Mapping exercise: How could creative industries foster innovation in tourism in the Northern Dimension area?
Country Report – Sweden
December 2016 Team: Terry Sandell, Lila Skarveli
This project is funded A project implemented by by The European Union the PROMAN Consortium 1 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? Country Report – Sweden
DISCLAIMERS
This report has been prepared with the financial assistance of the European Commission. The contents of this publication are the sole responsibility of PROMAN and can in no way be taken to reflect the views of the European Union.
This report has been discussed with the international expert concerned in relation to the input work plan agreed with the Client, the expert’s terms of reference and to ensure it contains relevant issues and recommendations, which have been discussed in a debriefing session with the Client.
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Framework Contract Beneficiaries 2013 - EuropeAid/132633/C/SER/MULTI Lot 9: Culture, Education, Employment and Social.
RfS 2015/369412/1
2
2 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? Countr eport – weden
CONTENTS
DISCLAIMERS ...... 2
LIST OF ABBREVIATIONS ...... 4
1. INTRODUCTION AND KEY COUNTRY POINTS ...... 5
2. BASIC COUNTRY INFORMATION ...... 12
3. CULTURAL AND CREATIVE SECTORS/CCIS IN SWEDEN ...... 14
C – C
C
C
4. TOURISM SECTOR IN SWEDEN ...... 20
C C
5. CCI AND TOURISM SECTOR COOPERATION IN SWEDEN ...... 22
6. SWEDEN’S BILATERAL AND MULTILATERAL CCS/CCI AND TOURISM COOPERATION ...... 24
7. CASE STUDIES ...... 26
C C
C C
C C C CC C
C
C
“I ’ ”
8. COUNTRY CONCLUSIONS AND OBSERVATIONS...... 33
C C
C C C
C
C C
3 –
LIST ABBRE IATI NS
A I I I I I “Glesbygdverket” (National Rural Development Agency) Hotel and Restaurant Workers’ Union I I I I I I
4 ountry Report – eden
INTR D TI N AND E NTR INTS
is is one o eleven reports on t e countries o t e Nort ern Dimension (ND) and s ould be read in con unction it a t el t regional cross country report e reports ave been produced under t e U N ot W contract ‘Mapping e ercise Ho could creative industries oster innovation in tourism in t e nort ern dimension area?’ in line it t e terms o re erence or t at contract e reports ollo at as agreed at t e inception report stage roug out t e period during ic t e ork as been done t ere as been close and positive liaison it t e e ecutive o t e Nort ern Dimension artners ip on ulture (ND ) e reports t at ave been produced are based on e tensive consultation and researc involving a large range o people ese people included country specialists and o icials to om e are very muc indebted
Under t e terms o re erence t e timetable or t e ork started in ebruary it completion sc eduled or December e allocation o time or t e ork as days split bet een t e t o team members days or ila karveli and days or erry andell t e eam eader Given t e number o countries and t eir diversity and given t e very ide sub ect matter involving t ree very dynamic and currently as ionable areas ultural and reative ndustries ourism and nnovation t e time constraint as a very real c allenge indeed Amongst ot er t ings it meant t at ile country visits o about ive orking days to all o t e countries took place it as p ysically only possible in most cases to visit one city usually t e capital at said every e ort as made to secure a country overvie ic took into account at least some o t e important developments taking place in t e regions
uite soon a ter starting our ork various interesting sometimes c allenging uestions arose suc as
s t ere any reason y tourism itsel is not considered one o t e creative industries
n all t ree cases t e de initions o s tourism and innovation are various unstable and contested s t is because t e necessary action to de ine t em precisely and consistently at a European level has not been taken or is it because we are in a ‘post definitional’ era with certain areas o uman social and economic activity aving become too diverse and comple to categorise easily
ourism is a ig priority or most Nort ern Dimension countries yet t ere ere protests against tourism recently in arcelona arguably t e most success ul uropean city in terms o its tourism development and city brand W at does t is signal about sustainability and local community engagement it in tourism
W en t ey do talk do t e tourism industry and t e cultural and creative sectors speak t e same language
Is the tourism industry’s use of culture and heritage because of real engagement with t e cultural and creative sectors or in spite o it ven en t ey are moving in t e same direction are t ey in reality on parallel but essentially separate tracks
ould tourism businesses be engaging it s or vice versa in ic direction is t e demand and in ic direction t e supply
erry andell took responsibility or t e stonia inland atvia it uania and Russian ederation reports and ila karveli or t e Denmark Germany celand Nor ay oland and eden reports
5 ountry eport – weden
iven that both sectors are to a large e tent highly fragmented with a numerical predominance of MEs to what e tent do the actors involved have the time and capacity to engage with each other innovatively or otherwise?
o the bridges that need to be built between Is and the tourism sector include new intermediaries who can identify interpret broker and manage tourism I I tourism synergies?
In the last couple of years there has been increasing interest in looking at the e isting and potential linkage of the cultural and creative industries to tourism development It however throws up considerable practical and methodological challenges and problems for various reasons and e plains why relatively little progress seems to have been made he ma or first hurdle is that the definition of cultural and creative industries is constantly evolving and moreover it differs from country to country his has been particularly evident in the case of the eleven orthern imension countries even in the case of those countries which work very closely together for e ample in the case of enmark orway and weden here can also be conceptually uite different national approaches or e ample in one country cultural and creative industries may be seen as a distinct sector and be supported on that basis In another country they may not even be seen as a sector but as part of something wider or cross cutting such as one part of the creative economy or as a part of national innovation entrepreneurship or ME policies he third issue flows from the other two ecause of an evolving and differing understanding in country terms of what the Is constitute there is no common statistical base which allows clear comparisons or benchmarking something which is urgently needed and is beginning to start being e plored at European level
If one turns to the tourism sector there are similar parallel problems he collection of statistics e g number of nights’ accommodation may be firmly in place but those statistics are partial and beginning to look increasingly inade uate as they are often not taking account of revolutionary changes affecting the tourism and travel industries he continuing growing importance of s and an emerging peer to peer and sharing economy affecting such areas as traditional tourism accommodation are often not being captured by the traditional industry information systems
ourism categorisation is also constantly evolving with the e istence of an increasing number of sub sectors Even cultural tourism a sub sector itself can be broken down into possibly a do en or more sub sectors such as heritage tourism arts tourism creative tourism urban cultural tourism rural cultural tourism indigenous cultural tourism e periential and gastronomic tourism ‘dark’ tourism often with overlaps with other forms of tourism e g adventure tourism health and well being tourism and so on gain there are definitional differences from one country to another and certain types of tourism may be more developed or be more of a national tourism priority in one country compared to another
ommittee on Industry esearch and Energy and ommittee on ulture and Education of the European arliament raft eport une ‘On a coherent E policy for cultural and creative industries’ I I ‘Alongside a clear definition that takes into account all sectors related to Is the co rapporteurs believe it e ually necessary to have comparable and reliable statistical data Each Member tate has in fact its own classification of Is It is therefore essential to adopt at E level an updated framework for the sector and to map changes over time he ob ective should be to identify specific indicators to measure the results of policies for the promotion of the sector.’ nline travel agencies such as E pedia ooking com etc ourism in which visits are made to sites attractions or e hibitions connected with suffering death disaster and negative or macabre events Melanie mith in her ‘Issues in ultural ourism Studies’ outledge pp lists thirteen categories of cultural tourism which she reduces to nine and later seven broad sub sectors ee ppendi of the egional eport for a detailed ‘Typology of ultural Tourism’.
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The complications o identi ying at a general le el the e isting and potential linkage o Is to the tourism sector is e acer ated y certain tourism su sectors eing in their o n right part o the cultural sector itsel or e ample in the case o heritage tourism. oth the Is and the tourism sector are not in reality clearly demarcated oth are imprecise luidly de ined ast changing and dynamic areas o comple and important economic and social acti ity. In the case o Is there are other complications. or e ample the arts ‘lobbying industry’ has or many years u i uitously used the terms cultural industries and creati e industries interchangea ly in order to protect or olster pu licly unded culture udgets. Although things ha e mo ed on and in many countries the importance o the arts or e ample is recognised and understood as a part o the creati e industries alue chain there is still o ten a lot o lurring and de initional con usion .
erhaps nai ely e had the intention at the outset o our ork o trying to ring some clear and o erarching de initional discipline to our su ect. This ra e intention as eliminated as a result o almost the irst day o the irst country isit here it as clear that there ere ery local and legitimate interests de ates and speci icities and that it ould e arti icial to impose on countries de initions and categories that might ork or some ut not or others. Imposing de initions ould in some cases ha e een positi ely distorting to an understanding o the local I situation. It should also e mentioned as ill e seen rom the t o ootnote re erences a o e to a ery recent uropean arliament report that e en at le el here the cultural and creati e industries ha e soared to a position o highest importance in terms o policy terminology is o ten loose or e ample ith oth the terms ultural and reati e Sectors S and ultural and reati e Industries I eing used.
In the conte t o our ork e there ore elt there as no alternati e ut to assess the cultural and creati e industries and the tourism sector in the indi idual countries in their o n terms and then ith the regional cross country report to try to ring them together.
Although it is right to look at ays o increasing the synergies et een the tourism industry and Is it is important to recognise that there is already a su stantial le el o engagement. or e ample e en a super icial listing o the main Is illustrates ho they are already contri uting to the tourism sector
So t are and digitalisation this has had a re olutionary impact on many aspects o the tourism industry not least in the role that OTAs play e.g. TripAd isor ooking.com pedia Air n etc.
esign especially graphic design ut also right the ay through all aspects o design including son et lumi re spectacles light esti als and e ents etc.
usic or place randing am ience open air concerts etc.
Ad ertising and roadcasting the importance o these areas to the tourism industry are sel e ident
ilm and cinema promos tra elogues ilm location tourism
Theatre use o actors as animators or or audio guides staged e ents etc.
ommittee on Industry esearch and nergy and ommittee on ulture and ducation o the uropean arliament ra t eport une ‘On a coherent policy or cultural and creati e industries’ I I The uropean arliament ’Calls on the ommission to design its uture policies ased on the ollo ing de inition o Is ‘cultural and creati e industries are those industries that are ased on cultural alues indi idual creati ity skills and talent ith the potential to create ealth and o s through generating alue rom intellectual property. They include the ollo ing sectors relying on cultural and creati e inputs architecture archi es and li raries artistic cra ts audio isual including ilm tele ision ideo games and multimedia cultural heritage design creati ity dri en high end industries and ashion esti als music per orming arts ooks and pu lishing radio and isual arts’. Online tra el agencies
7 Country e ort – eden
esti als a a or ele ent in e ent touris and lace branding
Cra ts and anti ues as art o s o ing and sou enirs
rc itecture touris industry s use o eritage and use co issioning o signi icant buildings including as otels
ublis ing tra el and guide boo s are still ery o ular
as ion lace i age and branding ol costu es etc.
a ing aug ented reality and er a s still at an early stage but already being used e en by big traditional touris o erators suc as o as Coo
ood and local natural roducts ood esti als branding (‘appellation’) and gastrotouris in bot urban and rural conte ts
o t e uestion is really could and s ould t ere be ore interaction s t ere eit er ar et ailure or under utilised otential resources Out o ic lo ot er uestions or e a le is e isting CC ouris interaction because o e ecti e ertical olicies or in s ite o t e
oes a ori ontal co on language e ist it regular dialogue and t e de elo ent o s ared interests bet een t e CC and ouris sectors re t ere articular touris sub sectors and CC sub sectors ore suited or inno ati e interaction and ore able to roduce ne coo eration odels and aradig s t ere is ar et ailure or under utilised otential resources at ind o inter ention or incenti isation is re uired to a e t e CC sector and touris industry interact ore e ecti ely
s illustrated abo e a lot is going on bet een t e arious CC sub sectors and t e touris industry so t ere is not classic ar et ailure but rat er o ‘under utilisation’ ic arrants inter ention. ouris and t e CC s s are any c aracteristics. ey are rag ented dyna ic nu erically do inated by s and icro businesses reoccu ied it t e sel es and o ten c aotic. ey eac a e t eir o n agendas. ere is lac o a co on language bet een t e robably attributable in art si ly to lac o ti e. n general t ere does also see to be a lac o sa oir aire in ter s o t eir engaging it eac ot er inno ati ely or ot er ise. or CC de elo ing clustering a ears to be ery el ul but CC s and touris actors a e so ar not naturally clustered. ost i ortantly t ere a e been e ractical easures alt oug t ere are so e good e ce tions to bring touris ro essionals and CC actors toget er ic re uires acti e olicy a er interest inter reters so e unding and artici ati e co it ent.
ery i ortant uestion is to at e tent any synergies currently ta ing lace bet een t e cultural and creati e sectors and t e tra el and touris industry are because o or in s ite o current ‘vertical’ olicies. ile ention o CC s contributing to ot er sectors is re uent including so eti es in olicy docu ents it tends not to be targeted in any ractical ay. ere is robably ore t an one reason or t is but t e act t at t e conce t o t e CC s is still relati ely ne e en i one traces it bac to t e s is ossibly art o t e e lanation. One sus ects t at alt oug t e role o t e CC s in ter s o t eir econo ic and social bene its is increasingly being recognised by uro ean go ern ents t ere is robably still airly ides read an issue o real understanding o t e CC eno enon and t e nature o t eir otential. is is t en greatly e acerbated by t e roble o oorly oined u go ern ent ad inistration ic articularly a ects areas ic need to be olitically and econo ically anaged in a cross cutting ay. urt er issue in so e countries is t at go ern ents o ten are not i aginati e at or ing it and or t e ri ate sector es ecially in relation to s icro businesses and sole traders. ere is also an issue o o ners i . ic inistry or ad inistration is res onsible or CC de elo ent Culture cono y ndustry nno ation Business?…Shared? Or are t e CC s t e sel es res onsible or t eir o n de elo ent
8 ountr eport – S eden
n the case o the other side o the e uation touris ho is responsi le or developin touris services products and events especiall in relation to an area li e cultural touris ? n ost cases it is not overn ent ut S s independent co ercial and non co ercial entrepreneurs and cultural institutions actin entrepreneuriall or i a inativel not in act the inistries o ouris raditionall polic a ers ocus on hat the directl control and ana e unless lo ied to do other ise eadership and representation in the su sectors in an countries is not ver ell developed so lo in is ea he s have not een noticea l lo in or ore en a e ent ith the touris industr and the touris industr althou h uch etter or anised in ter s o sector and su sector representation has not een noticea l developin an a enda or reater oint dialo ue and e ploration ith the sector
ain one needs to as a uestion this ti e h such an a enda has not een developed in the past? t ould see that it a si pl e to do ith the co ple it and chaotic nature o the t o sectors or e a ple ho an su sectors does the touris industr have? one ta es ust one o those nu erous su sectors or e a ple cultural touris ho an su su sectors does it in turn have? s or the s ho an are the ? t depends on the countr ut in ost cases a out a do en? But a ain i one loo s at one o the such as desi n one can see that in one countr it has a out de ined su sectors
n loo in at ho the creative industries could oster innovation in touris in the orthern i ension area one needs to ta e into account all the actors entioned a ove t has see ed ver clear ro our or that to et the t o chaotic and ra ented sectors to e in to or etter to ether and eed o each other it ill e i possi le to identi a sin le uni ied inter ace or ind a’magic bullet’. pro ress is to e achieved there is a need to e selective realisticall ocussed and ta e a se ental approach i tr in to develop e ective odels and paradi s or ouris cooperation and interaction
ur or su ests that in ein selective and in relation to the orthern i ension re ion the ost productive touris tar et areas are pro a l oin to e herita e touris creative touris (includin routes and trails astrono and rural touris ) and events touris erita e touris is in an o the countries ell developed here are plent o sites an useu s ut ho an apps? reative touris hich e de ine ore clearl elo is a natural round or all t pes o involve ent ultural routes and trails open up innovative opportunities as visitors are there or the e perience and need to ove learn eat sleep and interact ultural routes can o course also e cross order and ulti countr pro ects ural touris s special challen es in or ation co unication and access are also ields o opportunit or s vents touris a priorit in an o the countries is still not a saturated area and ne estivals o all t pes are ushroo in in the re ion and are natural eetin rounds or the s and touris develop ent n the case o estivals the s could e encoura ed to provide the lin a e and continuit to estivals and events that are o ten one o narro l ocussed so eti es sel a sor ed and usuall o short duration h not classical usic estivals ( ith their d in audiences ) lin ed to co located outh oriented ashion pop ups? s as lin a e or continuit is alread happenin in so e places
cceptin that the creative industries alread contri ute a lot to the travel and touris industr ut that there could e a ore developed relationship especiall i tar eted at a e ver speci ic touris su sectors hat ind o intervention is needed? t a polic level the irst steps ould see to e increased a areness understandin and interest in act the classic ‘Hawthorne Effect’. olic encoura e ent o otto up initiatives and hori ontal en a e ent co ined ith top led i a inative and sensitive strate ic place randin and e ective destination ana e ent ar etin are also needed areness o the potential o the touris relationship needs to e activel pro oted in particular encoura in it to e put on touris industr a endas and eature as a discussion topic at industr airs con erences events and throu h industr in or ation channels areness raisin is also needed in the opposite direction a in s ore a are o the i portance and potential o the touris sector as a partner and ar et or creative industries’ oods and services his needs to e done throu h a in it a practical
9 ountr e ort – weden
agenda item at e ents and gatherings and through ‘word of mouth’. here is also a need sim l to bring tourism and rofessionals together to create some new and ractical bridges. s mentioned earlier there is little e idence of a common language and robabl a need for an intermediar cadre of industr ‘producer interpreters’ from both sectors.
hile in man of the orthern imension countries ast roblems are beginning to be addressed related to finance and in estment for s gi en their non traditional industr attributes this is usuall manifesting itself in facilitating their access to e isting inno ation or E funding schemes which are er general in nature. f real rogress is going to be made in drawing the and tourism sectors closer together then there is robabl going to be a need for there to be s ecific and narrowl targeted encouragement and su ort o ortunities and schemes. n ractice this robabl means that there is a need for s ecialised agencies e.g. nno ation orwa wedish genc for Economic and egional rowth Enter rise Estonia inland s e es etc. to focus on this. he s and the tourism sector are often tra elling in the same direction but on arallel rails and not on the same trac with shared but erha s different win win goals something which the s ecialised agencies could address. he fact is as alread mentioned the and tourism sectors are d namic chaotic sectors and so fragmented that e en within each indi idual sector there are awareness roblems nowledge deficits and communication ga s.
s suggested abo e a focus should be on heritage tourism creati e tourism including routes and trails gastronom and rural tourism and e ents tourism as these areas seem to be the most fruitful for s nergistic and inno ati e engagement with the sector. Heritage and e ents tourism are self e identl understandable but the im ortant and still emerging area of ‘creative tourism’ which we belie e erha s has the most rele ance and otential for man of the s needs some e lanation.
t is im ortant to elaborate a little on what creati e tourism is or rather what it is becoming. he conce t of creati e tourism emerged about fifteen ears ago but in the narrow conte t of eo le tra elling to destinations to follow a course or learn something in a structured setting e.g. to do a coo er course or to learn a language. n recent times influenced b the d namism of the sector creati e tourism de elo ment has ta en on a much wider meaning and includes an tourism e erience which in ol es not onl formal but also non formal or informal learning. reati e tourism is a ‘work in progress’ in that it is seen b some as also ha ing an im ortant co creation dimension to it i.e. where the tourism ro ider and the tourism consumer co create the tourism e erience. t is also often seen as embracing all e eriences and learning related to a s ecific lace e en those that ha e not been traditionall ercei ed as ‘tourism’ e eriences. he local dimension and acti e artici ation b ‘locals’ is also often considered another essential ingredient. nli e traditional cultural heritage tourism creati e tourism embraces not onl historical culture but also er much contem orar culture. inall creati e tourism can be seen as a reaction to traditional cultural tourism that has sometimes turned into ‘serial reproduction’ or ‘Gettyisation’ . here is a demand for distincti el indi idualised and acti e e erience not assi e consum tion of for e am le a franchised ett museum. ecognition of the im ortance of this new form of tourism came in with E commissioning the first serious non academic stud of it.
his alread im ortant discernible mo ement to a new form of indi idualised co created tourism o ens u real and inno ati e o ortunities for the cultural and creati e sectors to e lore and establish new and acti e relationshi s with the tourism sector. s is made clear in the regional cross countr re ort it will
articularl interesting ro ect uo a at a is currentl ta ing lace in inland which is addressing this issue. reg ichards and ulie ilson e elo ing reati it in tourist e eriences solution to the re roduction of culture in ourism anagement . A phenomenon sometimes referred to as ‘Macdonaldsisation’ E ourism and the reati e Econom E ublishing aris. htt d .doi.org . en
10 ountry eport – weden re uire practical intervention and certain types of support as for all their similarities in terms of eing uintessential post industrial economic sectors the s and the tourism industry do not speak the same language. ocussing on how ridges can e uilt etween s on the one hand and creative tourism and traditional cultural tourism on the other is pro a ly the est way to start to get the wider tourism industry and the cultural and creative sectors travelling more often and more productively on the same track and with mutually eneficial and genuinely shared agendas rather than on separate parallel paths as seems so often the case.
n the country reports we try to take stock of the current state of the s of the tourism sector the general climate of interaction between them, and the general degree of the country’s interaction with other orthern imension countries plus some country case studies. n the regional cross country report we ring things together present an analysis draw some conclusions and make recommendations which we hope may help to take things forward.
ey points for weden include weden has no single official definition of the creative industries. he most commonly used approach originates with he nowledge oundation stiftelsen and includes architecture computer and games design film photography the arts literature the media market communication fashion music cuisine scenic arts tourism and e perience ased learning . At the regional level there is ongoing development work to promote regional growth in the est way. ere the e perience industry creative cultural industries and culture are important parts. ulture is a cross cutting sector in a large num er of central current programmes such as
o Attractiveness and a good living environment o reativity o ntrepreneurship and running a usiness o emocracy o iversity o u lic health
11 ountry e ort – weden
BASI NTR IN R ATI N
hile many of its institutions are much older, wedish cultural olicy in the modern sense emerged between the s and the s, was consolidated around , and has remained com arati ely stable until resent times he cultural olicy sha ed during the th century, is still largely in lace, in s ite of an increasing tendency to change, es ecially on the local and regional le els ultural education, ublic museums, concert halls and ublic libraries were fa oured areas of cultural olicy in the early th century, ty ically with substantial contributions from ri ate atrons and oluntary wor n the s, the democratic welfare state began to e ol e with an increasing go ernment in ol ement in arts and culture uring the same eriod, the efforts in o ular cultural education made by mo ements such as the abour o ement, the em erance o ement and the ree hurch o ement solidified into go ernment funded organi ations
ther im ortant institutions were already old at that time, often ha ing been ins ired by rench, erman or talian models am les of such organi ations are he oyal era, he oyal ramatic heatre, he oyal ibrary, he ational rchi es and he ational eritage oard ost of these organi ations had been founded by the monarchy and ha e remained under go ernment control, e en though ri ate s onsors and donors ha e also layed a role in funding them rom the s, the main feature of wedish cultural olicy has been an em hasis on e ual access to uality culture ne initiati e ty ical of the early welfare state eriod was the national touring theatre com any i steatern, created in and organi ed according to a cor orati e model combining the ideals of state centralism and membershi based o ular mo ement organi ations n the s and s, ocial emocratic go ernments continued to e and the state to create an all encom assing welfare system stablished cultural institutions were moderni ed and new ones were created, e g touring institutions for e hibitions and music, the ilm nstitute, munici al music schools, and colleges for art and drama
nother e am le is he uthor s und, created in to distribute go ernment grants to writers, established as a su ort system based in cultural olicy and a com ensation for the right of ublic libraries to lend out boo s n the s, olitical acti ity in cultural olicy debates rose dramatically, resulting in the first general cultural olicy ob ecti es in the o ernment ill on ulture of he democratic welfare state model of cultural olicy was now institutionali ed new go ernment agency, the wedish rts ouncil was also created
hile these ob ecti es were an initiati e of the national go ernment, the most significant result may ha e been the substantial strengthening of regional and munici al resources for the roduction and distribution of uality culture n fi ed rices, ublic cultural e enditure rose from about billion in to about billion in
he inistry of ulture was se arated from the inistry of ducation in , but many artici atory cultural acti ities are still the res onsibility of the inistry of ducation, as is artistic education he two fields are in other words still closely lin ed, and the ministries were briefly reunited from –
n the s and s, the most significant changes in the general conditions for cultural olicy ha e been results of increasing regionali ation, globali ation and new media in articular, the increased mo ements of eo le, cultural roducts and cultural influences across national borders ha e been the main influences on de elo ments in arts and culture, as well as in cultural olicy he main cultural olicy res onses to these changes can be summed u as a new ers ecti e on weden as a multicultural society, a more ositi e ers ecti e on the creati e industries and new efforts to transfer olicy ma ing owers from the national to the regional le el
12 –
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”Tid för kultur” (Govt. 2009/10:3), 2009.
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LT RAL AND REATI E SE T RS IS IN SWEDEN
d o i l offi i l d fi itio of t r tiv i du tri . T o t o o l u d ro ori i t it T o l d ou d tio ( tift l ) d i lud r it tur , o ut r d T , d i , fil , oto r , t rt , lit r tur , t di , rk t o u i tio , f io , u i , ui i , i rt , touri d ri d l r i . i 200 t i i tr of ultur d t i i tr of t r ri , r d o u i tio oo r t o i u r rdi ultur l d r tiv i du tri . T i i to d v lo o ortu iti for t ultur l d r tiv i du tri . T i i t r for ultur d t i i t r for t r ri , r d o u i tio v o t d i r d di lo u t i r r t tiv of ot ultur d u i t to t lk out t i d d to d v lo t ultur l d r tiv i du tri . T i r ult d i tio l for ultur l d r tiv i du tri i volvi t i v t t of 13 illio .
ou il for ultur l d r tiv du tri oi t d to u ort ov r t i i tri i t ir ork o t i u . t r t t u ort for ultur l d r tiv i du tri ill o i r i l i ort t fo u for ultur l oli o t tio l d, i ll , o t r io l d lo l l v l of ov r t.
i t ot r ordi ou tri , di ut oriti v ot tr ditio ll d ifi oli to rd u i du tri . o v r, v for lo ti i t d to u ort u lit rodu tio i t r of ook d rt riodi l , u i d fil . T u ort t l i ort t rol i di ultur l oli . or l :
ov r t u ort to lit r tur , i ludi u li i ook d riodi l , u idi for li r ri to ur ook d t ro otio of r di d t t u idi for fil rodu tio , ro otio d di tri utio . 2002, t T r t for ook r du d fro 2 to . T i f otiv t ro otio of r di r ll . ult oi t to lo r r t il ri d i r d r di of fi tio lit r tur t ou i l it i rou lr d r di ook .
T t r tiv titut i ov r t l i iti tiv fi i ro t i r tiv virtu l t i ki , ro o d rti t , ol r , d rt r it i t o r i l d i du tri l tor . l t r r , r io l d v lo t l v , i f , i lud d t t li t of du tri l v lo t tr ( ) d u ort d oo r tio it t ultur i du tri .
u or t o t tio l l v l, ultur l d r tiv i du tri t d to i fo u o t lo l, d to o t t o t r io l, l v l. v r l di iti d l o ul t d u i i liti v d ffort to u ultur to r viv t lo l o o d k t u i i lit or ttr tiv l to liv or i v t. u ffort r oft uid d t otio of ultur l l i , fo u i o i d ki u of ll of t ultur l r our v il l i t lo l ultur l lif . i ll ot d for u ffort r , for l , l ö it d t r io l ov r t of out l d.
T di for Gro t oli l i o i io d to ro o d fi itio of r tiv i du tri d o i ti t ti ti 13. T ki it t rti oi t t tud fro d uro t t, t di for Gro t oli l i ro o t o t of ultur l i du tri . u i t li d tudi to or l rl d r i l d fi t r , it o r l tiv l to d t di t ti ti to t d fi itio i i ll ro ilit ill u d i t r tio ll . T i d fi itio
13T di for Gro t oli l i r tiv du tri i di t ti ti tt :// .tillv t l . /do lo d/1 .1d f 1 d2f 3f 29d9/1 31 1 01 1 / 2009 02 . df
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3.1 Differentiating cultural industries from other industries – a Swedish approach
Creativity –
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Copyright – Use value – Production methods –
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“… requires knowledge of the materials used and covers a substantial proportion of the phases involved in the production of the final product”15.
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Östergötland Örebro Västmanland Uppsala Sörmland Södra Småland KRUT The Regional Development Council of Östsam,
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T RIS SE T R IN SWEDEN
The goal of the Swedish Government’s tourism
The 2015 report of the Swedish Agency for Economic and Regional Growth underlines: “Probably the
level, ‘basic’ and innovative solutions for the enterprise level in areas such as energy, waste management ”
outbound tourism. “Country” in this definition may be replaced by region, municipality or any other
tourism’s effects on the economy, exports and employment are measured in Sweden through Tourism
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20 Country Report – Sweden
n Sweden, these accounts are prepared by the ational Accounts division at Statistics Sweden SC on assignment from the Swedish Agency for Economic and Regional Growth. n the same way as with other national accounts, the time series are revised each year, and conse uently previous time series are not comparable with the most recently published data. Travel expenditure statistics in the balance of payments Statistics Sweden SC produces uarterly statistics on travel expenditure growth, on assignment from the Ri sban , as part of the statistics on the balance of payments. The travel expenditure statistics show purchases and sales of currency. Purchases of Swedish currency generate an export value and purchases of foreign currency generate an import value. Swedens’ expenditure when travelling abroad is therefore an import, and expenditure in Sweden by visitors from abroad is an export. Statistics Sweden SC has recently revised the time series for travel expenditure.
Tourism consumption in Sweden continues to rise. Total tourism consumption in Sweden increased by SE 1 .5 billion or .0 per cent in 2015. Since 2000, total tourism consumption in Sweden has increased by a total of SE 1 1. billion or . per cent in current prices, e uivalent to an average annual increase of . per cent over the past 1 years. The export value of tourism, i.e. the value of consumption in Sweden by visitors from abroad, increased by SE 1 .1 billion or 1 . per cent and amounted to SE 112. billion in 2015. Since 2000, the export value of tourism has arisen by SE . billion or 1 .0 per cent at current prices. Since 2000, the export value proportion of total tourism consumption has increased from 2 to 0 per cent. Added value and the number of people employed in tourism have also increased since 2000. Since 2000, tourism’s relation to/proportion of total GDP in Sweden has fluctuated between 2.6 and 2.8 per cent, which shows that tourism’s share of GDP has remained at a fairly constant level in relation to the economy as whole.
The largest foreign mar ets were orway with .5 million nights spent, followed by Germany 2. million and enmar 1.2 million . ights spent by visitors from the fifteen largest foreign mar ets all increased apart from Russia. The mar ets that increased most in absolute numbers were orway 21 ,000 nights spent Germany 1 ,000 nights spent , followed by enmar ,000 nights spent . n relative terms, Slovenia increased most by 1 .5 per cent followed by celand by 1 per cent and ungary by 0 per cent 20.
B – the Swedish hospitality sector’s own tool for research and innovation
The aim of the R und of the Swedish Tourism ospitality ndustry is to promote scientific research and innovation within the hospitality sector. Every year it advertises research funds for research pro ects that contribute to the development of the sector. t employs a long term approach to engage the best and most highly ualified researchers to study the hospitality sector.
BFUF’s scientific council, which has five members with Ph.Ds, assesses applications and supports BFUF’s oard of irectors in its decisions regarding funding. t also initiates its own development pro ects.
was established ointly by isita Swedish hospitality industry and the otel and Restaurant Workers’ Union (HRF). Through these parties, companies working in the
20 bid 1 21 the R und of the Swedish Tourism ospitality ndustry http: bfuf.se in english
21 21 appin e ercise ow co ld creative ind stries foster innovation in to ris in the northern di ension area ountry Report – Sweden
S S S
o operation between culture and tourism has not always been self evident in Sweden as in many other uropean countries. There have always been great differences between the cultural and tourist sectors, and the two have had different attitudes and values. n the cultural sector one speaks of underprivileged groups and experience while tourism speaks in terms of market ad ustment, number of beds and guest nights. Tourism is concerned with profitability and pursues commercial and social targets. t has not (or rarely) regarded culture as a meaningful resource or source of earnings. Tourism always operates in relation to a public, whereas heritage conservation often has to give priority to measures of preservation and care and is unable to work on a sufficiently extrovert basis in relation to the public and visitors.
However, already in 8 the entral Board of ational nti uities and the then Swedish Tourist Board inaugurated a oint scheme aimed at highlighting culture in the tourist context. The purpose of the pro ect was to diversify the content of tourism in Sweden and to encourage partnership. The pro ect operated intensively for seven years, after which it was expanded and carne to include a number of other public institutions. During this time the following was implemented
seminars up and down the country a databank of attractions and events an annual catalogue for cultural tourists. a book of ideas for the marketing of museums an inventory of suitable places for the development of tourism The common aims of this large scale venture were
to create understanding for each other s aims and attitudes to utilise each other s knowledge and resources to establish a network of contacts at local, regional and central level to bring culture to a new and wider audience. There were expectations on both sides.
The tourist sector wanted to
identify new attractions and experiences reach a new and larger public create new ob opportunities make money
The heritage conservation sector wanted
to ac uire large resources for bringing the cultural heritage to life create understanding and respect for the cultural heritage increase the determination to preserve and care for Sweden s cultural heritage achieve better marketing of places of historic interest to achieve a wider spread of tourist flows liable to damage the cultural heritage. The Swedish gency for conomic and Regional Growth (Tillv xtverket) is the authority responsible for tourism and issues related to the visitor industry and implements initiatives for the promotion of tourism enterprises and entrepreneurship. The gency is also responsible for producing and disseminating information about the development of tourism in Sweden, and is specifically responsible for the accommodation statistics that are part of Sweden’s official statistics. In 2015, global travel continued to
22 22 appin e ercise ow co ld creative ind stries foster innovation in to ris in the northern di ension area ountr eport – Sweden trend positively. In Sweden, tourism’s total volume of trade increased b .0 percent to S 1 .5 billion. he e port value of tourism, i.e. consumption b visitors from abroad in Sweden, increased b all of 1 . per cent or SEK 17.1 billion in 2015, thus contributing to Sweden’s economic growth. lobal travel and tourism are e pected to increase b appro imatel per cent per annum up to 20 0 according to international pro ections.
Sweden seems well placed to benefit from this increase, since its fundamental resources in the form of attractive destinations and facilities, as well as value added forms of nature and culture are in line with what both leisure and business travellers are li el to demand. an parties are reliant on decision material. overnment agencies, sole proprietors, tourism organi ations, tourism consultants, and research institutes often utili e the sources used in this publication for their anal ses of specific uestions. ourism is not a separate industry but is defined on the basis of the tourist’s/visitor’s consumption in a wide range of industries. his ma es describing and measuring tourism in a simple wa uite difficult. In this publication, tourism and travel are illuminated from a number of different perspectives.
Tourism’s share of the Swedish economy remained unchanged at 2.7 per cent in 2015, but continued to grow in relation to Sweden’s total exports and employment. The main driver is a very strong influ of visitors from abroad. ourism continued to grow even during 2015, with conse uential increases in e ports and emplo ment. In 2015, the e port value of tourism foreign visitor consumption in Sweden grew b 1 . per cent or S 1 .1 billion. comparison, Sweden’s total exports of goods and services increased by 7.7 per cent. In 2015, the export value of tourism as a share of Sweden’s total exports rose to .0 per cent, a share which is up . percent since 2000. he effects of tourism on people in wor in relation to total emplo ment growth in Sweden also strengthened in 2015. he number of people emplo ed as a result of tourism increased b ,000 to 1 5, 00. his corresponds to an increase of 5. percent, which ma be compared to the total increase in emplo ment for 2015 of 1.5 per cent.
ourism in Sweden has been growing for man ears. Since 1 5, the number of nights spent at hotels, holida villages and outh hostels has increased b 1 per cent. he number of nights spent b foreigners increased b ust over 111 per cent during this period, and the domestic volumes rose b 1 per cent. his trend grew stronger in 2015, and nights spent b foreigners increased b all of 10. per cent. Such strong growth has not been recorded for over 20 ears. In the past 5 ears, growth has come primaril from non uropean mar ets, which has risen b 1 per cent per annum on average.
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23 appin e ercise ow co ld creative ind stries foster innovation in to ris in the northern di ension area ountry eport – Sweden
SWEDEN’S BILATERAL A S S
o ncil of rope The ultural outes programme was launched by the ouncil of Europe in 1 7. Its ob ective was to demonstrate, by means of a ourney through space and time, how the heritage of the different countries and cultures of Europe contributes to a shared cultural heritage. The ultural outes put into practice the fundamental principles of the ouncil of Europe human rights, cultural democracy, cultural diversity and identity, dialogue, mutual exchange and enrichment across boundaries and centuries. In ecember 2010, the ommittee of inisters of the ouncil of Europe adopted esolution / es 2010 5 establishing an Enlarged artial greement E to enable closer co operation between states particularly interested in the development of ultural outes.
ertified ultural outes of the ouncil of Europe crossing Sweden22
The Santiago e ompostela ilgrim outes The ansa The i ing outes The European oute of ewish eritage The European oute of istercian abbeys The European emeteries oute The oute of Saint lav ays The European oute of egalithic ulture e al instr ents niversal standard settin doc ents 2 ratified and 1 non ratified (the four latest instruments listed below)
onvention on the rotection of the nderwater ultural eritage non ratified onvention for the Safeguarding of the Intangible ultural eritage ratified 2 anuary 2011 onvention on the rotection and romotion of the iversity of ultural Expressions ratified 1 ecember 200 International onvention against oping in Sport ratified ovember 2005 orld erita e Sites S 15 1 cultural, 1 natural and 1 mixed Cultural:
• gricultural andscape of Southern land 2000 • ir a and ovg rden 1 • hurch Town of ammelstad, ule 1 , name change in 201 • Engelsberg Ironwor s 1 • anseatic Town of isby 1 5 • ining rea of the reat opper ountain in alun 2001 • aval ort of Karls rona 1 • oc arvings in Tanum 1 • oyal omain of rottningholm 1 1 • S ogs yr og rden 1 • Struve eodetic rc 2005 • rimeton adio Station, arberg 200 , name change in 201
22 ouncil of Europe ultural outes http //culture routes.net/cultural routes/list 2 http //whc.unesco.org/en/list/
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Natural:
Mixed:
B R
• • • • • T L
• W R
• • • • • – the ‘Silver Bible’ (2011) • N 1 • Östersund, UNESCO City of Gastronomy
25 Country e ort – S eden
ASE ST DIES
Case studies have been sele ted either as ro osals by our interlo utors durin ountry missions, and or identified in situ by the e erts or throu h des or and study of e istin literature t has been arti ularly diffi ult in ertain ases to identify relevant ase studies fo used on the theme of this assi nment for reasons that is further develo ed in the ross ountry re ort
his is a ro e t initiated by the S edish en y for E onomi and e ional Gro th ( illv tver et), ith the arti i ation of ubli and rivate artners he total bud et as ir a , million EU , ith 1 million for ea h destination and 1 million to ommon ro e t develo ment Ea h destination had to o finan e ir a 1 million EU , also in ludin rivate o finan e (e from arti i atin om anies)
he Sustainable estination evelo ment initiative as a develo ment ro e t ith the overall oal to stren then and develo sustainable tourism destinations in S eden over a four year eriod (2012 201 ) Bohusl n, iruna, Sto holm ar hi ela o, immerby and re ere hosen to arti i ate in the ro e t he ob e tive as to im rove their or ani ational stru tures and to en a e the rivate se tor in uality and sustainability im rovements for sustainable destination develo ment
urin 2012 201 the destinations initiated a number of a tivities in order to rolon the tourist season, im rove the uality of hostin tourists, develo ne and more sustainable rodu ts and servi es as ell as im rove overall a essibility ( onsiderin the full a essibility hain from information of destination in various media, trans ort o tions, si nalin at destination in multi le lan ua es et ) he overall oal as to im rove the uality and om etitiveness of the destinations ith the ob e tive to attra t a hi her number of international visitors hile res e tin the sustainability as e ts in a holisti manner
he ro e t as uided by a national steerin rou onsistin of the S edish en y for E onomi and e ional Gro th ( illv tver et) and isitS eden he ro e t also in luded an inte rated resear h and a ademia ollaboration as e t, ith the inte ral ob e tive to learn and share best ra ti es bet een the arti i atin destinations and more broadly in S eden en e, the ro e t on e t embra ed an a roa h startin from an analysis of “WHAT“(in ludin the status, a a ities, hallen es and resour es) his analysis of the frame or onditions and resour es at the res e tive destinations eventually led to a better understanding of “HOW”, i.e. how to make sustainable destination develo ment ossible and a reality on the round
he ro e t overed a ide s e trum of a tivities, hi h varied de endin on the arti ular needs, evaluation hase and hara teristi s of the res e tive destination o ever, several ommon features in the measures ta en a ross the five destinations an be identified in the areas of
evelo ment of mar et demand no led e and understandin of the international tar et rou s nnovation and rodu t develo ment Business develo ment, ith a vie on rivate tourists as ell as B2B Sustainability and uality develo ment measures Communi ation and trade mar et latform develo ment and a li ation no led e and om eten e develo ment measures
2 htt s learin house or s initiatives sustainable destination develo ment html do uments handed over durin the ountry mission
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26 ountr e ort – weden
Organisational de elo ment and building of artnershi s nhan ement of ser i e ulture and a a it , hosting knowledge and readiness e elo ment of a essibilit as e ts at destinations, in luding infrastru ture de elo ment, signalling, guidan e et . Areal it lanning and land use lanning with a iew to su ort holisti destination de elo ment.
nitiated b a grou of nk ing nternational usiness hool ost graduates.
The ro e t in estigates what kind of inno ations are a ailable in the hos italit industr . t also e lores whether there are differen es in the ower of inno ation between the hos italit industr and other industries. t wants to shed light on the inno ations in the hos italit industr and hel to a hie e a new ers e ti e.
At the first stage, a re iew of the literature was arried out in order to define the on e t of inno ation, among other things. After that, a uestionnaire sur e of at least eo le in the hotel and restaurant industr was ondu ted and statisti s on inno ations were de elo ed. This on erned uni ue data that has ne er been rodu ed in weden before. The sur e in luded uestions on erning whether the om an has introdu ed a new rodu t, a new ser i e or has hanged and de elo ed its ro esses. With the aid of the res onses, it was also studied whether there is a orrelation between the abilit to inno ate and, for e am le, the si e of the om an , the le el of edu ation, the employees’ background and the geogra hi al lo ation.
ro osed inno ations An a for ordering food, an im ro ement to a work ro ess, how to dis la goods or rodu e and manufa ture rodu ts.
e li abilit nowledge of the links between inno ati e om anies and where the are lo ated geogra hi all , who the workers are or whi h om anies are lo ated in the same la e an be e tremel im ortant when, for e am le, a de ision must be made on erning lo ali ation or e ansion. esults and the knowledge are meant to hel muni i al oliti ians and national de ision makers to obtain better su orting data for making de isions on a tions and in de elo ment strategies.
A ro e t initiated b the e artment of er i e anagement and er i e tudies at und ni ersit .
The ro e t studies what the signifi an e of the a tual information on a isitor destination has for attra ting the tourist to that destination, and the urel ra ti al wa in whi h the tourist looks for different kinds of information. There is a ertain amount of resear h on how we are influen ed b information on the nternet before we tra el as well as a number of studies on the more traditional sour es of information su h as bro hures or guidebooks.
Howe er, the industr is now fa ing a new situation now – there is now an e losion in the amount of information a ailable, and abo e all one has the abilit to a ess information whene er we like. This alls into uestion to some e tent what eo le thought the knew. This initiati e is something new linking
htt bfuf.se resear h ro e ts bid
27 ountry eport – eden
trad t onal and ne sources o n ormat on h le at the same t me look ng at hat takes place both be ore and dur ng the tr p
t stud ed hat tour sts do n purely pract cal terms hen seek ng n ormat on be ore and dur ng the r t me n eden and see h ch n ormat on st cks hy they choose to go to eden spec cally h ch n ormat on channels they use and ho they combine the Internet and “offline” sources.
h s study as conducted on erman tour sts ho orm the ne t largest group o s tors to eden ast year almost m ll on erman guest n ghts ere reg stered n eden m o tr ed and tested methods ere used such as nter e s and uest onna res and a ne one that s more e per mental th the help o the s t eden o erseas o ce n amburg uest onna res ere sent out to s tors be ore the r tr p th a goal to obta n responses he th rd and more e per mental method s to study erman households hose members are plann ng a tr p to eden hey ere g en the task o organ ng a tr p to Ystad and Astrid Lindgren’s World which will involve spending two days in each place. By using forms o commun cat on such as kype they ere mon tored remotely and the ay they seek n ormat on as recorded
he dea as that th s kno ledge ll help s tor dest nat ons ntroduce a sharper edge to the r strateg c market ng and n ormat on n order to reach the r target group
pro ect run by the entre or our sm at the n ers ty o othenburg and n t ated by a group o h ghly n ol ed nternat onal sports tour sts arald olles ro essor entre or nternat onal us ness tud es and a l ated th the entre or our sm both n ers ty o othenburg and r k undberg h n us ness dm n strat on entre or our sm at the n ers ty o othenburg
he pro ect s based on the pr nc ple that ports tour sm s becom ng ncreas ngly popular and an ncreas ng number o nternat onal tour sts tra el long d stances to part c pate n sports e ents n eden many part c pants local and rom o erseas are attracted to Vasaloppet, Lidingöloppet marathons tr athlons and cycl ng e ents o e er the compet t on or nternat onal sports tour sts s ncreas ng th more and more e ents to choose rom – ho can one guarantee that those nternat onal athletes choose to come to eden a ng a good reputat on as a host country s not good enough he pro ect shes to ga n a better understand ng o the ay h ghly n ol ed and act e sports tour sts th nk and make the r cho ces o part c pat on th that kno ledge n m nd eden can de elop strateg es to ra se the pro le o h gh pro le ed sh sports e ents on the nternat onal market and also a areness about ho to package the r o ers
y collaborat ng th GöteborgsVarvet and the group of events marketed as “classic” sports events, data ere gathered n the orm o uest onna res rom a large number o part c pants he uest onna re included questions about travel habits, the decision making process, on the athletes’ information gathering, etc. The team also examined their “event portfolios” (whether they participate in several events) and their “event careers” (how their participation has changed over time) and compare this with general soc o demograph c data l ke age gender le el o educat on and ncome n nter e s th the organizers they focused on the history of the event, the event’s (international) marketing strategy and ho and hy these ha e changed o er t me
he pro ect ll help enhance the attract eness and compet t eness o ed sh e ents n the ncreas ng nternat onal compet t on and re n orce the mage o eden as a dest nat on or sports e ents
b d
28 ountry eport – weden
A pro ect initiated by the chool of Business and IT, niversity of Bor s.
The pro ect is based on the fact that there is currently considerable interest in gastronomy, food and meals – culinary tourism has grown strongly and become increasingly important namely for the wedish hospitality sector in recent years. espite these successes, weden is still lagging behind leading countries such as rance, Italy and outh Africa, and the level of profitability for parties such as fine food creators, farm shops and restaurants is low. The pro ect is studying the growth of culinary tourism – the conditions that govern it, the challenges and opportunities that exist and whether there are any specific obstacles to growth. Also it investigates how the potential within food and gastronomic cooking can be utilized to create a positive experience of a place, and how this can strengthen an existing visitor destination.
The idea is that food and drink must be included in the actual planning of the ourney and that this must be an important part of the experience. owever, it is not exactly easy to investigate this. ood is a long way down the list when you ask tourists about their reasons for visiting a particular destination, although when you ask them after their ourney what they remember best, it comes significantly higher up. easurement problems have no doubt contributed to people working in the hospitality sector occasionally underestimating the role of food.
The pro ect followed an ethnographic method, carrying out case studies and interviews, including at farm shops in k ne and uh radsbygden and the surrounding area. It also studied the role of food in tourism at events, trade fairs and at travel destinations, such as the urovision ong ontest in alm and at ek s in llared, which is consciously focusing on food. The entire entrepreneur chain, from producers and distributors to consumers was examined and in order to obtain a comprehensive picture, and also an attempt to study how development organizations (organizations for destination and food development) interact with politics, social structures and policy level.
The results will be used for development work within culinary tourism and for the marketing of the whole of weden, regions and specific locations as culinary destinations.
A global trend in destination marketing is to focus on local and traditional food. Tourism organizations have used food events and developed local food concepts around stories to promote their destinations. The wedish case is about using local food and storytelling in destination marketing and development. ore specifically it focuses on building a strong brand around sea food with the aim to strengthen the attractiveness of Bohusl n on the west coast of weden. The pro ect started in pring and the first shell fish event took place in Autumn . or the event, in late ctober, the number of actors involved has increased, the event has been extended from a weekend to two weeks, and the area for the event has been extended geographically with more municipalities involved.
The research was a process of progressive problem solving guided by the researcher. or the evaluation of the first year event twelve interviews with stakeholders were carried out as well as a customer survey and participant observation during the event. The interviews were followed up by meetings with stakeholders to investigate the progress of the pro ect.
niversity of Boras http www.hb.se en esearch ews and events agazine Articles food ossibilities and drawbacks of using storytelling as a means of developing and marketing ordic tourism destinations, orden, r. Lena ossberg research assistants va orslund, enny ilsson, enny Bui, y Wrethagen
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“In Arn’s footsteps”
– tourism, uses of water ways like the Göta Canal and exploiting the region’s textile
forbidden love. In the last novel of Guillou’s trilogy on Arn he returns home. The story is inspired by the medieval histories that took place in the county and in the Holy Land. The author’s ambition has bee
The tourism concept “In Arn’s footsteps” aims at using Guillou’s literature for reaching a broad audience.
million EUR). The “pure” turnover of the Arn
The text is based on the presentation “A Succesful Tourism Concept of the Knight Arn” by Anja Pr
31 Country Report – Sweden
tool for expansion. ifferent kinds of pay back investments from those who earn should be developed for implementation.
The increased market orientation and product development are challenges for the in culture sectors. Regional cooperation has led to international co operation between neighbouring countries and even further, with Syria and ordan. Research, also as a tourism experience, is included in the activities. ew attractions are needed, as well as to secure the uality of the existing attractions, the education of stakeholders and the use of new technologies. Tourism products need ongoing updating. ew products deal with, for example, pilgrimage, ”Swedish Royal route” and the film Arn the Knight Templar, which was seen by . million people in Scandinavia in spring and will be launched in the rest of Europe in . The movie brings forward a new kind of tourism film tourism.
32 ountry Report – Sweden
NTR N L SI NS AND BSER ATI NS
ener on s on
he iews and data olle ted during this exer ise highlight how the understanding of s in the ountries is a ontinuous negotiation etween three ey dimensions
the definition of s itself the way s are seen in the e onomy in relation to pu li , pri ate and not for profit se tors the omplex interse tion of uropean, national ut also regional and ur an poli y framewor s oth the oR of our assignment and the appro ed n eption Report underlined a hallenge whi h is also an essential finding of the study “11 Dimensions rends and hallenges in ultural and reati e ndustry Policy Development within the Northern Dimension Area”, commissioned by the NDPC and published in ay whi h states that
The ND countries comprise a very heterogeneous region in terms of CCIs. This heterogeneity stems largely from the fact that the countries are at different stages of development considering the CCIs. Depending on the stage of development, there are considerable differences in how the CCIs are viewed ranging from traditional arts and culture to focus on creative economy. Similarly, there are differences in which sub-sectors are included under the CCIs. Furthermore, the CCIs are only beginning to have a national policy status throughout the region, and the focus and real actions taken to develop the sector are varied”. his finding has een greatly onfirmed y the field missions and the des wor done during the study phase he inter related dynami en ironment of poli y ma ing for the spe ifi field on erned y our mission underlines the ne essity for onstant transnational ex hange of information and nowledge in the field of ultural resear h his aspe t will e more on retely illustrated y the ross ountry report and respe ti e re ommendations
o ntr on s ons
Sweden has no single offi ial definition of the reati e industries he most ommonly used approa h originates with he nowledge oundation stiftelsen and in ludes ar hite ture, omputer and games, design, film, photography, the arts, literature, the media, mar et ommuni ation, fashion, musi , uisine, s eni arts, tourism and experien e ased learning ulture is a ross utting se tor in a large num er of entral urrent programmes su h as Attra ti eness and a good li ing en ironment reati ity ntrepreneurship and running a usiness emo ra y i ersity u li health At the regional le el there is ongoing de elopment wor to promote regional growth in the est way ere the experien e industry , reati e ultural industries and ulture are important parts he inister for ulture and the inister for nterprise, nergy and ommuni ations ha e hosted seminars and dialogues at whi h representati es of oth ulture and usiness met to tal a out what is needed to de elop the ultural and reati e industries his has resulted in an a tion plan for ultural and reati e industries in ol ing the in estment of S million
33 Country eport – weden
A Council for Cultural and Creative ndustries has been appointed to support government ministries in their wor on these issues t appears that support for cultural and creative industries will become an increasingly important focus for cultural policy on the national and, COUNTRY PROFILE - Sweden especially, on the regional and local levels of government As in the other Nordic countries, wedish authorities did not traditionally have a specific policy Creative Industries Trade Performance, 2003 and 2012 towards CC s owever, schemes have for a long time e isted to support uality production in the Sweden 2003 2012 areas of boo s and art periodicals, music and film hese support systems play an important role in wedish cultural policy Value ( in Million US$) Value ( in Million US$)
uch more than on the national level, cultural and creative industries tends to be in focus on the Exports Imports Balance Exports Imports Balance local, and to some e tent on the regional, level everal wedish cities and less populated All Creative Industries municipalities have made efforts to use culture as a means to revive the local economy and ma e 6,960.01 7,806.57 846.56 4,901.57 4,184.91 716.65 the municipality a more attractive place to live or invest uch efforts are often guided by the All Creative Goods 2,924.05 2,419.18 504.86 4,317.19 3,828.79 488.40 notion of cultural planning, focusing on mapping and ma ing use of all of the cultural resources All Creatives Services 4,035.96 5,387.38 1,351.42 584.38 356.12 228.25 available in the local cultural life specially noted for such efforts are, for e ample, alm City and the regional government of outh m land Sweden: Creative Industry Trade Performance, 2003-2012. oday there are significant efforts deployed to analy e how cultural industries on their own or 16,000 in interaction with other industries can contribute to sustainable growth here is a tradition in weden similar to that in other countries to attribute certain activities to the cultural area, one e ample being architecture ome years ago the inistry of Culture 12,000 established the National Council for Architecture, orm and Design to develop policy in the area n contrast to N C s assessment, it considers that architecture is an activity that should be included in cultural industries 8,000 Additionally, it has been decided that everything in be e cluded from cultural industries e cept Total Creative Industries Exports
for specific industries with final products that are bearers of cultural product values irtually all In millions USD 4,000 reports on cultural industries are unanimous in viewing interactive games computer games as Total Creative Industries Imports such products he wedish Agency for conomic and egional rowth illv tver et is the authority 0 responsible for tourism and issues related to the visitor industry and implements initiatives for 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 the promotion of tourism enterprises and entrepreneurship n this optic, the importance of CC s has been growing highly during the last decade Creative goods, imports by product Creative goods, exports by product he Agency uses the following three basic definitions for tourism domestic tourism, inbound In millions USD groups, 2003 & 2012. In millions USD groups, 2003 & 2012. tourism and outbound tourism. “Country” in this definition may be replaced by region, 3,000 1,800 municipality or any other administrative area Domestic tourism comprises the activities of a 2003 2003 resident visitor within the country of reference, either as part of a domestic tourism trip or part of 2,250 1,350 2012 2012 an outbound tourism trip nbound tourism comprises the activities of a non resident visitor within the country of reference on an inbound tourism trip 1,500 900 oth in CC s and ourism, weden adopted definitions and indicators emanating from international standard setting documents, such as those produced by N C his is a positive 750 450 aspect of having national legal framewor s matching the international agenda - 0 - 0 Although co operation between culture and tourism has not always been self evident in weden, ts ts ts ts isuals isuals the two sectors being considered as having different attitudes and values, new dialogue initiatives t Crafts t Crafts Design ming Ar isual Ar Design ming Ar isual Ar have been launched in order to develop dialogue and cooperation between them, namely based Ar for Ar for New Media Publishing V New Media Publishing V Audio V Audio V on the principle of innovation ne prominent e ample is the series of pro ects initiated by the Per Per the D und of the wedish ourism ospitality ndustry in order to promote scientific research and innovation within the hospitality sector very year it advertises research it registered a trade surplus of $716.6 million. Design and publishing were leading sectors in terms of funds for research pro ects that contribute to the development of the sector was international trade. Interior design, fashion and toys stood at $1,790 million in 2012 followed by publishing established ointly by isita wedish hospitality industry and the otel and estaurant (newspaper and books) which stood at $1,263 million in 2012. Swedish design over the years has been a Workers’ Union (HRF). Swedish designers are increasingly focusing on sustainable development.
34 Country Report – eden
ppendi . ey Facts and Fi ures
COUNTRY PROFILE - Sweden
Creative Industries Trade Performance, 2003 and 2012
Sweden 2003 2012
Value ( in Million US$) Value ( in Million US$)
Exports Imports Balance Exports Imports Balance
All Creative Industries 6,960.01 7,806.57 846.56 4,901.57 4,184.91 716.65
All Creative Goods 2,924.05 2,419.18 504.86 4,317.19 3,828.79 488.40
All Creatives Services 4,035.96 5,387.38 1,351.42 584.38 356.12 228.25
Sweden: Creative Industry Trade Performance, 2003-2012. 16,000
12,000
8,000
Total Creative Industries Exports In millions USD 4,000 Total Creative Industries Imports
0 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012
Creative goods, imports by product Creative goods, exports by product In millions USD groups, 2003 & 2012. In millions USD groups, 2003 & 2012. 3,000 1,800 2003 2003 2,250 1,350 2012 2012 1,500 900
750 450
- 0 - 0 ts ts ts ts isuals isuals t Crafts t Crafts Design ming Ar isual Ar Design ming Ar isual Ar Ar for Ar for New Media Publishing V New Media Publishing V Audio V Audio V Per Per
it registered a trade surplus of $716.6 million. Design and publishing were leading sectors in terms of international trade. Interior design, fashion and toys stood at $1,790 million in 2012 followed by publishing (newspaper and books) which stood at $1,263 million in 2012. Swedish design over the years has been a
Swedish designers are increasingly focusing on sustainable development.
35 –
Creative goods exports by Creative goods exports by geographical region, 2003. geographical region, 2012. 1% 2% 12% 13% 8% 5%
79% 80%
Africa Europe America Africa Europe America Asia Oceania Asia Oceania
TOP 10 EXPORT PARTNERS FOR CREATIVE GOODS, 2003 AND 2012
2003 2012
Values in Million US $ Values in Million US $
Rank Country Exports Imports Balance Country Exports Imports Balance
1 Norway 544.39 160.73 383.67 Norway 1,095.81 173.92 921.88
2 Germany 313.36 229.56 83.80 Denmark 513.74 490.17 23.57
3 Denmark 302.43 321.03 18.60 Germany 418.75 462.82 44.07
4 United Kingdom 296.34 178.09 118.25 Finland 409.79 156.95 252.84
5 Finland 203.19 105.55 97.64 United Kingdom 245.97 222.76 23.21
6 United States 165.94 86.80 79.14 Saudi Arabia 166.21 0.11 166.10
Source:7 Netherlands http://unctad.org/en/PublicationsLibrary/webditcted2016d5_en.pdf 116.71 125.90 9.19 United States 154.56 114.97 39.60
8 France 98.16 35.71 62.45 Netherlands 154.32 207.92 53.60
9 Spain 65.99 17.90 48.09 Poland 97.24 193.44 96.20
10 Italy 62.30 108.40 46.11 France 93.07 66.98 26.09
Source: http://unctad.org/en/PublicationsLibrary/webditcted2016d5_en.pdf
36 –
Creative goods exports by Creative goods exports by R geographical region, 2003. geographical region, 2012. 1% 2% 12% 13% 8% 5%
S 79% 80% Africa Europe America Africa Europe America Asia Oceania Asia Oceania TOP 10 EXPORT PARTNERS FOR CREATIVE GOODS, 2003 AND 2012 2003 2012 Values in Million US $ Values in Million US $
Rank Country Exports Imports Balance Country Exports Imports Balance
1 Norway 544.39 160.73 383.67 Norway 1,095.81 173.92 921.88 2 Germany 313.36 229.56 83.80 Denmark 513.74 490.17 23.57 3 Denmark 302.43 321.03 18.60 Germany 418.75 462.82 44.07 4 United Kingdom 296.34 178.09 118.25 Finland 409.79 156.95 252.84 5 Finland 203.19 105.55 97.64 United Kingdom 245.97 222.76 23.21 6 United States 165.94 86.80 79.14 Saudi Arabia 166.21 0.11 166.10
7 Netherlands 116.71 125.90 9.19 United States 154.56 114.97 39.60
8 France 98.16 35.71 62.45 Netherlands 154.32 207.92 53.60 9 Spain 65.99 17.90 48.09 Poland 97.24 193.44 96.20 10 Italy 62.30 108.40 46.11 France 93.07 66.98 26.09 Source: http://unctad.org/en/PublicationsLibrary/webditcted2016d5_en.pdf
37 –
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The content of this publication is the sole responsibility of PROMAN and the Implementing Partners for this Contract of the PROMAN Consortium and can in no way be taken to reflect the views of the European Union.
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