The tourism sector, along with cultural and creative sectors, have been among the most affected over the ongoing pandemic crisis. An option to revitalize both tourism industry and arts, entertainment and recreation sectors is fostering sustainable and cultural creative tourism on the one hand, and exploiting the innovative digital tools applied to culture cultural heritage and creativity, on the other hand. Richards and Raymond gave one of the earliest formulations of creative tourism in 2000 and defined it as “tourism which offers visitors the opportunity to develop their creative potential through active participation in courses and learning experiences which are characteristic of the holiday destination where they are undertaken”. Over the last two decades, it has evolved as a flourishing field, involving a wide range of models and practices in different places throughout the world. However, its purpose has always been to contribute to sustainable development and increased community wellbeing, as an alternative to mass cultural tourism. Furthermore, the digitization of culture reinforces the transition towards digital innovation as one of the pillars of the National Recovery and Resilience Plans. The aim of this paper is to focus on the language of digital creative tourism in institutional tourism discourse online, starting from a widened interpretation offered by UNWTO and OECD documents to better clarify the convergences and divergences between old-world ‘cultural tourism’, new-world ‘creative tourism’ and cutting-edge world ‘digital creative tourism’, proceeding to investigate some new collocations and keywords of this subdomain-specific language, such as ‘cultural clusters’ and the abbreviation CCIs (i.e., Cultural and Creative Industries), as well as the numerous lexical combinations freshly coined with the adjective ‘creative’, and concluding with brief remarks on the terminology currently used to sponsor such tourism.
Exploring the language of digital creative tourism as a route to implement green and innovative tourism models
Francesca Vaccarelli
2023-01-01
Abstract
The tourism sector, along with cultural and creative sectors, have been among the most affected over the ongoing pandemic crisis. An option to revitalize both tourism industry and arts, entertainment and recreation sectors is fostering sustainable and cultural creative tourism on the one hand, and exploiting the innovative digital tools applied to culture cultural heritage and creativity, on the other hand. Richards and Raymond gave one of the earliest formulations of creative tourism in 2000 and defined it as “tourism which offers visitors the opportunity to develop their creative potential through active participation in courses and learning experiences which are characteristic of the holiday destination where they are undertaken”. Over the last two decades, it has evolved as a flourishing field, involving a wide range of models and practices in different places throughout the world. However, its purpose has always been to contribute to sustainable development and increased community wellbeing, as an alternative to mass cultural tourism. Furthermore, the digitization of culture reinforces the transition towards digital innovation as one of the pillars of the National Recovery and Resilience Plans. The aim of this paper is to focus on the language of digital creative tourism in institutional tourism discourse online, starting from a widened interpretation offered by UNWTO and OECD documents to better clarify the convergences and divergences between old-world ‘cultural tourism’, new-world ‘creative tourism’ and cutting-edge world ‘digital creative tourism’, proceeding to investigate some new collocations and keywords of this subdomain-specific language, such as ‘cultural clusters’ and the abbreviation CCIs (i.e., Cultural and Creative Industries), as well as the numerous lexical combinations freshly coined with the adjective ‘creative’, and concluding with brief remarks on the terminology currently used to sponsor such tourism.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
