Jelinii,, Daniela Angelina and Z uvela, Ana.

Facing the Challenge? Creative

Tourism in Croatia

Instruction
for
citation:
Jelini,
Daniela
Angelina
and
uvela,
Ana.
Facing the Challenge? Creative Tourism in Croatia // Journal of Tourism Consumption and Practice. 4
(2012) , 2; 78-90.

Facing the Challenge? Creative Tourism in Croatia

The creative buzz
Tapping and stoking the creative furnace inside every human being is the great challenge of our time
(Florida 2005: 4).
It has been now a full decade of increasing popularity of the word CREATIVE, where everything and
anything got the creative prefix; from creative industries, creative classes, creative economy,
creative cities, creative business, creative governance to creative tourism. The buzz has been going
on for quite a while given that we live in more instantaneous times, where technology and market
ideology impose rapid changes and shifts from one trend to another.
It can be said that the creative times proved to be good times; the numbers on economic impacts of
creative industries were staggering, thick studies were published on new global and European
creative economy while the whole regions, even countries were branding themselves as global
creative hubs. The role of creativity in formation of a city, nation, organization is not entirely a
novelty phenomenon and practice, but with the decline of physical constraints on cities and
communities in recent decades, creativity has become the principal driving force in the growth and
development of cities, regions and nations (Florida 2005: 1).

In the process, the so called creative cities have been proliferating in Europe and North America,
revitalizing the economy of urban centres through cultural and social developments offering
attractive jobs, particularly to young people (Creative Economy Report 2008: 5), and most
specifically in the domain of creative industries.

Nowadays in the most advanced countries, the creative industries are emerging as a strategic choice
for reinvigorating economic growth, employment and social cohesion. Numbers show that creative
industries are among the most dynamic sectors in world trade. Over the period 2000-2005,
international trade in creative goods and services experienced an unprecedented average annual
growth rate of 8.7%. The value of world exports of creative goods and services reached $424.4
billion in 2005, representing 3.4% of total world trade, according to UNCTAD (Creative Economy
Report 2008: 4-5). Comparing it to 1996, when this value was $227.4 billion, the dynamism of the
sector is more than obvious. These numbers validate statements which claim that over the past two
decades, creativity has become the key impetus of global economy, instigating explosion in creative
sector, adding millions of jobs and billions in revenue world-wide.

Subsequently, the contemporary creative world marked by economic reasoning, justification and
imperatives got arts and culture to follow in the quest of financial pursuit. As a result, arts and
culture today are validated by the creative economy, a term popularized by urban theorist Richard
Florida, who argues that supporting artist, thinkers, inventors and others in the so-called creative
class results or should result in net economic gains for cities and governments. The role of culture
and creativity soon became interpreted by percentages they make in the gross national product. In a
growing deficit of natural resources, ideas, creativity and experiences soon became to be perceived
and traded as commodities. This has contributed significantly to the greater endorsement of arts
and culture globally, but inevitably it has had some side-effects too.
Since the misfortunate twist of financial faith that started in 2008, the numbers on the creative
potentials are still hovering but are not as impressive anymore. Actually, the whole concept of
proclaiming absolutely everything creative with the prevailing liberal goal of cashing in on the
creativity is under big question mark. Kevin Stolarick, a statistician with the University of Toronto's

Martin Prosperity Institute who helped contribute to Florida's landmark book The Rise of the
Creative Class, said that while the concept may have helped artists, decision makers are increasingly
looking at the arts as just dollars and cents. It's been a trap, Stolarick said. It was very easy to fall
into, 'Gee, we can fall back on an economic explanation to justify ourselves. And that was easy when
times were good, that was good enough reason to justify the expenses. But times aren't so good
anymore. (Arts groups re-think the 'creative economy)
Tourism with human measure
Relatively recent changes that occurred in production, the ever growing industrialization and
eventually greater earnings, resulted in more free time, which is often used for travel. Leisure,
culture and tourism are based on the rationalization of work. Growing rationalization of work
produces with more free time new possibilities for spending time, enjoying leisure, improving
recreation, creating culture and travelling abroad (Nahrstedt 1998: 416).
These changes have impact not only on travel itself, but also on the tourist sector as well as on the
free time a man spend while at home and not travelling. Certain studies show relatively high
numbers of respondents, which participate in various activities during their free time such as
attendance of movies, attendance at sports events, participation in computer hobbies, modern
dancing, drawing, poetry work, weaving, photography, creative writing, buying art work, singing,
etc. (Participation in Various Leisure Activities, by Sex and Age). Also, there are numerous articles and
studies, which show that participation in various creative workshops leaves participants with a
significant feeling of satisfaction (such as Klein EL. Health Confidential, 8/9 (1994), 10., Sellers, P.
Fortune 136/10 (1997), 156., Spencer P. Womans Day 67/16 (2004), 96.).
Leisure has acquired an important role in people's lives which results in the growth of creative use
of free time. The growth of the industry which supplies creative activities also occurred (Jelini
2009: 262) (In Croatia, such changes have occurred around 1995. No research has been done in the
field but the search through the Court Register results in a number of small firms that started their
activities as hobby art centres around 1995 or later. A number of firms also changed their field of
activity into hobby/art field.)

One of the most attractive ways for arts and culture to express their net value and earn financial
gain is surely to become a tourist attraction or become a competitive advantage, added value or vital
component of a tourist destination outline. As a result, cultural tourism is nowadays well
understood concept and practice that is included in most official documents on national and local
development, local cultural and urban planning. Whatever cultural value a community or a locality
has, it is to be further presented, promoted and ultimately it should earn its keep through creative
economy charts. At the same time, major concerns have been rising globally about instrumentalizing
and putting cultural value under crude economic terms. These concerns and issues are mutual to all
aspects of culture; should arts and culture be supported with the understanding that cultural and
arts matter, should wider public be discouraged from understanding culture from an economic
perspective?

Although these questions might seem a bit far fetched or non-relevant to the topic of creative
tourism, they are of pivotal relevance for this new member of the creative family. Creative tourism
is, as far as the definitions, existing theoretical framework and practical examples show, all about
participatory experience of a destination, it steps beyond the usual connotations of tourism where a
person comes to another place to be a spectator, visitor, basically a consumer. From the aspect of a

person who lives in a known tourist destination where everything is made according to the market
calculations of their or tourists needs, which can be both damaging and abusive for the local
community, creative tourism can be understood as a holistic form of tourism, a tourism with human
measure. It can provide a solution to ever-widening gap between us and them, or the locals and
the visitors. At the same time it can slowly turn the focus from profit-making only to experiencemaking destination. From creative family point of view, creative tourism can help restore true
sense of authenticity and interaction without pre-anticipation of the financial result which can, to
some extent, compromise the whole concept of creative, cooperative tourist experience.
Linking creativity with tourism
Creative-minded people enjoy a mix of influences. They want to hear different kinds of music and try
different kinds of food. They want to meet and socialize with people unlike themselves, trade views and
spar over issues (Florida 2004).

Due to changes in production paralleled with new technological developments, increased income
and more free time, a new type of traveller has been created in the 80-ies of the 20th century:
postmodern traveller. Experience, new interests, activity and education are the main characteristics
of the travel requested by this new type of tourists and this new demand results in the continuous
splintering of the tourist market as well as in new specialized forms of tourism (sports, religious,
rural, congress, health, adventure, cultural tourism, etc.). Postmodern tourists start their travel with
the exact vision on what form of local community life they want to participate in; they have special
interests which determine their choice of destination in advance; once in the destination, they do
not expect passive holiday but active development of their own interests complemented with local
diversities, which enrich their existing knowledge. Postmodern characteristics of all these types of
tourists are pretty much the same no matter if their interests are in adventure, rural, cultural or
some other form of tourism (Jelini 2009: 260).

To tourist workers it became clear that tourist supply requires re-shaping according to the
specialized tourism forms. At the same time, and opposed to the mass tourism market, splintering of
tourism in various forms has also resulted in narrow specialized markets called niches. A niche is
defined as a focused targetable portion of a market addressing a need for a product or service that is
not being addressed by mainstream providers. A niche market may be thought of as a narrowly
defined group of customers (Jelini 2009: 260).
Cultural tourism has long time been considered as a niche market. Since tourism market has
continuously been splintering, the concept of a niche also changed. Numbers also show a continuous
growth in cultural tourism and it can be said that cultural tourism has become mass tourism
activity. Many destinations have developed in tourism sense based solely on cultural offer. As
Jenkins and Jones claim, the niche sells the location, not the other way around (Jenkins & Jones
2002: 81).

So what does creativity have to do with it? Due to the mentioned changes, it is obvious that one had
to be creative in various aspects: firstly by linking culture with tourism in order to find additional
sources of financing because of the ever growing cuts in public expenditure for culture; secondly, by
making tourism money on a rather narrow specialized market of cultural tourists; and thirdly, by
enhancing the experience for postmodern tourists which is one of their main requirements while
travelling. It can be supposed that the very creative tourism developed out of the need for enhancing
experience for travellers creating a participatory form of cultural tourism.

Raymond defines creative tourism as a development from cultural tourism, which involves learning
a skill on holiday that is part of the culture of the country or community being visited. Creative
tourists develop their creative potential, and get closer to people, by actively participating in
workshops and learning experiences that draw on the culture of their holiday destinations
(Raymond). It is, therefore, even more specialized market niche within cultural tourism, which
corresponds with the postmodern concept of tourism since it promotes experience activities.

From the tourist perspective, it certainly adds to one's experience if directly involved in the
destination's cultural activities. Still, how far can the development of creative tourism go? History
teaches us that many local traditions have been changed according to the visitors' expectations and
led to the invention of tradition or fabrication of authenticity; besides, modern experiences of
tourism development show animosities of locals towards tourists since they practically intrude in
their everyday lives. Therefore, should tourist participatory activities be avoided or even banned if
changing or intruding the local culture? Or would it mean violating the World Trade Organization's
Global Code for Ethics in Tourism which stands for the freedom of tourist movement? Excluding the
possibility of tourists' participation in local cultural activities could be treated as such although it
enables a perfect tourist experience. So where is the limit? Or is everything about the money and
creative ways of making it?
Contextualizing creative tourism

The aim of this article is not only to provide a descriptive insight in ratios and associations between
cultural tourism, mass tourism and creative tourism but to contextualize creative tourism and its
development in post-transitional environment heavily laden with forms of heritage tourism and
new-found avarice for profit making and somewhat disorganized positioning on the global tourism
market. The case studies focus on two Croatian cities: Zagreb and Dubrovnik. The first one is based
on the recently undertaken research titled Zagreb as a cultural product which investigated
cultural and creative industries potential in Zagreb in the context of defining contemporary cultural
identity of nation's capital and contributions to local economy. In addition, another Croatian city,
Dubrovnik is mentioned for its traditionally famous cultural identity, for proven status it has for
both cultural and mass tourism with still reluctant incentives of creative tourism that are slowly
emerging.
Croatia is now a well recognized tourist country, or as Croatian national brand doctors would say, a
small country for a great holiday. The tourism industry in Croatia has a long history that reaches
long into the beginning of the past century. The main characteristics that have made Croatia known
as a tourist destination are extraordinary natural landscapes and grand resources of cultural
heritage. To be more precise, a country of just over 4 million inhabitants encompasses both
Mediterranean and Central European culture and climate, 2000 km of coastline, 1.246 islands, 6
cultural properties inscribed on the UNESCO heritage list, one natural property, and 10 cultural
traditions and practices listed as the intangible cultural heritage of humanity. Moreover, there are
numerous arts festivals as well as cultural infrastructure which are great tourism attractions, the
crystal blue color of the sea or gastronomic wonders which add to it. The economic importance of
tourism in Croatia is best explained through the amount of 22% of GDP that this industry achieves
with steady annual growth of 7.5%.
Despite that and despite the fact that policy documents in the field of tourism exist (always for the
certain short-term period), their impact is not greatly visible in practice. Rather, the great secret of

strategic development of Croatian tourism is that it just is, it just happens, it is a big tourism for
tourism's sake endeavor which does not articulate refined niches of creative tourism.
According to the research by the Institute for Tourism, numbers show that more than 50% of
Croatian tourists visit cultural monuments and 10% of tourists travel to Croatia for pure cultural
motives which is a rather high index of cultural tourism although coastal tourism remains to be the
predominant type of Croatian tourism (TOMAS Summer 2007). Profit from cultural tourism has
never been calculated but it can easily be said that culture has a great share in Croatian tourism
since mass tourists also participate in cultural experiences although their primary motives for travel
are not connected with culture.
The Case of Dubrovnik
One of the European and national highest cultural tourism index is reached in Dubrovnik. Also,
tourists that travel to Dubrovnik for cultural motives are far more numerous (26%) than the
national average (10%) (TOMAS Summer 2007). This petite medieval town is best known for the
exquisiteness of world cultural heritage that is showcased in the ancient city walls and stone-made
old city that is still a living place. Saying that, Dubrovnik as a city is far less living than it was a thirty
years or just a decade ago as it is slowly but surely being sold off to holiday home real-estate agents
which inevitably leads to known seasonality of a tourist place; it is overcrowded during the season
and desolate during the winter months. Statistics show that the peak season (starting from April
through September) results in four times more visitors to cultural attractions than the rest of the
year. Generally, out of total amount of tourists that visit Dubrovnik, 80% make their visit in the peak
season (some 500.000 visitors) while 20% (125.000 visitors) visit the city during the off-season
period.

The overall aims of the local planning and development in Dubrovnik are targeted towards
expanding facilities for the tourist industry. Turmoil in the tourist industry is widespread with most
cultural and arts organizations having to consider themselves as a tourist consumer product. This
over-prioritizing the tourism industry has been known to have a negative impact on local
development as privileging tourist attractions can disadvantage people who live, work, pay taxes
and remain in an area after the tourists leave. These inappropriate commercial imperatives can
result in increased congestion and pollution in historic city centers, towns, and sites. In these
circumstances, creative tourism for locals is not even very welcome as a practice. But still, there are
indications that even under heavy mass, cruise, cultural and heritage tourism lays a need for more
intimate, custom-made, unique visiting experience. Out of 100 travel agencies (registered for
tourism activities only) that operate in Dubrovnik, only one offers creative tourism programmes.
Namely, the agency organizes a course on local embroidery, weaving, folk singing and dancing,
fishing trips and expeditions. These programmes are on offer only by demand and are mostly used
by specialized groups of tourist i.e. politicians, scientists, cultural workers, conference participants
etc. Individual tourists have very limited or no access to organized forms of authentic experiences.
But, this inferior position of creative tourism experiences is expected as the average time that
visitors spend in Dubrovnik is 3.7 days and the volume of heritage objects and sites to be seen is
sufficient to consume that time. The possible solution would be creative approach to presenting
static and living heritage by offering visitors a chance to be more than irritating transitory
spectators.
On the whole, in any attempt to differentiate various types of tourism, it is less important what kind
of income different types make. What is truly important is what kind of experience creative tourism

gives in parallel to mass tourism as manifested by cruise ship industry and how creative tourism
can boost traditional aspects and systems of heritage tourism.

Dubrovnik is stuck in old paradigms of tourist, cultural and overall economic development, in
outdated but, unfortunately still prevalent type of tourism. The case of tourism in Dubrovnik during
the past two decades can be described as nothing short of detrimental fiasco. Still, by the time of
writing this article, a new Dubrovnik Destination Management agency was founded by the local
government as a response to alarming need of re-thinking and re-defining Dubrovnik as a
destination. First statement made by the agencys Director (Mrs. Pave upan Ruskovi, former
Minister of Tourism of the Republic of Croatia) was that a place that is not interesting and pleasant
for its own inhabitants cannot be interesting and satisfying for visitors. This approach of placing
residents and visitors in the equal position is of paramount importance for initiating and enabling
creative tourism development in hitherto mass tourism destination.
The case of Zagreb
While Dubrovnik is struggling with heavy tourism indexes partly owing it to its strong cultural
identity expressed in rich cultural heritage, Zagreb, on the other hand is striving to find its own
contemporary identity. In tourist sense, Zagreb is Croatia's most visited continental destination.
Still, it cannot be said that Zagreb tourists are predominantly interested in cultural experiences:
24% of them are motivated by new experiences and events, 17% by cultural monuments and 14%
of them by entertainment. Although the share of cultural consumption is visible, it is clear that every
sixth hotel guest is not interested in visiting museums (TOMAS Zagreb 2008).
Comparing it with the situation in some European cities, the differences become even more evident.
In Vienna, for example, in 2006 tourists spent around 540 million on culture which is a share of
6.4% of the total tourism consumption. In 2008, the share was even higher (8.8%). Additional 8.2%
was spent on entertainment which often includes culture. 75% of tourists come to Vienna for
sightseeing and 71% for culture and arts (RTSA 2006).

The mentioned data represent cultural tourism while the data on creative tourism, as a new type in
the cultural tourism family are hardly obtained. Practically no research has been done so far
including this type of tourism in Zagreb (or Croatia) although there are a few tourism agencies
which claim to organize creative tourism packages or tours. Still, they are not in line with the so far
accepted and used definition of creative tourism by Raymond and Richards. They either offer tailormade packages according to the tourists' interests or they organize unusual sightseeing tours. Also,
there are marketing agencies (and not tourism agencies) which organize tourism tours as to
broaden their target market which represents creative and innovative ways of doing business.

The only research which included attitudes of cultural tourists towards creative tourism shows that
39% of Croatian cultural tourists have no interest for participation in creative activities. Those that
have such an interest are mostly interested in gastronomy workshops (24%), picking
fruits/olives/herbs (23%) and archaeology (21%). A smaller number of tourists is interested in
traditional dances/songs (17%) and traditional crafts (17%), arts workshops (13%) and Croatian
language classes (11%) (TOMAS Cultural Tourism 2008). Still, no further research on this topic has
been made.

The fact that no greater research on creative tourism has been done and that no public policy
considers it important strikes even more knowing that the city has the best conditions of all
Croatian cities for its development: it is the center of Croatian cultural/creative industries and it is

estimated that some 98% of film, music and advertizing industry is concentrated in the capital.
Great numbers of architectural, design and publishing offices/companies also have their seat in
Zagreb.

The potential of developed cultural/creative industries in tourism is greatly utilized by some world
cities: Salzburg is capitalizing on the classical music, Edinburgh on theatre and performing arts,
London on the fashion industry, Liverpool on the music industry (namely The Beatles), New Zealand
on the film industry (namely on the popularity of The Lord of the Rings), etc. Creative industries
development, in essence, not only exploit the cultural resources of the city, but also contribute to
them, not just by helping increase the tourist income and advertise the qualities of the city. Apart
from its potential contribution to preserving the cultural character of the city core, it has also
important consequence for the cultural and creative production (Tomi-Koludrovi and Petri 2007:
147). So, where has the Zagreb's creativity gone? While it has great designers, great architects,
world known classical musicians for example, it has not become known cultural/creative tourism
destination.

The recent research Zagreb as a cultural product which was commissioned by the City of Zagreb
had the aim of detecting those cultural/creative industries which had the greatest potential in profit
making as well as those with the potential of creating the city's contemporary identity which could
eventually have great effects on tourism development, too.

Although the majority of Croatian cultural/creative industries is concentrated in Zagreb, they are
not utilized to their full potential. Results of the research show that in the context of both branding
as well as profit making, the most relevant cultural/creative industries or those with the greatest
development potential are music, film, architecture, theatre, design and dance. Some of them
(especially architecture and design) have been internationally recognized with prestigious awards
but they lack real industrial or at least manufacture production. Again, what happened with the
creativity?
Some results of the research might answer the question of the vanishing creativity:
o

o
o
o
o
o
o

The development of cultural/creative industries in Zagreb is disorganized, dispersive,

fragmentary and without coordination with local government;

The city does not invest in the systematic production of contemporary (local)
cultural/creative products nor in the promotion and export of the existing cultural products;
Economic relevance of cultural sector is treated as an expenditure of the local public budget;

Cultural identity of the city is not systematically designed but is linked to different forms of
cultural tradition, heritage and ethno products;

Culture is treated in a static way while the concept of "industry" linked to culture is totally
rejected;
Cultural sector lacks knowledge and awareness of its own potentials and strength;

Lack of understanding of the concept of cultural/creative industries is visible on several

levels: from local government, professional cultural associations, cultural creators to key
stakeholders for development and promotion of cultural/creative industries.

Therefore, despite the existing potential, there is a lack of political understanding as well as
professional determination to organize and direct the development of cultural/creative industries.

Top-down approach could be adequate as public policy has the required means for systematic
development of the sector: from gathering the data as to obtain statistical indicators to public
measures which can facilitate the private sector to develop local cultural but also socio-economic
capital. In this way, cultural policy should respond to new trends in cultural creativity and would
adapt to the new situation in the cultural domain. Targeting resources and using them in the
creation of the city's brand should be the aim of such a public policy. In a wider context, this could
be an interesting reversal: the notion of creative industries, frequently connected with the
commercial side of cultural production, could in this case actually help preserve the authenticity
and promote cultural and creative production specific to the location (Tomi-Koludrovi and Petri
2007: 147).

This, however, is not enough. Having a distinctive creative product is not an end itself. Firstly, the
product needs to be extracted from the environment of the cultural sector and matched with the
industry sector. Secondly, the product will not be recognized nationwide or even internationally if
not properly marketed. As already said, Zagreb has had a few very interesting products which have
not succeeded in branding the city or in earning great profits. And this is where creativity strikes
again as a buzz-word. It is not only about developing a tourism or cultural product using a creative
capital. Accordingly, creative tourism can not only include learning a skill on holiday that is part of
the culture of the country or community being visited. It is much more than that. Having culture as
the main component of tourism industry already impacts the creativity, and eventually also the
competitiveness. From the aspect of the tourist, creative tourism may mean such an activity which
includes learning a skill on holiday that is part of the culture of the country or community being
visited. But from the aspect of those who offer a tourism product, it may mean a creation of totally
different and new business models which are based on creative production, management,
marketing or sales. Is it a creative way to re-think the creative tourism basis?
Conclusion
Dubrovnik is a city which heavily relies on heritage tourism that has over time reached mass
proportions in relation to the actual size and the number of inhabitants in the city. On the other
hand, in Zagreb the situation is completely different: as a nation's capital, it is a modern urban city,
the biggest Croatian cultural centre as well as the biggest Croatian continental tourism destination
but still lagging behind European cities in terms of cultural/creative industries development.

Creative tourism as a practice or even a concept is not entirely detectable in both cases. In
Dubrovnik, the very few creative tourism initiatives slowly emerge underneath dominant forms of
mass tourism, including cultural and heritage tourism. Dubrovnik is a world known tourist
destination and as such the local economic development and overall city development relies on
income from tourism industry. This has caused a widespread exploitation of cultural and natural
resources which has been known to have a negative impact on local development.

In Zagreb, the role of cultural heritage is not as proclaimed and capitalized on. Rather, the main
cultural resources of Zagreb are cultural/creative industries. Still, they are not utilized for attracting
or offering unique experiences to visitors not because of their low potential but due to low levels of
awareness on the role, possibilities, position and proven strength cultural/creative industries have
in developing cultural brands of a city. When talking about the cultural industries, globalization has
certainly given them a great importance which influenced cultural planning of many
countries/cities. Additionally, developments in science and technology helped in dissemination of

the content cultural industries carry. This broadened the concept of innovation and creativity and
consequently it should expand the scope of consumer niches it encompasses.

In this sense, creative tourism comes to light as a solution for both cities: a way for over-developed
and under-developed forms of tourism as presented in the case studies.

When doing business with culture which besides economic potential always carries a certain value,
strategic orientation towards visitor experience meets particular challenges. Economic ideology
must not always be a major driver since culture requires extremely subtle management models.
Creative tourism certainly brings a valuable experience for tourists and transfers unique values
promoting local identities. Moreover, it can be asserted that creative tourism is a projection of new
type of tourism in which natural, cultural and personal resources are not manipulated and exploited
but valued and enriched. Zagreb is a city that is on the up-rise: currently a capital of a Southeast
European country, it faces the future of a European capital. Its identity vehicle as well as
recognizable brand will be those cultural resources that are valued and shared by a wider
community. The vast cultural/creative industries potential can both identify the city and offer much
needed visitor experiences. In this sense, Zagreb and Dubrovnik are on opposite ends; while Zagreb
is yet to be defined by forms of cultural resources and accompanying types of tourism, Dubrovnik
has to re-define its cultural and tourism identity. As such, creative tourism can become a major
development driver for both cases: in the dominant and the ever growing trend of splintering of
tourism forms. Still, it is debatable for most destinations to struggle in creating new types of tourism
as to be competitive by changing the destination's tourism outline if they are recognizable or even
branded for certain "old" qualities, like illustrated with the case of Dubrovnik. Being creative does
not always mean introducing new types of trendy developments in the destination but rather
knowing how to develop new development models that will underline the best a destination has to
offer both for tourists as well as for the hosts.
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