The rapidly developing relationship between tourism and creativity, arguably heralds a ‘creative turn’ in tourism studies. Creativity has been employed to transform traditional cultural tourism, shifting from tangible heritage towards more intangible culture and greater involvement with the everyday life of the destination. The emergence of ‘creative tourism’ reflects the growing integration between tourism and different placemaking strategies, including promotion of the creative industries, creative cities and the ‘creative class’. Creative tourism is also arguably an escape route from the serial reproduction of mass cultural tourism, offering more flexible and authentic experiences which can be co-created between host and tourist. However the gathering critique also highlights the potential dangers of creative hype and commodification of everyday life.
Fashion industry professionals’ viewpoints on creative traits and, strategies for creativity development
Through in-depth interviews, the study explored fashion industry professionals’ viewpoints, on creativity, focusing on traits of creative people and how creativity can be developed. Four creative, traits were identified, including different thought processes, determination, having an open mind, and, risk taking. About one-third of participants believed that creativity is innate, and therefore, some, people were born creative whereas others were not. Another third of participants maintained that, everyone has some creative potential that can be further developed. The remaining fashion, professionals distinguished artistic creativity from creative problem solving. Suggested strategies for, creativity enhancement and development included (1) practicing creative thinking strategies, (2), formal training, (3) diverse experiences and exposure to the world; and (4) creating a safe, yet, challenging environment.
Cultural and heritage tourism began to expand as a mass phenomenon in the 1970s and ’80s with a considerable economic and social impact. It was a consequence of the self-development of the tourism industry and its need for diversification (Bull, 1991). During the previous decades and stimulated by a long period of unbroken economic growth in most developed countries, tourism enjoyed a great expansion (Timothy, 2011). This was largely based on standardized products, mainly offered by tour operators through the travel agencies system. The result was an increase in the number of destinations and resorts. Over the years, many of them have followed a life-cycle profile, from involvement and consolidation, to stagnation and, in some cases, even decline (Butler, 1980). So, the need to adapt the current offer to a more exigent demand, fuelled by a rising competition with new destinations, developed the specializations of many tourism areas and the search for added-value products. The resulting scene is characterized by being much more dynamic and competitive, in which a multitude of specialized offers proliferate at lower costs. Tourism products can be segmented by travel motivation (business, holiday, health, academic or religion, among many other driving forces), by user groups (families, senior citizens, professional people or students), by destination (cities, coast areas, countryside regions or countries), by time (holiday seasons, weekends, special events or business periods), and by the level of maturity of the destination (more or less emergent, with larger or weaker touristic supply, level of social reputation).
Kunstkonsum i storbyene: En studie av brukerne og ikke-brukerne av det offentlige, finansierte kunsttilbudet i byene Oslo, Bergen, Trondheim, Stavanger og Kristiansand
Dette er et forskningsprosjekt som forsøker å beskrive brukerne og ikke-brukerne av det offentlige finansierte kunsttilbudet i de fem største byene i Norge. Det er fremskaffet data om kjennetegn knyttet til kjønn, alder, inntekt og interesser samt andre kategorier som ansees å gi relevant informasjon.
Prosjektet har bestått av følgende fem komponenter:
En gjennomgang av tidligere publikumsforskning, primært i Norge
En spørreundersøkelse blant publikum ved et utvalg av offentlig finansierte kunstinstitusjoner i de fem storbyene.
En spørreundersøkelse blant et utvalg respondenter som ikke bruker det offentlig finansierte kunsttilbudet.
En presentasjon av et utvalg publikumsutviklingsprosjekter.
En presentasjon av noen konsekvenser av våre funn og til sist noen helt konkrete anbefalinger.
Prosjektet er gjort på oppdrag av Bergen kommune og er finansiert av KS sitt program for storbyforskning.
In this paper some of the results of a Contingent Valuation (CV)-Study of the Royal Theatre in Copenhagen, Denmark, are presented. The estimated aggregated willingness-to-pay (WTP) for the Royal Theatre through taxes shows that the Danish population wants to pay at least as much as the theatre receives in public subsidies. The visitors comprise only about 7 per cent of the total population, but the non-users' WTP is quite substantial which is the interesting point. It means that the non-users are willing to pay an option price and that the Royal Theatre has non-use value.
Experiences have become the hottest commodities the market has to offer. No matter where we turn, we are constantly inundated by advertisements promoting products that promise to provide us with some ephemeral experience that is newer, better, more thrilling, more genuine, more flexible, or more fun than anything we have previously encountered. In turn, consumers themselves are increasingly willing to go to great lengths, invest large sums of money, and take great risks to avoid "the beaten track" and "experience something new." Working with an interdisciplinary approach, this book critically analyzes the significance this market for experiences (and interest in them) is having as a generative motor of cultural and socioeconomic change in modernsociety. The book's contributors are active scholars working in the Department of Service Management at Lund University, the Copenhagen Business School, and the Center for Regional and Tourism Research. They come from the disciplines of anthropology/ethnology, business administration, and cultural geography.
This paper examines how performing artists balance between economic and artistic risk-taking within the performing arts sector. The paper is based on a comparative study, including qualitative interviews with performing artists working in three different theatres in three different countries: England, Norway and the Netherlands. The paper discuss how different ways of organizing theatres and different theatre policy represent different systems of economic risk managing, and further how they facilitate artistic risk taking. The author identifies three different approaches to risk management in these three countries: a collectivization of risk, an institutionalization of risk and an individualization of risk. Theoretically, the paper makes use of, and criticizes the work sociology developed by Ulrich Becks and Richard Sennet, as well as welfare theory, including Esping-Andersen.
Da Stortinget 15. juni 1999 vedtok at det skulle oppføres et operahus i Bjørvika, var dette en virkeliggjøring av en 100 år gammel drøm. Sjelden har en kulturpolitisk sak vekket så stor interesse i norsk offentlig samfunnsdebatt. Å bygge et nytt operahus forutsatte en stor statlig investering, og operadebatten dreide seg om prioritering og fordeling innad på kulturfeltet, mellom samfunnssektorer og ikke minst mellom Oslo og resten av landet. Stortinget besluttet denne dagen også å styrke operavirksomheten i landet for øvrig. I dag får 10 operainstitusjoner utenfor Oslo statlig støtte gjennom satsingen på region- og distriktsopera, og det produseres opera i alle landsdeler. Denne rapporten presenterer resultatene fra evalueringen av den helhetlige kulturpolitiske satsingen på region- og distriktsopera og musikkteater.
Norsk kulturråd utlyste i november 2014 et oppdrag om å evaluere Kunstløftets andre periode, 2012–2015. Telemarksforsking ble tildelt oppdraget, og denne rapporten er resultatet av evalueringen. Evalueringen er en vurdering av Kunstløftets relevans for barn og unge sett i lys av samfunnsendringer og -utfordringer. Evalueringen vurderer også prosjektets bidrag til økt kunnskap og, interesse og prestisje for kunst for barn og unge.
Karin Ibenholt er ansvarlig for denne databasen. Send gjerne forslag til endringer eller bidrag til henne.