Presentation performed under the project CULTOUR+. Co-founded by the Erasmus+ Programme of the European Union.

1. Creative tourism and guiding
How guides can integrate creative tourism
principles in their daily practices
Susana Rachão PhD Tourism Candidate
Universidade de Trás-os-Montes e Alto Douro (UTAD)
Escola de Ciências Humanas e Sociais
Departamento de Economia, Sociologia e Gestão
Centro de Estudos Transdisciplinares para o Desenvolvimento (CETRAD)
Email | susanar@utad.pt

2. Visitors are exploring
alternative districts
I. Mutations in tourism demand
II. The concept of creativity
III. Creative tourism
IV. Endogenous resources and co-
creation of experiences
V. Designing creative routes based
on everydayness of the local people
STRUCTURE OF THE SESSION

3. I. MUTATIONS IN TOURISM DEMAND

4. Similar cultural strategies adopted in different places (models and ideas
copied) leads to the lack of differentiation of the culture itself
(Honigsbaum, 2001 cit in Richards and Wilson, 2007).
MUTATIONS IN TOURISM DEMAND | Cultural strategies
Predetermine nature of
cultural and sport events
A city often identified as a model of post industrial reconversion and urban requalification where "cultural
capital" has acquired a central role (García, 2004; Essex & Chalkley, 1998; Veraros, Kasimati & Dawson, 2004).
II. The concept of creativity
I. Mutations in tourism demand
III. Creative tourism
IV. Endogenous resources and co-
creation of experiences
V. Designing creative routes based
on everydayness of the local
people

5. 80’s
HISTORICAL
TOURISM
See / observe
90’s
CULTURAL
TOURISM
See and do
(beginning of the
learning phase)
XXI Century
CREATIVE
TOURISM
See, co-create,
learn and
entertain
(“edutainment”)
MUTATIONS IN TOURISM DEMAND | Changes in tourism products
II. The concept of creativity
I. Mutations in tourism demand
III. Creative tourism
IV. Endogenous resources and co-
creation of experiences
V. Designing creative routes based
on everydayness of the local
people

6. “The emergence of creative tourism is in part a reaction to
dissatisfaction with cultural tourism products in recent years” (Smith, 2005
cit in Rogerson, 2006, p. 150).
Mona Lisa – Museu do Louvre, Paris http://www.creativefrance.fr/
MUTATIONS IN TOURISM DEMAND | Cultural strategies
II. The concept of creativity
I. Mutations in tourism demand
III. Creative tourism
IV. Endogenous resources and co-
creation of experiences
V. Designing creative routes based
on everydayness of the local
people

7. II. THE CONCEPT OF CREATIVITY

8. CREATIVE SIDE?
UNLIMITED IMAGINATION?
METHOD?
RATIONALITY?
THE CONCEPT OF CREATIVITY
II. The concept of creativity
I. Mutations in tourism demand
III. Creative tourism
IV. Endogenous resources and co-
creation of experiences
V. Designing creative routes based
on everydayness of the local
people

9. HYBRID
Quão criativo?
THE CONCEPT OF CREATIVITY
CREATIVE SIDE?
UNLIMITED IMAGINATION?
METHOD?
RATIONALITY?
II. The concept of creativity
I. Mutations in tourism demand
III. Creative tourism
IV. Endogenous resources and co-
creation of experiences
V. Designing creative routes based
on everydayness of the local
people

10. “Develop new ways of thinking and doing, [...] through the
development of new products or tourism experiences;
new forms of consumption or new tourist areas” (Richards & Wilson,
2007, p. 15).
Creativity
concept
The emergence of new ideas through the original
combination of common perceptions, or the transformation
and / or reorganization of existing concepts (Beesley & Cooper, 2008).
“Individual/team cognitive process whose objective results in a
product (idea, solution, service, etc.) that, being judged as
new and appropriate, evokes the intention to buy it, adopt
it, use it and enjoy it” (Zeng et al., 2011 cit in Piffer, 2012, p. 259).
The production of new and useful ideas and / or solutions
(Amabile, 1988; Oldham & Cummings, 1996; Shalley, 1991; Zhou & George, 2001).
Source: Scopus

11. (KEA , 2009)
- Learning and education;
- Exchange of ideas;
- Places with diversity, tolerant and open to new ideas. - Ability to reach diverse audiences
and provide a multitude of
creative content;
- Creative content generated by the
user.
- Copyright (intellectual property);
- Fitness of the policies.
- Statistics on the performance of cultural and
creative industries as indicators of a country's
creative potential.
- Ex: galleries, bookstores are essential for debate
and for argumentation, idea development and
networking;
THE CONCEPT OF CREATIVITY | Six pillars of creativity

12. III. CREATIVE TOURISM

13. Active
participation
Tacit knowledge
Involvement with
destination
Richards (2014)
Creative Tourism = contemporary use of cultural knowledge and skills
THE CONCEPT OF CREATIVE TOURISM
CREATIVE TOURISM “tourism which offers visitors the opportunity
to develop their creative potential through active participation in
learning experiences which are characteristic of the holiday
destination where they are undertaken” (Richards & Raymond, 2000).
II. The concept of creativity
I. Mutations in tourism demand
III. Creative tourism
IV. Endogenous resources and co-
creation of experiences
V. Designing creative routes based
on everydayness of the local
people

14. IV. ENDOGENOUS RESOURCES AND CO-CREATION OF EXPERIENCES

15. Assess the attractive
potential for the
traveler
ENDOGENOUS RESOURCES | Tourist Resources Survey | Resources Inventory Sheets

16. https://www.thelocal.es/20170510/10-off-the-beaten-track-barcelona-experiences-spain
undiscovered
DESIGNING CREATIVE ROUTES BASED ON EVERYDAYNESS OF THE LOCAL
PEOPLE

17. DESIGNING CREATIVE ROUTES BASED ON EVERYDAYNESS OF THE LOCAL
PEOPLE
https://www.timeout.com/barcelona/things-to-do/dont-be-a-tourist-find-in-the-know-things-to-do-in-barcelona

18. Involvement with
destination
(Richards, 2014)
DESIGNING CREATIVE ROUTES BASED ON EVERYDAYNESS OF THE LOCAL
PEOPLE
Tips provided by locals
Discovering places
based on local
people/ residents

19. DESIGNING CREATIVE ROUTES BASED ON EVERYDAYNESS OF THE LOCAL
PEOPLE

20. The experience of a tour guide in the city of Viana do Castelo, Portugal
Manager Nuno Barbosa – Técnico Superior de Turismo
Degree in Tourism by Instituto Politécnico de Viana do Castelo (IPVC)
DESIGNING CREATIVE ROUTES BASED ON EVERYDAYNESS OF THE LOCAL
PEOPLE

21. DESIGNING CREATIVE ROUTES BASED ON EVERYDAYNESS OF THE LOCAL
PEOPLE
Interview: How to program guided tours?
1st step: Survey of tourist resources
City break (focus on events and endogenous cultural values)
Tailor-made tours (with specific interests)
A
B
C
1 day
½ day
Adjust to the interests of
customers
D Customer budget
1
2
3
4
Cultural touring
City break
Tailor-made tours
Sports and leisure
TOURS

22. DESIGNING CREATIVE ROUTES BASED ON EVERYDAYNESS OF THE LOCAL
PEOPLE
Tour leader Tour Guide
(1) Counting the number of people in
the group;
(2) Present the program;
(3) Monitor the entrances and exits.
(1) + (2) + (3) + storytelling about the
places visited
Two types of guides

23. DESIGNING CREATIVE ROUTES BASED ON EVERYDAYNESS OF THE LOCAL
PEOPLE
The stranger
The tour guide
• The guide already
knows who are
the opinion
leaders in the
group.
The friend
• Knows the
dynamics of the
group;
• Inspires
confidence
The involvement steps of the tour guides in groups

24. MAIN CONCLUSIONS | How guides can integrate creative tourism principles in their daily
practices
Resources Inventory
Design a route based on diverse topics
Be aware about potentials groups
motivations and needs
Know local people that can provide
useful tips and storytelling
Choose the type of tour guide you want
to be
Use creative thinking!

25. Creative tourism and guiding
How guides can integrate creative tourism
principles in their daily practices
THANK YOU!
For further information:
susanar@utad.pt
https://www.researchgate.net/profile/Susana_Rachao
Susana Rachão PhD Tourism Candidate
Universidade de Trás-os-Montes e Alto Douro (UTAD)
Escola de Ciências Humanas e Sociais
Departamento de Economia, Sociologia e Gestão
Centro de Estudos Transdisciplinares para o Desenvolvimento (CETRAD)
Email | susanar@utad.pt