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>>>Reinventing
Costa del Sol through
Creative Tourism
Creative insights >>>
d
Reinventing Costa del Sol through Creative Tourism
ECONOMÍA CREATIVA CONSULTANCY >>> Creative Insights
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ECONOMÍA CREATIVA CONSULTANCY creates development
strategies, policies and brands that shape the future of places and
businesses around the world >>> www.economiacreativa.eu
Principal Researcher Antonio Carlos Ruiz Soria
Research Assistant Justyna Molendowska-Ruiz
Creating New Ways, picture by Antonio Carlos Ruiz Soria Picture by Justyna Molendowska-Ruiz
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Acknowledgement Special thanks to Andalucía Lab and all the local
entrepreneurs that actively participated in the focus group
Creative Tourism Trends and Opportunities in Marbella
(Malaga) April 30th 2014
Please cite this publication as:
Economía Creativa Consultancy (2014), Reinventing Costa del Sol through Creative Tourism,
Economía Creativa Consultancy Creative Insights, Economía Creativa Consultancy Publishing
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Reinventing Costa del Sol through Creative Tourism
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Foreword
“A wise man travels to discover himself”
James Russell Lowell
“Discovery consists not in seeking new lands but in seeing
with new eyes”
Marcel Proust
reative tourists travel to explore, to learn, to create,
to rediscover themselves. Costa del Sol1 receives
every season thousands of tourists. Many of them
they are not discovering fully the destination in which
they spend their time. This has led to a severe problem of
saturation and seasonality.
It is the moment to reinvent Costa del Sol through Creative
Tourism. It is the moment to look to its identity, natural
resources, gastronomy, history and traditions with new
eyes to enchant the visitors, engage with them and
exchange lifetime experiences. 1 See Annex 1 for geographic and demographic information about Costa del Sol
C
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Table of Contents
Page
1. Creative Tourism. Definition 6
2. Creative Tourism Business Model 6
3. Applying Creative Tourism Business Model to Costa del Sol 14
4. Conclusion 16
5. References 17
6. Country Abbreviations 18
7. Annex 1. About Costa del Sol 19
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1. Creative Tourism. Definition
Creative tourism is “travel directed toward an engaged and authentic experience, with
participative learning in the arts, heritage, or special character of a place, and it provides a
connection with those who reside in this place and create this living culture” (UNESCO, 2006).
The tourists become travelers who seek adventure and a transformation through active
participation in courses and learning experiences which are characteristic of the travel
destination. They want to take part in crafts, arts, festivals, gastronomy and other activities
developing a close relationship with the local community and its cultural heritage. Creative
tourism is, therefore, sustainable and contributes to social inclusion, economic growth, job
creation, SME development, environmental and cultural heritage preservation.
Creative tourism is often understood as a form of cultural tourism. However they are essentially
different. Cultural tourism deals mainly with ‘viewing’, ‘contemplating’ or ‘seeing’ (eg. historic
building city tours, museum visits, dance performances, etc.) and it is generally linked to
physical places; whereas creative tourism is based in ‘experiencing’, ‘learning’ and
‘participating’ involving the satisfaction of a higher need of self-actualization and skill
development and involves resources that are processes (immaterial) like dances, recipes,
festivals, traditions, legends, routes, etc.
Creative tourism is a form of creative community’s development stimulating the attraction of
talented professionals belonging to the creative class as defined by Richard Florida harnessing
creative entrepreneurship and innovation contributing to a virtuous circle that goes beyond the
profits from tourism.
2. Creative Tourism Business Model
As you can see on the Figure 1, there are several factors to be considered for the creative
business model.
a. Demand Factors
The experience economy that is growing for last two decades and the transformation economy
that has taken strength especially after the 2008 crisis are generating the development of the
creative industries and in the tourists the interest for learning new skills and the participation in
Reinventing Costa del Sol through Creative Tourism
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Participation in Culture
Demand Factors
Creativity
Innovation
Cultural Heritage Preservation
Authenticity
Human Interaction
Cultural Travel and Tourism
Creative
Tourism
Creative Industries
Global Cultural
Diversity
Unique Local Cultural
Offerings
Unique Local Arts and
Crafts
Hospitability
Local Tourism
Infrastructure
Cultural Tourism
Resources
Other Types of
Tourism
Supply Factors
Product &
Services
Creative
Tourism Benefits
Creative
Tourism
Results
Exports
Brand Visibility
Jobs Creation
Sustainability
Cultural Heritage
Preservation
Innovation
Target Market
Expansion
Cultural Capital
Local Identity
&Uniqueness
Social Capital
Cultural Values
Preservation
Cultural Heritage
Preservation
Cultural Exchange
Local Culture
Diversification
Moral & Spiritual
Values
Pride of Place &
Belonging
Increased Success
for Local
Businesses
Increased
Prosperity for Local
Community
Intangible Benefits
Demand Factors
Figure 1. Creative tourism business model (Ohridska-Olson 2010)
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cultural experiences. Overconsumption is socially punished. There is a dematerialization of the
social aesthetics. There is a desire for sharing, for co-creating and for community. The
Information and Communication Technologies (ICT), especially social media, are a factor for
the development of creativity and transformative experiences. They allow users to share what
they are doing, learning, creating with friends, networks or a global audience.
In consequence, it is a corollary that there is an important demand for creative tourism on the
countries that are the biggest markets for outbound tourism and where internet penetration and
usage is largely consolidated (USA, UK, Germany, among others). According to Cultural
Statistics by Eurostat (2011) 57% of Europeans who used Internet in the previous three months
declared having used one of the following advanced communication services: instant messaging,
posting messages, contribution to the social web, reading or creating blogs.
Participation in culture is particularly relevant in societies with higher educational levels (see
Table 1) like in the European Union. Especially relevant to Costa del Sol touristic demand are
the data from United Kingdom with 29.9% high education attainment among baby boomers and
39.2% among millennials, Norway with 31.2% and 43.6%, Sweden with 28.5% and 41.0% or
Switzerland 32.3% and 40.2% respectively. Higher education means stronger orientation
towards activities that requires deeper intellectual engagement and higher consumption of
cultural goods, more participation in creative activities and a desire for innovative learning
experiences.
Cultural heritage is revisited by creative tourists. They are not anymore satisfied with just
staged reality. They are searching stories to tell, to show and to share. They are really
demanding the authenticity of the place / monument / tradition and are not willing to be happy
with mere artificial substitutes.
Population in most advanced countries is concentrated in urban areas. The impersonal way of
living in cities implies (among other factors) a desire for human interaction and cultural
immersion. Creative tourists want to feel part of local communities, understand the culture of
the place they are visiting, eat local food, learn how to cook traditional recipes, learn the
language, and paint the landscape. They have a desire of discovering themselves by exploring
new cultures like the pioneers that travelled to what is nowadays Costa del Sol in the XIX
century were in search of the exotic.
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Table 1. Educational attainment of population by age group, 2009 (%) (')
25-39 years old 40-64 years old
Low Medium High Low Medium High
EU-27 21,0 48,0 31,0 32,3 46,1 21,5
BE 18,1 40,5 41,4 36,0 35,3 28,8
BG 19,8 54,3 25,9 23,4 55,3 21,4
CZ 5,5 76,2 18,3 10,8 75,6 13,6
DK 15,5 40,4 44,0 28,2 42,8 29,0
DE 13,9 59,5 26,5 14,8 58,9 26,3
EE 11,6 51,4 37,0 10,7 54,0 35,3
IE 16,0 37,9 46,1 38,9 33,8 27,2
EL 26,4 46,1 27,4 46,7 33,5 19,8
ES 37,7 24,9 37,4 56,7 19,4 23,8
FR 17,6 41,4 41,0 36,7 41,8 21,4
IT 33,0 47,9 19,1 53,5 34,8 11,7
CY 17,0 37,7 45,4 35,4 38,8 25,8
LV 16,3 54,1 29,6 11,2 65,0 23,8
LT 10,4 49,1 40,5 7,6 67,6 24,8
LU 17,5 39,2 43,3 26,1 44,8 29,2
HU 14,9 61,9 23,2 22,6 59,9 17,5
MT 57,7 22,3 20,0 81,2 9,8 9,0
NL 19,0 42,8 38,2 30,7 39,4 29,9
AT 12,6 66,3 21,1 21,4 60,8 17,8
PL 7,0 61,1 31,9 15,4 70,7 13,8
PT 55,8 22,8 21,4 79,9 10,0 10,0
RO 20,8 61,8 17,4 28,7 61,1 10,2
SI 8,8 61,1 30,1 21,7 59,2 19,1
SK 5,1 75,9 19,0 12,0 74,6 13,4
FI 10,0 48,6 41,4 22,2 42,7 35,1
SE 12,4 46,7 41,0 23,3 48,2 28,5
UK 19,4 41,4 39,2 29,1 41,0 29,9
IS 29,5 32,9 37,6 37,2 33,3 29,5
NO 16,2 40,2 43,6 21,5 47,3 31,2
CH 10,3 49,6 40,2 14,7 52,9 32,3
HR 12,9 66,9 20,2 27,3 56,0 16,7
MK 33,7 49,6 16,7 42,5 44,2 13,4
TR 64,0 21,5 14,5 79,5 11,8 8,6
(') Levels of education based on ISCED 1997:
Low (ISCED levels 0-2, 3c short): pre-premary, primary and lower-secondary education; Medium (ISCED levels 3-4, without 3c short): upper-secondary and post-secondary non-tertiary education;
High (ISCED levels 5-6): tertiary education. Source: Eurostat, EULFS
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“Box 1. About the Creative Industries The transformation of the ‘cultural industries’ into the ‘creative industries’ arguably stems from the ‘media boom’ of the 1990s, where emerging sectors of cultural production, such as multimedia and software production, the audio-visual industries, architecture and design became increasingly hard to encompass within traditionally defined sectors of the cultural industries (Ratzenböck et al. 2004)”.
Richards, G. and J. Wilson (2007),
The rapid industrialization during the later XIX century up to the 1990s and the drastic
migration from rural to urban areas have had as consequence that many jobs, skills, traditions
and arts have been forgotten. Cultured baby boomers have now time –as many of them are
arriving to the retirement age- and disposable income to search for their cultural roots; among
millennials, who have suddenly found themselves in a severe crisis after living in almost
opulence, there is also a demand for DIY (do it yourself), for crafts and authentic experiences
that reassure and give them a sense of belonging and purpose.
The Cultural Routes Programme of the Council of Europe and the European Association of
Historic Towns and Regions and social travelling networks (such as Airbnb) are encouraging
this interaction among local communities and creative tourists.
Despite we have said above that creative tourism is essentially different from cultural tourism,
the later contributes to creative tourism in various ways: promoting the cultural assets of the
destination and by attracting visitors interested in culture who once in the destination can
evolve from an observing/passive attitude towards a participating/active one becoming creative
tourists.
b. Supply factors
The creative industries (see Box 1) are a factor for
tourism development. Contemporary lifestyle and the
development of ICT have made less relevant the
distinction between travelling for work or for pleasure.
For the creative class the presence of solid and
dynamic creative industries might be enough reason
for travelling to a destination to find inspiration.
Global cultural diversity plays an essential role for
cultural tourism and opens many opportunities for
creative tourism by developing the uniqueness of each local culture –since there is not one
community that lacks of particular traditions, arts, crafts, rituals and other forms of tangible or
intangible cultural heritage.
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Local arts & crafts, gastronomy, religion related traditions, history and natural resources play
an important role for creative tourism supply. As well as destination hospitability, tourism
infrastructure and other forms of tourism (for example sun and beach or golf tourists in Costa
del Sol who are already in the destination could take part in creative activities).
c. Formulation of Creative Products and Services
There are many countries, regions and cities that are developing creative branding strategies
and creative products and services. Creative tourism can contribute to change the image of a
destination like, for example, ‘the ‘Cool Britannia’ campaign developed in the 1990’s to promote
the United Kingdom as an innovative and exciting place to be, based on creative elements such
as music, film and lifestyle’ (OECD 2014).
For the creation of creative tourism products and services it is needed an essential
transformation from traditional cultural tourism and other type of tourism models. It has to be
taken into account that the creative tourists want to co-create the experience (with this aim has
been created Welcome Lab in Paris); the traditional value chain in which touristic authorities
outlined a strategy and then tour operators created products and services to be distributed
through travel agencies has been replaced by the network value chain (please see Figure 2) in
which there is an iterative interaction among the different agents and stakeholders with
predominance by the commercial sector (rather than public sector) and the tourists themselves
in the final product and services created. The value creation follows therefore a bottom up
approach. Cultural tourism is mainly based in resources of the past whereas the creative tourism
focuses in the future potential, having as a consequence a shift in externalities from
conservation to innovation. The broadcast interpretation model (the typical documentary style)
is replaced by the co-creation of contents that can be shared through social media. In sum,
creative tourism represents a great opportunity for policymakers however it brings up the
challenge of working together with different stakeholders, including consumers.
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Figure 2. From cultural tourism to creative tourism
Cultural Tourism Creative Tourism
Orientation
Externalities
Structure
Process
Value Creation
Value Focus
Funding
Source: Tourism and the creative economy, OECD 2014
d. Creative Tourism benefits
Creative tourism is emerging as a solid sector in the early XXI century and is largely
implemented as an economic development strategy for its numerous benefits both tangible and
intangible.
On the tangible side the most relevant benefit is its contribution to job creation and economic
growth and sustainability. Creative tourism contributes to entrepreneurship and SME
development (which means self-employment and employment growth) and to reduce
seasonality in the tourism sector. Creative tourists become ‘temporal local residents’ and are
more likely to care about the environment. In opposition to the mass tourism models (sea and
beach, traditional cultural tourism, for example) the tour operator/resort designed holiday
packages are less frequent among the creative tourists demand. There is a closer relationship
with the local community and with local businesses which contributes to a civil engagement and
jobs sustainability (whereas the mass tourism models normally imply poor quality temporal
jobs with high unemployment rates in off season periods).
Brand visibility is other important benefit form creative tourism. As we have mentioned earlier,
numerous cities, regions and countries have already developed creative branding strategies for
Past
Conservation
Products
Interpretation
Value chains
Upstream
Public
Future
Innovation
Platform and Content
Co-creation
Value networks
Downstream
Commercial
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attracting the creative class to be part of their communities. In the knowledge based economy
creative places are perceived as innovative attracting talent and global attention and visibility.
Creativity as a strategy for tourism and economic development is not exclusive of big cities.
Santa Fe in the USA with around 100.000 inhabitants has the highest creativity index of the
USA, (OECD 2014)
Creative tourism has also positive intangible benefits such as improving local identity, the pride
of place and belonging to a community; it helps flourishing the cultural exchange among the
local community and visitors preserving cultural values instead of the ‘pleasing the visitor’
attitude typical of mass tourism models (with the consequent loss of cultural uniqueness); and
increase social cooperation to create and operate creative products and services.
In sum, creative tourism results in an increased success for local businesses and prosperity for
local communities and generates a virtuous circle of job creation, social cohesion and economic
development.
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3. Applying the Creative Tourism Business Model to Costa del Sol
We have seen what the creative tourism business model is and what benefits brings for
economic and societal development. Now we are going to explore how to apply it to Costa del
Sol. As we have explained above, creative tourism requires the co-creation of knowledge with a
bottom up approach to build value networks.
Creative Tourism Focus Group leaded by Economía Creativa Consultancy at Andalucia Lab, Marbella. Picture by Justyna Molendowska-Ruiz
So we considered that the best approach to start the discussion about how to apply the creative
tourism business model to Costa del Sol was through the qualitative research methodology of
the focus group. We designed a focus group and organized it in collaboration with Andalucía
Lab (the Innovation Tourism Centre of the Andalusian Regional Government) in April 2014
with local entrepreneurs to research the concept of creative tourism, global trends and
opportunities, to analyze their own entrepreneurial initiatives and propose strategies for the
creative tourism development in Costa del Sol.
We began with the question ‘Is it necessary to think about creative tourism strategies for Costa
del Sol since the Easter touristic figures are positive?’ The answer was affirmative because
Easter figures simply confirmed the seasonality of the Costa del Sol touristic model and its
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negative externalities such as congestion, noise, pollution and the effects on the poor service
delivered by temporary staff that has not been properly trained or motivated. The ‘necessity of
innovation’ and ‘taking risks’ thinking more about the client and the experience were pointed
out. Also the fact that the ‘Costa del Sol touristic infrastructure is obsolete’ and that ‘businesses
are thinking about products rather than customers’.
After we leaded the debate towards the strategies needed to develop the creative tourism in
Costa del Sol. The need to identify Costa del Sol strengths with a global vision that would allow
visitors to ‘live the place’ ‘enjoying a memorable experience that not everybody can do’ was
underlined. It was also agreed that it is needed a change of attitude from all stakeholders in the
tourism scene of Costa del Sol. ‘There is a fear to competition when the fear should be to
‘incompetence’ and to the ‘the company does not pay me for that’ attitude. ‘We have to open the
eyes’ and see ‘that people demand a more emphatic service and value every small detail’, it was
remarked. The need for more insight about Costa del Sol visitors’ demographics was identify as
a key element for developing successful strategies to reduce seasonality.
Among the local resources that can contribute to creative tourism development in Costa del Sol,
gastronomy received the strongest attention since one the biggest market for Costa del Sol is the
United Kingdom where the foodie culture is consolidated with a long term trend for Spanish
food (from celebrity chefs’ TV shows cooking Spanish food to cooking classes or ham carving
lessons) and the Mediterranean diet that has been recognized as UNESCO’s asset of Intangible
Cultural Heritage of Humanity in 2013. In this line it is important to mention the relevance of
Sabor a Malaga network/project to promote local producers, products and restaurants and also
cultural and culinary guided private tours organized by, for example, one of the participants of
the focus group (Voila Malaga).
Other resources that appeared in the discussion were courses for learning Spanish, revisiting
cultural heritage by, for example, creating events (always considering preservation) such as
weddings in the Basilica Paleocristiana de Guadalmina (San Pedro Alcántara, Marbella);
personal development and relaxation as part of a transformative holidays; thematic touristic
routes exploring the natural resources and cultural heritage and cultural immersion (like for
example the activities developed at Hotel Balcon de Competa –including an interesting project
to promote Andalusian literature)
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Conclusion
osta del Sol has to address the problem of
seasonality that is creating a vicious circle of poor
quality jobs, unemployment, congestion and
saturation of the destination.
Despite the fact that Costal del Sol tourism industry is
aware of the problem, there is a lack of clear, solid and
innovative strategies for building a solution.
It has already been identified the need for change and
implemented some initiatives from the public sector (for
example, Strategies for managing seasonality 2014-2020,
Junta de Andalucía 2014), however it is needed the
development of a value network to design a creative
tourism strategy to reinvent Costa del Sol. It is the
moment for co-creating transformative experiences using
all of the resources tangible and intangible (gastronomy,
traditions, cultural heritage, arts & crafts, etc.) with which
Costa del Sol counts and that are not included in the
traditional sun and beach touristic offer.
All stakeholders (hospitality, SME, Public Sector,
consumers) involved in the creation of the touristic
product and services in Costa del Sol would benefit from
more training about creativity development and its
applications for innovation.
C
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References
European Commission (2011), “Creative Europe – A new framework”
programme for the cultural and creative sectors (2014-2020)”, European Commission, Brussels.
Eurostat (2011). Cultural Statistics, Eurostat Pocketbooks
Exceltur (2005), Impactos sobre el entorno, la economía y el empleo de los distintos modelos de
desarrollo turístico del litoral mediterráneo español, Baleares y Canarias, Exceltur 2005
Junta de Andalucia (2014), Estrategias para la gestion de la estacionalidad turistica 2014-2020
MADECA (2014), Observatorio Socioeconómico de la Provincia de Málaga, Fundacion Malaga
Desarrollo y Calidad
Mermiri, T. (2009), Beyond Experience: culture, consumer & brand, The Transformation
Economy, Arts & Business 2009
OECD (2012), OECD Tourism Trends and Policies 2012, OECD Publishing
Ohridska-Olson, R. (2010) The Creative Tourism Business Model. Cultural Realms
Ohridska-Olson, R. and Ivanov S. (2010), Creative Tourism Business Model And Its Application
In Bulgaria, Black Sea Tourism Forum 'Cultural Tourism – The Future of Bulgaria,' 2010
Resonance (2013), The Resonance Report 2013 U.S. Affluent Travel and Leisure
Richards, G. and J. Wilson (2007), Tourism, Creativity and Development, Routledge, London
Rita Cruz, A., Tourism as a magnet for creativity: insights for creative class attraction in a tourism
based region, Instituto Universitário de Lisboa (ISCTE-IUL), DINÂMIA’CET-IUL, Lisboa
UNCTAD (2010), Creative Economy Report, UNDP-UNCTAD,
UNESCO (2006) Towards Sustainable Strategies for Creative Tourism. Discussion Report of the
Planning Meeting for 2008 International Conference on Creative Tourism, Santa Fe, New
Mexico, U.S.A., October 25-27, 2006.
UNESCO (2013), Creative Economy Report: Widening Local Development Pathways, UNDP-
UNESCO, New York and Paris,
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Country abbreviations
EU-27 Member States
BE Belgium
BG Bulgaria
CZ Czech Republic
DK Denmark
DE Germany
EE Estonia
IE Ireland
EL Greece
ES Spain
FR France
IT Italy
CY Cyprus
LV Latvia
LT Lithuania
LU Luxembourg
HU Hungary
MT Malta
NL Netherlands
AT Austria
PL Poland
PT Portugal
RO Romania
SI Slovenia
SK Slovakia
FI Finland
SE Sweden
UK United Kingdom
EFTA countries
IS Iceland
LI Liechtenstein
NO Norway
CH Switzerland
Candidate countries
MK(1) Former Yugoslav Republic of Macedonia
HR Croatia
TR Turkey
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Annex 1. About Costa del Sol
In this report we refer to Costa del Sol considering particularly Western Costa del Sol a sub-
region of the province of Malaga in Andalucia (Southern Spain).
Surface (Km²) 804
Population density 2013 (Hab / Km²) 670
Municipalities 2013 70
Population 2013 538.126
Foreign Population 175.679
Source: Spanish National Statistics Institute and Andalusian Statistic Institute (MADECA
2014)
Costa del Sol (Western) location in Spain and in Malaga province
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