CREATIVE INDUSTRIES AND TOURISM_ENG (M. Friel), Sintesi del corso di Turismo

Scarica CREATIVE INDUSTRIES AND TOURISM_ENG (M. Friel) e più Sintesi del corso in PDF di Turismo solo su Docsity! Creative Industries and Tourism – For attending students (A.Y. 2019-20) Written by Vittorio Ottaviani 1 BUSINESSES AND INNOVATION IN TOURISM: FROM THE PAST TO THE SPACE ___STORIES OF INNOVATORS To introduce the concept of new tourism businesses and the role of innovation, it can be useful to start from the past, looking at some of the companies that have made tourism history. These are interesting case studies, as they show how some companies have been able to innovate the existing tourist offer, bringing profound changes in the competitive landscape. These examples refer to:  Thomas Cook, who founded in 1845 its tour operator. He succeded in “bringing travel to the millions”. Plus, since people started to ask to the TO, they relied less on brands.  Conrad Hilton, who founded the homonymous hotel chain in 1919. Its offer is considered innovative because Hilton was the first company to offer a standardized service in every structure of the chain.  The resort chain Club Med, founded in 1950. Club Med invented the concept of all- inclusive offer, provided in holiday villages, which represented a break from the routine.  Disneyland Paris, founded in 1955 from the ideas of Walt Disney. It was the first theme park in the world, using as a basic idea the creation of a fantastic world where the visitor can become estranged from reality.  Carnival Cruise, which from 1972 has revolutionized the concept of hospitality, bringing it into the sea. Before, in fact, transport was the boring part of the journey, but the cruise line transfomed it into the central focus of one’s holiday. Moreover, they made cruises more affordable and accessible, opening to the masses. Although there are other examples of companies that have revolutionized the tourism industry, it is good to make a division between these and the previous companies. In fact, at the beginning of the ‘90s, the advent of the internet marked an epochal change both for tourism and for the whole world. From this point on, therefore, most of the companies that have brought strong tourist innovations can be defined internet-based. The aforementioned companies are:  Ryanair, that from 1991 was the first airline company to offer a low-cost service, making air travel affordable even for "ordinary" people.  Booking.com, founded in 1996. It is a travel fare aggregator website and a travel metasearch engine for lodging reservations. It was the first internet-based company that focused its model on comparing different fares for tourist services.  TripAdvisor, which started its activity in 2000, had its innovative character in allowing people to review the services they have tried, from restaurants to hotels and more. Taking advantage of word of mouth, TripAdvisor finally gave power to customers.  In 2007 Airbnb definitively changed the balance between tourism demand and supply, creating an unprecedented disintermediation. Airbnb is in fact based on the concept of sharing economy, and encourages people to rent a room or an apartment to tourists for short periods, thus extending (or replacing?) the traditional hotel offer.  Lastly, from 2011 Google launched Google Flights and Google Trips, two online booking search services (in the form of Apps). The innovative character lies in the use of Big Data and, for the first time, implemented predictive search in the tourism offer. Disasters and new opportunities Not all previously named companies managed to remain leaders in the sector, some due to the arrival of competitors, others due to external factors. The recent failure of Thomas Cook (September 2019) is emblematic in this regard. However, even from crisis new ideas Creative Industries and Tourism – For attending students (A.Y. 2019-20) Written by Vittorio Ottaviani 2 and professions can spring. The environment is constantly changing, and people able to see through these changes and crises can potentially use them as favourable conditions to launch their own innovative offer. A change that would be good to keep an eye on in the near future is certainly that of artificial intelligence (AI) whose boundaries and evolutions are not yet fully outlined, but which will surely play a fundamental role in the global balance. There are many opportunities for new businesses both at the B2C and C2C level. For example, the success of Airbnb has led to the emergence of new services related to the bnb phenomenon, such as Cleanbnb (which helps Airbnb owners improve the offer by entrusting management to experts, as well as maximizing collections) or Keesy (who allows self check-in via smartphone even for bnb’s) to name a few. ___INNOVATION IN THE FUTURE: SPACE TOURISM After analyzing the innovations that have changed tourism in the past, it is useful to ask what the future trends will be. The advent of artificial intelligence has already been mentioned, but if one wants to expand its gaze a little further into the future, it is possible to introduce the concept of space tourism. Space tourism looks as something really far away, but it’s not: despite the sudden halt of space exploration in the ‘70s due to the contraction of public expenditure for space programs and the suppression of the Apollo program, nowadays things are slowly changing. On of the main reasons is a growing presence of market operators in the aerospace sector. This has triggered a race towards technological innovation with a view to lowering the costs of launch vehicles. Still, it must be noticed that, until nowadays, more or less only 10 people worldwide can really be described as space tourists: from 2001, these people (mostly businessmen or billionaires) were hosted for a few days in the ISS (International Space Station. The discourse on space tourism, however, presents numerous facets: different types of offer, challenges to be faced and various types of demand. Making a distinction between the different types of space tourism is the first step to understanding the characteristics related to supply and demand. It is in fact possible to list 3 different segments of space tourism, namely: orbital tourism, sub-orbital tourism and point-to-point tourism. Orbital tourism Travelling outside the Earth’s orbit means discomfort and permanency in spaces with a maximum diameter of 4,5 m. Such tourism is not for everyone, from all standpoints: physical, mental and economic. However many companies nowadays are developing new technologies and new services conceived for orbital tourism with designs of the spaces and services specifically intended for citizen space exploration. The costs of this type of tourism, in its next evolutions too, will remain extremely high for many years to come, even if companies are investing to create cheaper systems for transporting both astronauts and civilians. Sub-orbital tourism A lot cheaper, and therefore potentially accessible to a larger public, is the growing market for sub-orbital tourism, with many operators vying for conquest (EG. Virgin Galactic aims to offer microgravity experiences, so passengers can feel weightlessness for about 6 minutes while gazing at the curvature of the earth standing out against the darkness of space). Therefore, the real question is whether sub-orbital trips can really be considered as tourism. From a definition standpoint, tourism implies at least one overnight stay in a destination. The duration of sub-orbital trips is limited and the destination doesn’t really exist. In fact, the sub-orbital experience can be considered as boarding on a space vehicle, Creative Industries and Tourism – For attending students (A.Y. 2019-20) Written by Vittorio Ottaviani 5 Many international organisations like UNESCO or the Scientific and Cultural Organization have progressively joined the debate, dedicating important surveys, publications and programmatic documents to the creative economy. For example, according to the European Parliament’s report on EU policy for cultural and creative industries (2016), in Europe cultural and creative industries provide more than 12 million full-time jobs (7,5% of the EU’s work force), creating approximately 509 billion in value added to GDP. ___CREATIVE ECONOMY AND TOURISM Creativity has become important in the knowledge economy, supporting economic growth and job creation. Linking the creative industries with tourism can boost demand, stimulate innovation, add atmosphere to destinations and improve place image. Developing new forms of creative tourism involves the use of different creative sectors and content and the application of new technologies. Creative industries offer a wide range of opportunities for the growth and development of tourism, as well as supporting a more innovative approach to tourism and making possible to outline new forms of travel experiences. For example creative industries can be added as an extra element to the destinations’ cultural offer (EG. design week) or can even supply tourist goods and services (EG. intermediate goods). Nowadays, in fact, creative and cultural industries (CCIs) are now an element of great recognition and attractiveness for territories, and many important place branding strategies in recent decades have focused on the creative industries. Culture for tourism, tourism for culture As the creative economy has gained importance, the linkages and synergies between tourism and the creative industries have also grown, showing that they are bounded by a mutually beneficial relationship. In fact, on the one hand tourism can help to promote and sustain cultural heritage and cultural production: tourism can increase the flows of people visiting a particular destination and doing so it will be easier to raise awareness of the existing heritage, both the tangible one (EG. monuments, museums...) and the intangible one (EG. typical products...). On the other hand culture can promote innovation in the tourism industry and strengthen destinations’ competitiveness, by diversifying the offer, reaching new targets and reinforcing the image of the destinations. BENEFITS OF CREATIVE INDUSTRIES FOR TOURISM BENEFITS OF TOURISM FOR CREATIVE INDUSTRIES  Develop and diversify tourism products;  Revitalize existing tourism products;  Add atmosphere and “buzz” to places;  Overcome the limitations of traditional cultural tourism models.  Valorize creative assets;  Expand the audience;  Support innovation;  Improve the image of Countries;  Open up markets. ___NEW TRENDS OF CULTURAL TOURISM Originally, the creative tourism concept mainly referred to active learning experiences (tangible culture). Over time, the creative tourism label has been applied to a wider range of activities, to include more passive forms of creativity, as well as less tangible forms of culture. In the traditional CULTURAL TOURIMS the core assets were largely related to built heritage. On the other hand, the core assets of CREATIVE TOURISM INDUSTRIES are not just Creative Industries and Tourism – For attending students (A.Y. 2019-20) Written by Vittorio Ottaviani 6 based on cultural heritage, but also on the knowledge generated by contemporary creativity by both producers and consumers. It is also important not to confuse creative industries with intangible heritage (focused on traditions and cultures), as creative industries are more concerned with contemporary creativity, even if they may often use traditional culture as a source of inspiration. Creative tourism as a blended economy Creative tourism is a sub-segment of cultural tourism, based on cooperation between tourists and residents to develop creative and participative experiences. It’s considered a new generation of tourism, a more interactive one. As the creative economy has evolved and gained importance over the past 2 decades, the boundaries between the creative sectors have softened, resulting in a wider and blended economy. For example, nowadays contemporary culture and creativity mix with MICE sector, with hospitality and travel, but also with web platforms and local systems. The creative industries are innovating the traditional relationship between tourists and the cultural product. In fact, creative industries play a critical role in increasing attention of tourists for creative experiences, enabling them to play an active role in the co- creation of their tourist experience. ___CASE STUDIES Creative Austria Creative Austria is a destination marketing partnership among some of the main cities of the Country, and its main role is to generate and distribute content related to the contemporary creative scene. It covers all creative sectors, but is particularly focused on the intersection between contemporary culture and the creative industries. Contents must be clearly linked to one of the partner destinations and provide a reason to visit. The main target groups for Creative Austria are cultural opinion leaders, cultural journalists, cultural and creative professionals and younger cultural tourists. The strategy of complementing the established marketing programs of the tourism organizations with a focus on highly interested cultural influencers gives a clear framework for the planning of the operational marketing activities and allows international target groups to be reached very effectively, even with a fairly small budget. Creative Paris Paris has made creative tourism one of its tourism policy priorities, through courses and workshops that promote synergies between the tourism and creative industries. These workshops respond to the recent explosion in individual creative expression, stimulated by digital technology. Creative Paris aims to enable the emergence of new forms of social interaction and conviviality between people, especially among locals and tourists. Two famous projects promoted by Creative Paris are the “Welcome City Labs Program”, which enables co-creation between tourists and residents and supports innovation and “Cookening”, a portal that brings individual diners together with hosts, who will share a meal with them. Many of the concepts developed in this way rely on the new possibilities for sharing experiences that have emerged as a result of new technologies and the growing need for people to come into contact with each other via relational tourism. ___CREATIVITY TO ENHANCE DESTINATIONS’ IMAGE The interaction between tourism and culture has been one of the main areas of tourism development in recent decades. Today, however, there is the need to change because of the great transformations that have invested tourism. It is very likely that in the future creative Creative Industries and Tourism – For attending students (A.Y. 2019-20) Written by Vittorio Ottaviani 7 industries will play an increasingly important role for policy makers in charge of enhancing the distinctiveness of territories and destinations, as well as bring innovations to the traditional tourist-cultural products. Creative industires not only are an important element in the cultural offer of destinations (EG. design weeks, food & wine…), but are also searching for innovative ways to enhance the role of tourists, making them active creators of the touristic experience (creative value co-creation). Thus, new forms of tourism are emerging, based on contemporary creativity and on the customized preferences and desires of travellers, creating new and innovative sources of growth. Moreover, creative content can be injected into tourism products and experiences, and can also be used to develop content exports, offering potential for economic growth and diversification of economies (EG. tourists who travel in Italy taste italian Espresso, and then they’ll decide to buy a coffe machine when they’ll go back home). To sum up, creative industries are strategic for:  Place branding (EG. Finland strongly uses Angry Birds in its promotional campaigns);  Product and process innovation (EG. hotels with unique design and fashionable features);  Tourism expenditure and export promotion (EG. “Made in” products). ___MADE IN ITALY AND TOURISM In Italian design companies, the shipping department clearly shows how Italy is an export-oriented country. The interaction between tourism and the CCIs shows the strengthening of tourism spending and the development of new markets through the promotion of “Made in Italy” and at the same time the promotion of products made in Italy thanks to tourism. To do this it is necessary to explore this relationship on multiple levels, identifying cultural opportunities in an enhancement perspective. It is a challenge that involves articulated interventions in the governance of the territory, but which will allow the creation of new platforms for tourist use. Creative Industries and Tourism – For attending students (A.Y. 2019-20) Written by Vittorio Ottaviani 10 ___CURRENT AND POTENTIAL DEVELOPMENT The food and wine sector is constantly evolving, which is why new and alternative offers are developing, capable of diversifying the proposals, also from a touristic point of view. The goal is in fact to connect food and wine with apparently completely disconnected offers: by defining a target more precisely, it will be possible to create interesting and innovative experience. A first example is the connection of wine with art and design. Festivals like “Jazz & Wine” or “L’architettura del vino in Alto Adige” (Wine and architecture) are based on the dichotomy of love for good music and good wine, or perhaps love for some particular forms of architecture. These events include live-concerts, temporary exhibitions and tastings of fine wines, but also theater operas, just to name a few. The role of wine producers is very interesting in this sense, as they not only provide wines, but also find connections with the cultural and tourism sector with collaborations and partnerships. Proceeding, another opportunity is given by food markets and by glamping (glamor + camping), in which an environment or an offer that is born "rustic" is transformed into something fancier. Some examples, such as the "Mercato centrale di Firenze", aim to increase quality, making the experience more refined, but without renouncing the traditional nature of the original offer. Wine routes, on the other hand, are completely focused on wine production, and are developed as touristic itineraries, sometimes integrated with museums (usually focused on the story of wine) and that possibly involve local actors, like public transportation. As anticipated, the integration with territorial offer is something that organizers should consider when developing their proposal. From transportation to accommodation, from museums to interactive exhibitions or even the visit to iconic buildings of the territory. Memorable experiences When developing a food and wine touristic proposal, the final goal is to provide not only a meal, but a memorable experience. To do so, it is necessary to adjust the offer depending on the customer. A first example is to diversify tastings by targets (EG. higher spenders will have the possibility to try more gourmet products), or maybe to organize events and unusual experiences (EG. pic-nic). Some companies, like Campari, are also focusing on innovative interpretations, where tourists can immerse themselves in interactive and multimedia spaces. Company museums not only display historical items, but also project customers into the future, with digital and immersive experiences. A good technique is to involve all 5 senses, by letting consumers experience firsthand the production process, thus also satisfying the pleasure of co-creation. The customization of the experience, moreover, is more likely to be the basis for the creation of communities, which will probably communicate the product to friends and families via word of mouth. Last but not least, the experience begins before the arrival: a well structured and constantly updated website, and possibly even an online booking function are two aspects that organizers should take into consideration when creating the offer. Creative Industries and Tourism – For attending students (A.Y. 2019-20) Written by Vittorio Ottaviani 11 DESIGN AND FASHION FOR TOURISM Design and fashion are two sectors related to creative industries, and among the ones with major interactions with the tourism filiere. The links between tourism and the fashion/design are almost countless, with fairs, festival and events, but also dedicated museums, tours and even shopping districts within (or outside) the cities. Moreover, the UNESCO nomination of Creative Cities is a driver for further development, making those destinations able to attract relevant amounts of economic capitals. ___FAIRS, FESTIVALS AND EVENTS: THE CASE OF MILAN Among the numerous events related to design and fashion, the concept of the weeks is one of the most famous and widespread in the world. For example, "World Desing Weeks" is a network aimed at elevating the global conversation, education and connection of people and design. Many cities around the globe organize events and festivals according to the principles of this network and are promoted in a coordinated way. One of the cities that have strongly associated itself to fashion and design is certainly Milan, which is commonly considered a capital in this sense. The events held in Milan related to fashion and design are among the most anticipated and followed, and the tourism sector benefits from them too. The events not only attract tourists, but also characterize the offer in terms of products/services and help define the positioning of the destination. Focusing on design, let’s see some data about Salone Internazionale del Mobile. In just one week, this fair attracts 300.000 visitors and 2.000 exhibitors, generating over 200 million euros, with benefits mostly concentrated in Milan, but that also extend to Como, Varese, Monza and other provinces of Lombardy. Data also explain that of these 200 million euros, 158 go to the hospitality, while 19 million euros are attributable to shopping. Fuorisalone and the concept of districts Fuorisalone was born as a collateral offer of the Salone del Mobile, which takes place “outside” the main venue, widespread in the city. Nowadays, however, its importance has increased dramatically, to the point that some people come to Milan to participate to Fuorisalone, choosing from a rich list of events organized independently by individual companies of the sector. The interest of Fuorisalone is linked to the ability to attract in conjunction with business and leisure tourism flows, as well as the ability to “activate” the cultural offer of the city (many artists create temporary installations during the week). Fuorisalone is mainly concentrated in 3 districts, namely Zona Tortona, the area of Lambrate/Ventura and the historic neighborhood of Brera. Zona Tortona, is very important in this sense, since it used to be an industrial area, home of international and Italian companies, but has progressively undergone a requalification process. Nowadays the former industrial sites have transformed into establishments used for activities related to the world of fashion and design (EG. Armani Silos). Thus, Zona Tortona nowadays is one of the trendiest and most creative districts of Milan, also thanks to the events of international visibility that animate the neighborhood during the design week. As anticipated, the presence of Fuorisalone had among its effects the districtualization, through which some areas of the city were able to rebrand themselves. It is the case of 5 Vie, a district with a strategic position in the heart of Milan, being only few steps away form Sant’Ambrogio, Duomo and Cordusio. 5 Vie is one of the oldest neighbors of the city, and now it uses its strong brand identity to promote many innovative projects. Said differently, the so called “5 Vie Art + Desing” is a territorial and cultural macro-project for the enhancement of the historic center of Milan. Creative Industries and Tourism – For attending students (A.Y. 2019-20) Written by Vittorio Ottaviani 12 ___MUST-SEE MUSEUMS: THE CASE OF VITRA Museums are usually considered as places dedicated to knowledge and learning. Must-see museums are museums with enormous fame and media relevance, often able to attract huge tourist flows, including international ones, as they are so famous to be worth the trip alone. Usually the most common example of must-see museum is the Louvre in Paris, but it is possible to find must-see museums also connected to the world of fashion and design. In this sense, the most iconic design museum ever is probably the Vitra Design Museum. Vitra – founded in 1957 – is a Swiss furniture company that started its business after the Second World War, with the licensed production of furniture from the Herman Miller Collection for the European market. The company became famous in 1967, when it introduced the first cantilever chair out of plastic (Panton Chair). Nowadays, the Vitra Design Museum is among the world's leading museums of design, as it is dedicated to the research and presentation of design (both past and present) and examines design's relationship to architecture, art and everyday culture. In the main museum building, Vitra annually mounts two major temporary exhibitions, where it presents key objects from Vitra extensive collection. What makes this case study important is not only the fame of Vitra, but also and above all its relation to tourism. Although the museum is located in Germany, beyond the Swiss border, Vitra is one of the offers included in the Basel city card. This confirms both the strong identity of the company and the ability of tourism bodies to recognize interests of the flows of tourists staying in the city. ___DESIGN TOURS AND SHOPPING Design tours are itineraries thanks to which the visitor can discover destinations with a strong vocation for design. They can range a lot, from visiting interiors furnished with prestigious brands (EG. Danish Interior of Visit Copenhagen), to visiting prestigious textile companies (EG. Textilmuseum of St. Gallen), up to tours to discover the handmade tradition (EG. Brianza Experience). Focusing on the Brianza Experience offer, it turns out that it is an umbrella brand created by 10 municipalities and 2 universities, which works to promote new experiential tourism itineraries. The project turned into reality thanks to the aggregation and commitment of local producers, who benefited from Expo 2015 as a launching pad and created the Brianza Experience brand. Nowadays, producers continue to structure new activities and experiences to attract new tourists. ___UNESCO CREATIVE CITIES NETWORK The UNESCO Creative Cities Network is not strictly related to fashion and design, as it promotes cooperation with and among cities that have identified creativity as a strategic factor for sustainable urban development. The numerous cities that are currently part of this network work together towards a common objective: placing creativity and cultural industries at the heart of their development plans at the local level and cooperating actively at the international level. As a beneficial effect of belonging to this network, the registered cities have been renewed and requalified over time, becoming more attractive also from a tourist point of view, as in the case of Seoul in South Korea. Joining the UNESCO network, in fact, results in greater ease in attracting creative capital, which will help to give a new identity to the city. ___OTHER BENEFITS OF DESIGN AND FASHION The design and fashion sector brings with it numerous advantages. As seen before, many tourist destinations use this particular creative industry to increase their possible Creative Industries and Tourism – For attending students (A.Y. 2019-20) Written by Vittorio Ottaviani 15 ARTS AND CRAFTS TOURISM Arts and crafts is a sector of creative industries, focused on artisan production, usually linked to local traditions. Crafts have experienced a period of decline in recent decades, due to globalization, which had led to fierce competition based on production costs, as well as to the development of fake products that have critically undermined the revenues of many craft businesses. On the one hand, globalization has also given fresh impulses to the creation of a "global economy of culture" and to mass consumption of cultural products, thus stimulating the interest in other cultures and promoting particular types of traditional artisanal products. As a result, crafts are currently enjoying a comeback and often have a leading role in the success of many important companies, which entrust to them not only the more delicate phases of production and promotion of their image on international markets. ___CHALLENGES AND THREATS Many arts and crafts businesses are currently exposed to a number of threats and challenges, due to both external and internal factors. Among the EXTERNALS, the recent economic crisis has changed access to credit and access to markets. In addition, demand has also evolved over time, becoming more international, informed and looking for higher standards. Finally, many craft shops that operating in city centers must take into account the high costs of the real estate market. Among INTERNAL factors, on the other hand, the transmission of know-how to future generations often ends up clashing with the search for balance between innovation and tradition. Moreover, it is also necessary to preserve the quality and originality of the products, especially in a market where counterfeits are widespread. ___LOCAL PRODUCTION AND TOURISM Sometimes the relationship between tourism and local production may be problematic. If managed well, it can bring numerous advantages to both the producer and the destination, while if not, tourism can act as a threat for craftmanship. On the one hand, the tourism pressure results in a growing competition among the artisans, who not only have to make price-wars, but also have to compete for the use of commercial spaces in the city. The limited spaces force the craftsmen to move to the peripheries, leaving the center empty and causing a trend of gradual separation between the workshop and the store. On the other hand, tourism plays an active role in the promotion of handcrafted products, which can also be showcased by tour operators and hotels. Even periodical events held in streets and squares are an important vehicle for the presentation of typical artisanal products to a broader public. Elements for a good strategy As said before, it is necessary to manage tourism properly in order to gain the expected benefits and to do so, good strategies are essential. The first step is to protect and promote the tradition. There are numerous ways to protect traditions, from the adoption of certifications to ways of production that meets quality standards. Even the concept of promotion is also very broad, ranging from exhibitions to communication on different types of media. Tours and events are commonly part of the strategies for the promotion of certain traditions and handcrafted products. However, the aspect that perhaps most absolutely deserves to be considered when planning a strategy is information. Local producers – or perhaps performers of a typical local Creative Industries and Tourism – For attending students (A.Y. 2019-20) Written by Vittorio Ottaviani 16 event – must inform visitors and buyers. It is important that they understand the unique characteristics of a certain product/tradition, as well as its history and evolution. To reach these goals, many actions can (and should) be undertaken, even at the local level. For example, producers can offer an ever-increasing range of services and micro- services, like street events or the personal shopper, who takes tourists to artistic workshops. A concrete case study is the one of Florence, where fairs, events and market exhibitions are held annually in historic buildings, organized thank to the collaboration of different stakeholders, such as the hotel association, tourism promotion office and a number of private foundations. Case studies in Tuscany and Veneto ARTour Toscana and Artigianato a Palazzo are two offers that combine cultural tourism and the discovery of typical Tuscan craft traditions. These two itineraries are presented as alternative routes, more sensitive to the local artisan traditions, showing the characteristic elements of the creative process, as well as its protagonists. The aim is to highlight the professions related to artisan production, through direct visits and experiments, in the places that historically have characterized the arts and crafts sector, such as the workshops and the laboratories near the historic villas. The project "Le Mani Raccontano" is a collection of slow tourism itineraries with which to visit ateliers and Venetian artisan shops. This is an offer aimed at supporting micro and small-sized Veneto businesses in the recovery, enhancement and communication of their historical and cultural heritage and their traditional artisan production. ___ARTS AND CRAFTS VS. FISHERIES Among the countless forms of arts and crafts, it is also possible to include artisanal fishing, which includes various small-scale, low-technology, low-capital fishing practices undertaken by individual fishing households. Due to modern commercial fishing practices, artisanal fisheries are experiencing a strong decline in income and job rate. Thus, many artisanal fisheries decided to address this challenge with a diversification of their activities, looking at tourism as a solution to their problems. Although the environmental impact is certainly lower than commercial fishing, one wonders if tourism can actually be a remedy, or if instead it risks damaging the situation of these artisans even further. In fact, in addition to the costs necessary to train staff in the management of tourists, this choice may risk further distancing the focus from traditional fishing, which would become dependent on tourist demand. ___LEVELS OF STRATEGY FOR NEW TRENDS OF TOURISM Arts and crafts tourism, as well as almost any other new form of tourism linked to creativity, needs well-defined strategies to make the offer attractive to the market. It is possible to distinguish between 2 macro levels of strategy: the one at the company level and the one at the territorial level. Strategies at the company level The first level to consider for the creation of strategies that develop the tourist offer is precisely at the company level. Each firm, in fact, should develop 4 different strategies, summarized in the 4Ps of marketing: product, price, place and promotion. To develop these strategies, also known as the marketing mix, it is first of all necessary to know the firm’s target market, including its products, customers, but also competitors. Going into detail, a product strategy usually concerns which and how many product lines to offer to the customer. The pricing strategy is often associated to the product Creative Industries and Tourism – For attending students (A.Y. 2019-20) Written by Vittorio Ottaviani 17 strategy, as different products with different characteristics will have to be sold at different prices. Taking a concrete example, Antinori is a Tuscan wine company, which in addition to producing wine, has organized some tours and visits, each one focused on a different type of experience. Since the duration and number of features of each tour is different, Antinori has chosen to sell these itineraries at different prices. An even better option is to customize tours for specific market segments, according to customers’ interests, expenditure capacity, but also length of the tour and so on. Penfolds – an Australian wine producer – and Scotch Whiskey – a Scottish company – can be used as examples in this sense, since they provide very diversificated experiences (EG. the silver, gold or platinum tour for Schotch Whiskey progressively add contents, increasing the duration of the tour and so the price). In marketing mix, place and promotion usually refer to the distribution strategy, as the producers should decide in advance which market to address an order to focus on 1 or more specific channels, depending on both geographic aspects and type of media to use. Yet, in tourism place may also refer to the places where the tour takes place, and therefore it becomes necessary to consider which areas to include in the itinerary. Strategies at the territorial level Although companies are progressively gaining a new role as true attractors, they do not always have a clear overall view about tourism and may not consider it as an opportunity. Moreover, companies usually have organizational and productive needs that are far from those of tourism. Thus, alongside with private companies, the public entity must take on new roles, becoming aggregator, facilitator and service provider for companies of the private sector. Public bodies should be active in policy making, but also have a fundamental role in the promotion, aggregating the offer and communicating it in a unified way to customers, especially foreigners. The creation of networks for territorial cooperation is therefore an essential step for the development of the destination, even if in many contexts it is a difficult issue for numerous reasons. For example, many destinations still lack in economic resources, skills and confidence. Moreover, territoriality issues like the definition of borders make more difficult to apply certain policies, thus mining the success of cooperation. Territorial cooperation network: the case of Motorvalley Despite the difficulties, territorial cooperation networks are still a necessary goal to which destinations must aspire. Luckily, there are some success cases both abroad and in Italy, like Motorvalley, a network that connects many famous motor companies and racing teams (EG. Ferrari, Lamborghini, Maserati…). This cross-industry project gathered global brands linked to the world of motors that arise on the Via Emilia, together with race tracks, collections and experts, which together create an environment like no other worldwide. Born in the 2000s, the project saw the province of Modena be the first to guide the other cities to organize a series of events focused around motor-based projects and exhibitions. As it was a success, in 2002 Emilia Romagna Region promoted an embryonic version of the cluster and, in 2004 it officially took the lead of the project, spreading it on a national scale. Nowadays, this project is an opportunity for the entire Region to rethink the touristic offer in term of enhancement of its historical and manufacturing background. Furthermore, this case study is unique also thanks to the collaboration with local actors (EG. shuttle bus companies for the tours) and the connection with filieres that are not strictly connected with motors: Modena, for example, promotes itself as the birthplace of both Ferrari and Luciano Pavarotti, a famous lyrical singer. Creative Industries and Tourism – For attending students (A.Y. 2019-20) Written by Vittorio Ottaviani 20 the achievement of common goals: only when there’s a common ground there’s the possibility to build a product club. Thus, stakeholders can consider joining the club if they are interested in promoting their territory, perhaps by offering a high-quality innovative product. Furthermore, one of the most common objectives is surely the achievement of a competitive advantage, and the creation of partnerships between the actors allows to obtain numerous benefits, including those of an economic nature, such as economies of scale or the sharing of know-how. Yet, to effectively work, a product club needs some basic conditions, without which it would risk collapsing. The presence of common objectives has already been anticipated, but to this it must be added the presence of similar interests for the members and, more importantly, the commitment and cooperation of all. Focusing on interests, these should be separated from the objectives, as the interests concern the inclinations and passions of the members (EG. it is easier to organize a bike tour if the hotel owner also has a passion for bicycles). Benefit of product clubs The benefits of developing a product club are manifold, and can be divided into 3 macro categories, depending on the type of subject that benefits from it. The benefits are then divided into: benefits for members, for the destination and, finally, for tourists. Club MEMBERS can enjoy numerous economic benefits as their market is likely to expand. Better market penetration, perhaps achieved with less effort, will result in greater competitiveness, and probably in an increase of the market share. Furthermore, being in partnership with other stakeholders may results in more complete forecasts of the seasonal demand. Finally, the benefits also include an increase in credibility and business image. the benefits for the DESTINATION concern improvements of the offer, as the collaborating subjects are more likely to share their know-how. This will not only positively influence the employment opportunities, but will also lead to an increase in the skills and competences of the workers themselves. Moreover, by offering a better service, it is plausible to think that the image of the destination will also improve. Lastly, forecasts of demand are likely to improve in reliability also at the destination level. Last but not least, TOURISTS benefit from product clubs since there is a greater variety of options to choose from, as well as a higher quality of the products themselves. ___HOW TO SET UP A PRODUCT CLUB 5 elements for a good product club Before going into the details of how to set up a tourism product club, it may be useful to analyze the 5 key elements for its creation. These elements are:  Concept= an idea of a specific, innovative product, able to respond to the motivations of a very specific target;  Romance= a narrative that allows identification with the target and that generates interest;  Shared values= a system of shared values and a common culture of hospitality;  Value proposition= a good balance of perceived value by the customer and the quality of the product offer;  Marketing mix= a proper marketing mix. Steps to set up Some steps are required to form a product club, first of all IDENTIFYING THE MEMBERS of the club. In fact, all members must be related to product development. As Creative Industries and Tourism – For attending students (A.Y. 2019-20) Written by Vittorio Ottaviani 21 already mentioned, it is desirable that they also have an interest that unites them, so as to give rise to the "spark" for the development of a product idea. This interest can also be an indicator of the commitment that the selected subjects can show towards the project. Finally, the choice of components must also pass from an analysis of the advantages that these subjects can bring to the development and success of the product. The second step is the DEFINITION OF A BUSINESS MODEL. This includes stating the objectives of the club, the criteria for its membership and the implementation tools. During this step, it is a good idea to design promotion and marketing strategies. The criteria for membership are of primarily importance, because they serve as a barrier to entry for free riders, and help selecting only the most suitable actors. After the business model comes the DEVELOPMENT OF THE MANAGEMENT MODEL. During this phase the founders must define the legal aspects for the constitutions, as well regulations, the management structure and the funding model. This step marks the transition from theory to practice, as here are defined the the club's regulatory and economic structure, as well as the tasks of each stakeholder included. Once the previous steps are completed, the club is born, and the activity can START. the partners will therefore have to meet in work sessions to establish the actions to be carried out, such as the development of new products, a market research or the start of a communication campaign. Last but not least, MONITORING AND EVALUATION are essential actions, as the club needs to understand if the activities are producing the expected results. ___EVENTS Among the actions on the offer that the destination (or the product club) can undertake is also the organization of events. Events, in fact, in addition to promoting and communicating the destination in a distinctive way, can respond to specific needs of destination management. Moreover, events are commonly used as become attractors of tourist flows and in some cases can even outline the very image of a destination (EG. Milan's fashion week over time has given the city the title of fashion capital). To enhance the potential of the events, some rule of thumbs state that the main event should be as close as possible to the pertinent theme, and the offer should be organized around it. Linking the event to a product club can help to better satisfy and exploit the needs of the reference group. Moreover, the organization of side events in the days before or after the main event has 2 purposes: to amplify the notoriety/image of the event and to create new travel motivations, especially when the event is outside the classic tourist season. Last but not least, organizing and creating tourist packages is a way to provide the customer not only the event itself, but a complete experience that which emphasizes the offers of the destination, increases the degree of customer involvement and, possibly, extends the duration of the visit.