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) |

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

3. I. Mutations in tourisM demand

4. Mutations in tourism demand | Cultural strategies
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).
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
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).

5. 80’s See / observe 90’s XXI Century Creative Tourism
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
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”)

6. Mutations in tourism demand | Cultural strategies
“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).
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
Mona Lisa – Museu do Louvre, Paris

7. II. THE CONCEPT OF CREATIVITY

8. THE CONCEPT OF CREATIVITY
METHOD?
CREATIVE SIDE?
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
RATIONALITY?
UNLIMITED IMAGINATION?

9. HYBRID Quão criativo? THE CONCEPT OF CREATIVITY METHOD? CREATIVE SIDE?
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
HYBRID
RATIONALITY?
UNLIMITED IMAGINATION?

10. The production of new and useful ideas and / or solutions (Amabile, 1988; Oldham & Cummings, 1996; Shalley, 1991; Zhou & George, 2001).
“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).
Source: Scopus

11. THE CONCEPT OF CREATIVITY | Six pillars of creativity
(KEA , 2009)
- Learning and education;
Copyright (intellectual property);
Fitness of the policies.
Statistics on the performance of cultural and creative industries as indicators of a country's creative potential.
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.
Ex: galleries, bookstores are essential for debate and for argumentation, idea development and networking;

12. III. Creative tourism

13. Creative Tourism = contemporary use of cultural knowledge and skills
THE CONCEPT OF creative tourism
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
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).
Active participation
Tacit knowledge
Involvement with destination
Richards (2014)
Creative Tourism = contemporary use of cultural knowledge and skills

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
Assess the attractive potential for the traveler

16. Designing creative routes based on everydayness of the local people
undiscovered

17. Designing creative routes based on everydayness of the local people

18. Involvement with destination
Designing creative routes based on everydayness of the local people
Involvement with destination
(Richards, 2014)
Tips provided by locals
Discovering places based on local people/ residents

19. Designing creative routes based on everydayness of the local people

20. Manager Nuno Barbosa – Técnico Superior de Turismo
Designing creative routes based on everydayness of the local people
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)

21. Adjust to the interests of customers
Designing creative routes based on everydayness of the local people
Interview: How to program guided tours?
1st step: Survey of tourist resources 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
City break (focus on events and endogenous cultural values)
Tailor-made tours (with specific interests)

22. (1) + (2) + (3) + storytelling about the places visited
Designing creative routes based on everydayness of the local people
Tour leader
Tour Guide
Two types of guides
(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

23. The involvement steps of the tour guides in groups
Designing creative routes based on everydayness of the local people
The involvement steps of the tour guides in groups
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

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:
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) |