quality:correction
Creative tourism

Creative tourism has existed as a form of cultural tourism, since the early beginnings of tourism itself. Its European roots date back to the time of the Grand Tour, which saw the sons of aristocratic families travelling for the purpose of mostly interactive, educational experiences. More recently, creative tourism has been given its own name by Crispin Raymond and Greg Richards, who as members of the Association for Tourism and Leisure Education (ATLAS), have directed a number of projects for the European Commission, including cultural and crafts tourism, known as sustainable tourism. They have defined "creative tourism" as tourism related to the active participation of travellers in the culture of the host community, through interactive workshops and informal learning experiences.

Meanwhile, the concept of creative tourism has been picked up by high-profile organizations such as UNESCO, who through the Creative Cities Network, have endorsed creative tourism as an engaged, authentic experience that promotes an active understanding of the specific cultural features of a place. UNESCO wrote in one of its documents: "'Creative Tourism' involves more interaction, in which the visitor has an educational, emotional, social, and participative interaction with the place, its living culture, and the people who live there. They feel like a citizen." Saying so, the tourist will have the opportunity to take part in workshops, classes and activities related to the culture of the destination.

More recently, creative tourism has gained popularity as a form of cultural tourism, drawing on active participation by travellers in the culture of the host communities they visit. Several countries offer examples of this type of tourism development, including the United Kingdom, Austria, France, the Bahamas, Jamaica, Spain, Italy, New Zealand and South Korea.

The growing interest of tourists in this new way to discover a culture regards particularly the operators and branding managers, attentive to the possibility of attracting a quality tourism, highlighting the intangible heritage (craft workshops, cooking classes, etc.) and optimizing the use of existing infrastructure (for example, through the rent of halls and auditoriums).