creative tourism entrepreneurship in Rasht City The Potential of Floating Markets for Creative Walanchalee Wattanacharoensil & 29 Tourism: A Study in Nakhon Pathom Province, Malinvisa Sakdiyakorn (2015) Thailand The Flamenco Factor at destination Marketing: 30 Tatjana Thimm (2014) Interdependencies of Creative Industries and Tourism-the Case of Seville

31 Greg Richards and Julie Wilson, 2008 From cultural tourism to creative tourism

Greg Richards Creativity and tourism 32 (2011) The State of the Art A Model Proposal on the Use of Creative Tourism 33 Özen Kırant Yozcu, Orhan İçöz (2010) Experiences in Congress Tourism and the Congress Marketing Mix Faizan Ali, Influence of Experiences on , Satisfaction and 34 Kisang Ryu, Behavioral Intentions: A Study of Creative Tourism Kashif Hussain (2015)

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Jessica Aquino, Rhonda Phillips, and Tourism, Culture, and the Creative Industries: HeeKyung Sung 35 Reviving Distressed Neighborhoods with Arts-Based (2012) Community Tourism

Wei-Li Hung, Yi-Ju Lee & Po-Hsuan Creative experiences, memorability 36 Huang (2014) and revisit intention in creative tourism

Greg Richards, Julie Wilson Developing creativity in tourist experiences: A solution to 37 2006 the serial reproduction of culture? Study on potential and capacity of creative tourism using 38 Fattaneh Hajinorouzi et al (2013) SWOT technique; Case study: Tabriz city 39 Hassan Taghizadeh-Ansari Creative tourism: Third generation of tourism Prioritization of dimensions of traditional music of Tabriz 40 Neda Rahimi et al (2015) and its impact on acquisition of creative tourist Creativity in Peripheral Places: 41 Suzanne de la Barre, 2012 Redefining the Creative Industries 42 Peter Campbell, 2011 You say ‘creative’, and I say ‘creative’

Following the selection of theoretical samples, to diversity of involved actors with descriptive coding was done by the help of the aim to facilitate collaboration, Maxqda software. The most important cases are communication and information presented as follows: sharing. ▪ Development of creative tourism; empowerment of local society: • Creative tourism changing the natives' roles. ▪ Creative networks and clusters; o Supply-based Development of creative industries, products and ideas. ▪ Supply of distinct experiences and o integrating urban space with cultural Demand based and artistic activities. ▪ Creative tourism in its most ▪ Creative experience and interaction competitive form: All involved (with background, people, institutions provide distinct services environment, products/ services/ based on the origin and symbolic experiences). value of a particular place. ▪ Creative class and its economic ▪ Development of creative clusters and function. branding for place. ▪ Creation of local social networks. ▪ Development of tourism clusters by ▪ Creative tourist and landscape view attracting local stakeholders. (landscape tourism and promotion of ▪ Revitalization of port cities (coastal insight (not knowledge)). and port places) by attracting ▪ Tourists' interaction with natives. creative tourists; host of creative ▪ Life like a native. industries. ▪ Development of relational capital. ▪ Accumulation of creative industries ▪ Tourists; Pseudo natives. and cultural capital. ▪ Passenger is no longer a couch surfer. ▪ Presence of creative producers and ▪ Creating creativity through tourists' other creative visitors as an interaction with "leader", "activity" attraction. and "environment". ▪ Vital role of creative clusters (including entrepreneurs, artists) due

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549 ▪ Effect of creative tourism experience ▪ Creative tourism development: on memories, satisfaction and Revitalization of handicrafts and local learning. traditions; rebuilding the natives' ▪ Five distinct groups of creative pride in tangible and intangible tourists: reporters; knowledge and cultural heritage; creation of new skill learners; environmental- businesses in creative sectors and conscious people; people with increasing the incomes; and business partners; and people who increasing competitiveness of need rest and leisure; destinations; ▪ Creative experiences, ▪ Increasing complexity of creative remembrance, and revisit of relationships between destinations, destination tourists and natives; Different types ▪ Involvement of all senses including of exposure between people and sight, hearing, taste, smell and touch impact of new technologies on in creative tourism based on the facilitation of their relationships. multi-sensory tourism model. ▪ Implementation of creativity as a new Creative tourism products and method of urban strategic planning; services can be developed. ▪ Cities as the sites of creative clusters; ▪ Increased specialization in ▪ Creative spaces. consumption; creative glasses ▪ Creative Tourism: Tourist's active o Activity based participation in creative activities which can be combined with creative ▪ Networking society and increase in glasses and space. social capital; ▪ Networking society and changing ▪ Storytelling as a powerful creative direction from resources to participatory behavior in tourism; relationships; ▪ Event-based creative tourism; ▪ Discovering different life traditions ▪ Face-to-face interaction in creative and styles; Discovering ordinary environments to reduce risk of people's lives; creative products; ▪ Investment in soft infrastructure of o Destination based "art and culture"; ▪ Creativity can easily refer to certain ▪ Determination of strategic priority of types of municipality actions; creative creative tourism industry economic growth; ▪ Planning and rehabilitating urban ▪ Development of game tourism; culture ▪ Networks; Creative generator in ▪ Developing policies and guidelines small and medium-sized tourism for city policymakers to develop companies; creative tourism ▪ Creative tourism marketing mix; ▪ Sustainable creative tourism model ▪ Environmental tourism; Living in ▪ Creative tourism business model peace with nature; ▪ Revitalization of public and urban ▪ Roles of creative workshops in spaces by creative tourism revitalization of creative spaces; ▪ Reputation of place ▪ Dance, food, music and other ▪ Sustainable and innovative creative activities which attract reconstruction of city through tourists; creative tourism ▪ Understanding depth of cultural ▪ Creative city structures and relations of host ▪ Creative tourism and development environment and positive and serious of destinations interaction with environment; ▪ Creative tourism as a rehabilitating strategy and reproduction of We perform interpretive coding after descriptive destination in terms of physical, coding. Interpretive coding extracts organizing cultural and social aspects themes which are extracted from basic thematic ▪ Each destination has a potential more cluster using Maxqda software according to than it initially appears.

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Figure 2. In other words, each of the above- commonalities leading to new classification and mentioned four clusters indicates overlaps and conceptualization as shown in Figure 2:

Creative industries Creative tourism ecosystem

Supply based Demand based Activity based Destination based

Creative landscape Creative class

Figure 2- Thematic networks in creative tourism

3. Findings of research and design of method, there are two main ranges in creative conceptual model of creative tourism concept including "destination-based" tourism versus "activity-based" ranges and then "supply- based" versus "demand- based" ranges. With We design conceptual model of creative tourism regard to obtained thematic network and after descriptive and interpretive coding and overlapping these two ranges, four rooms can be design of thematic network (according to model formed with all creative tourism states and of Figure 2). According to Thematic analysis feature of proper explanation of this concept (Figure 3).

Destination-based

Creative Creative tourism landscape ecosystem

Demand-based Supply-based

Creative class Creative industries

Activity-based

Figure 3- Conceptual model of creative tourism

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551 Creative tourism ecosystem: This room, Creative class: This quarter of diagram is which forms according to intersection of created due to the interaction of activity and destination and supply, consider a vital role in demand-based axes and refers to creative local community in order to achieve creative tourism in which tourists and their skills and tourism process. In this quarter, there are interactions play major roles. Sometimes, these highest interactions between formal and informal participatory creative activities create so deep networks. These networks not only cover emotional value under which tourists feel like cultural and creative clusters and industries, but natives, and thus these relations increase social also challenge infrastructures, structures, capital for tourist and host society. "Creative facilities and sources of destination. Validity of class" term, which is selected for this part of experience is one of the main issues in this type diagram, was introduced by Richard Florida of tourism; in other words, a particular place (2002). With publication of his book entitled wherein the creative activity can take place, can "The Rise of creative class", discourse of act as a sign of its validity. For instance, you can creativity was changed from production-based to learn French cooking in any country, but the consumption-based perspective. According to existing space has validity of French cooking style him, human creativity is a very valuable capital in only in France. Therefore, despite the fact that new economy, and a group of creative people creative industries are not generally limited to determines shape, direction and geography of place, the place can itself acts as a part of creative new economic development. experience and stimulate creativity. (Steiner and Reisinger, 2006). Creative landscape: This room is also created from intersection of demand and destination- "Ecosystem" term means understanding all based axes. Here, creative destination can be a factors which directly and indirectly contribute pristine natural or man-made perspective which to development of a business, product, or has aesthetic value for tourists or can brings process and affect its success in short or long meaning and identity for them. According to Van term. In fact, "destination" term often refers to a der Duim (2007), creative landscape can become tourism-based ecosystem. (Gretzel et al., 2015) a situation for creative narratives. In cities, which are the members of UNESCO Creative Cities Network, tourism can be a 4. Conclusion proper example for creative tourism ecosystem. In this ecosystem, creative tourism leads to Creativity is the main driving force of industry, development of economic, social and cultural economy, urban development and social life in conditions at destination (endogenous the twenty-first century. Nowadays, the development). innovative development strategies have provided a new direction to achieve unique and first-hand Creative Industries: This room is created tourism experiences which require movement of according to intersection of supply and activity- tourism sources from tangible to intangible based axes. This quarter of model emphasizes on culture and creativity. Creative tourism model creative industries which facilitate creative produces marketable commodity from intangible activities for tourist, but the experience validity is culture and heritage. Creative approaches create partly reduced since conducted activity is not new tourism experiences and innovative provided in a certain region and culture. Creative consumption by reshaping traditional tourism industries are the intersection of art, commerce products. and technology. Creative industries include cycle of creation, production and distribution of goods Obviously, if creative tourist has higher and service which use creativity and intellectual interaction with environment and destination, capital as primary input. These industries are the the creative tourism will be achieved in its sets of knowledge-based and artistic activities perfect form; and this is an introduced concept including tangible products and intangible in Richards' creative tourism model (2011). This spiritual services with creative content, type of creative tourism involves tourists' all economic value and ability to supply in markets. sight, hearing, taste, smell, and touch senses, and (UNCTAD, 2008: 13) As creative industries are thus the natives change their roles from goods often small businesses, they should create a sellers to teachers of artistic and industrial skills horizontal network of cooperation in order to which in turn will promote relationship between survive in global markets (Sasaki, 2010). natives and tourists based on mutual respect and enhance levels of social capital from a mere

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trade. It should be noted that this perfect form Bardone Ester, Rattus Kristel & Liisi Jääts (2013) does not deny other types of creative tourism, as Creative Co-modification of rural life from a creative destination can host tourists, who do performance perspective: A study of two not for creation of valuable experiences southeast Estonian farm tourism enterprises, and learning, but this creativity in supply will lead Journal of Baltic Studies, 44:2, 205-227. to achievements such as shopping and visit for Barre Suzanne de la. (2012) Creativity in them. This is the same as creative tourist who Peripheral Places: Redefining the Creative goes to natural or cultural landscape. These Industries, Tourism Planning & Development, explorers are able to obtain innovative 9:4, 441-443. experiences with these destinations and have Booyens, Irma & Rogerson Christian M., (2015) unique trip. Creative Tourism in Cape Town: An Innovation Perspective, Urban Forum, DOI Using the exploratory and basic research method 10.1007/s12132-015-9251-y, School of Tourism based on Thematic analysis, the present study & Hospitality, University of Johannesburg, developed a conceptual model of creative Johannesburg, South Africa tourism. Therefore, the thematic network of Boyatzis, R. E. (1998). Transforming qualitative creative tourism was designed by desk studies information: thematic analysis and code and descriptive and inferential coding, and then development, Thousand Oaks, CA: sage. we drew and explained the four-room creative Braun, V. & V. Clarke. (2006). Using thematic tourism conceptual model obtained from analysis in psychology. Qualitative Research in intersection of two dominant ranges of this Psychology, Vol. 3. No. 2, pp. 77-101. concept called supply-based against demand- Campbell, P. (2011) You say ‘creative’, and I say based axes, and destination-based against ‘creative’, Journal of Policy Research in Tourism, activity-based axes. Each room of this model Leisure and Events, 3:1, 18-30. indicated a concept of creative tourism which Catalani, A. (2013) Integrating Western and non- was studied by experts. This model can Western cultural expressions to further cultural completely covers various concepts of creative and creative tourism: a case study, World Leisure tourism (new paradigm of tourism) as a basis for Journal, 55:3, 252-263. studies and critiques by other researchers. Cloke, P. and Perkins, H. (2005) Cetacean Performance and Tourism in Kaikoura New This model not only covers concepts namely Zealand‟, Environment and Planning D. Society creative class (Florida, 2002), creative city and Space, 23,903-24. (Landry, 2000) and (Montgomery, 2005) and DCMS. 1998, Creative industries mapping creative industries (DCMS, 1998), which have document. London: Department for Culture, become widespread since 1998, but it also uses Media and Sport. two new concepts of business ecosystem and Faizan Ali, Kisang Ryu & Kashif Hussain., (2015) creative landscape, and can explain different Influence of Experiences on Memories, approaches to creative tourism. Satisfaction and Behavioral Intentions: A Study of Creative Tourism, Journal of Travel & Tourism References Marketing, volume33,2016-Issue1 Fernandez, C. (2012) Cultural planning and Aquino Jessica, Phillips Rhonda, and Sung creative tourism in an emerging tourist HeeKyung, (2012) Tourism, Culture, and the destination, International Journal of Management Creative Industries: Reviving Distressed Cases, Sep 2012, Vol. 13 Issue 3, p629 Neighborhoods with Arts-Based Community Florida, R. (2002) The Rise of the Creative Class: Tourism, Tourism, Culture & Communication, And How It’s Transforming Work, Leisure, Vol. 12, pp. 5–18 1098-304X/12 Community and Everyday Life, New York: Basic Babaei-Hemmati, Roshan; Abbasi, Bijan, (2011) Books. Creative tourism entrepreneurship in Rasht city, Franklin, A. (2003) Tourism. An Introduction, Proceedings of the Second International London: Sage Conference on Management, Entrepreneurship Gretzel, U., Hannes, W., Chulmo, K. (2015) and Economic Development, pp.1368-1380. Conceptual foundations for understanding smart Babaei-Hemmati, Roshan; Mousavi, Narjes, tourism ecosystems, Computers in Human (2014) creative tourism; Qom: Javanae Behavior 50 .558–563. Movafhagh, First edition. Hajinorouzi, Fattaneh; Jamal-Azarieh, Mohammad-Ali; Mahouti, Nastaran, (2013)

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