Fernanda Cravidão Norberto Santos Claudete Oliveira Moreira Rui Ferreira Paulo Nossa Luís Silveira CONFERENCE PROCEEDINGS LIVRO DE ATAS Department of Geography and Tourism, University of Coimbra, Portugal Departamento de Geografia e Turismo, Universidade de Coimbra, Portugal Center of Studies on Geography and Spatial Planning Portugal CEGOT - Centro de Estudos de Geografia e Ordenamento do Território Coimbra COIMBRA 2017 Fernanda Cravidão Norberto Santos Claudete Oliveira Moreira Rui Ferreira Paulo Nossa Luís Silveira CONFERENCE PROCEEDINGS LIVRO DE ATAS Department of Geography and Tourism, University of Coimbra, Portugal Departamento de Geografia e Turismo, Universidade de Coimbra, Portugal Center of Studies on Geography and Spatial Planning Portugal CEGOT - Centro de Estudos de Geografia e Ordenamento do Território Coimbra COIMBRA 2017 LIVRO DE ATAS IMPRINT | FICHA TÉCNICA 5th UNESCO UNITWIN CONFERENCE 2017 TITLE | TÍTULO Local identity and tourism management on world heritage sites. Trends and challenges. Conference Proceedings | Identidade local e gestão turística de sítios património mundial. Tendências e desafios. Livro de atas EDITORS | COORDENAÇÃO Fernanda Cravidão; Norberto Santos; Claudete Oliveira Moreira, Rui Ferreira, Paulo Nuno Nossa & Luís Silveira ISBN: 978-989-96810-7-1 [Título: Local Identity And Tourism Management On World Heritage Sites - Trends And Challenges - Conference Proceedings | Identidade Local E Gestão Turística Dos Sítios Património Mundial - Tendências E Desafios - Livro De Atas]; [Autor: Fernanda Delgado Cravidão];[Co-autor(es): Norberto Santos, Claudete Oliveira Moreira, Rui Ferreira, Paulo Nuno Nossa & Luís Silveira]; [Suporte: Eletrónico]; [Formato: PDF / PDF/A] _________________________ Cover Image: copyright Imagem da capa: direitos reservados EDITOR | EDITOR Department of Geography and Tourism, University of Coimbra, Portugal | Departamento de Geografia e Turismo, Universidade de Coimbra, Portugal Center of Studies on Geography ad Spatial Planning | CEGOT - Centro de Estudos de Geografia e Ordenamento do Território Coimbra FINANCIAL SUPPORT | OBRA PUBLICADA COM O APOIO DE INSTITUTIONAL SUPPORT | APOIO INSTITUCIONAL © September | Setembro 2017, DepGeoTur, CEGOT, Coimbra EXECUTIVE COMISSION | COMISSÃO EXECUTIVA Clara Almeida Santos, Vice-rector for Culture and Heritage of the University of Coimbra; Fernanda Cravidão, Representative at the Coimbra University of the UNESCO Chair and UNESCO UNITWIN Network 'Culture, Tourism, Development'; Norberto Santos, Head of the Departament of Geography and Tourism, Faculty of Letters, University of Coimbra. II SCIENTIFIC SUPPORT | APOIO CIENTÍFICO Maria Gravari-Barbas, Director of IREST and EIREST, University Paris 1 Pantheon – Sorbonne | Coordinator of the UNESCO Chair and UNESCO UNITWIN Network Culture, Tourism and Development; Abdoul Sow, University of Gaston Berger de Saint-Louis, Senegal; Aleš Gačnik, University of Primorska, Slovenia; Alessia Mariotti; University of Bologna, Italy; Amareswar Galla, University of Split, Croacia; Anna Trono, Universidade de Salento, Itália; Antonio Carlos Sarti, University of São Paulo, Brazil; Carmen María Ramos, University Nacional Tres de Febrero | Asociación Amigos del Museo Nacional de Bellas Artes, Argentina; David Picard, University of Lausanne, Switzerland; Dolors Vidal-Casellas, University of Girona, Spain; Dominique Vanneste, University of Leuven, Belgium; Fernanda Cravidão, University of Coimbra, Portugal; Fiorella Dallari, University of Bologna, Italy; Jocelyne Napoli, University of Toulouse III, France; Jordi Tresserras Juan, University of Barcelona, Spain; Lia Bassa, INFOTA Research Institute, Budapest Metropolitan University, Hungary; Lorenzo Cantoni, Università della Svizzera italiana, Italy; Lluís Mundet i Cerdan, University of Girona, Spain; Mike Robinson, University of Birmingham, United Kingdom; Mohammed Aderghal, Mohammed V University in Agdal-Rabat, Morocco; Noel B. Salazar, University of Leuven, Belgium; Nuria Morère Molinero, University Rey Juan Carlos, Spain; Sébastien Jacquot, IREST | University Paris 1 Panthéon-Sorbonne, France; Yoel Mansfeld, Haifa University, Israel; Zhong Linsheng, CAS - Chinese Academy of Sciences, China. ORGANISING COMMITTEE | COMISSÃO ORGANIZADORA Fernanda Cravidão; CEGOT – Centre of Studies on Geography and Spatial Planning | Representative at the Coimbra University of the UNESCO Chair and UNESCO UNITWIN Network 'Culture, Tourism, Development' | Department of Geography and Tourism, University of Coimbra; Norberto Santos, CEGOT – Centre of Studies on Geography and Spatial Planning | Head of Department of Geography and Tourism, University of Coimbra; Claudete Oliveira Moreira, CEGOT – Centre of Studies on Geography and Spatial Planning | Department of Geography and Tourism, University of Coimbra; Rui Ferreira, CEGOT – Centre of Studies on Geography and Spatial Planning | Departmental Coordinator for Mobility in Tourism | Diretor do Mestrado em Tecnologias de Informação Geográfica | Department of Geography and Tourism, University of Coimbra; Fatima Velez de Castro, CEGOT – Centre of Studies on Geography and Spatial Planning | Coordinator for International Mobility at the Faculty of Letters | Department of Geography and Tourism, University of Coimbra; João Luis Fernandes, CEGOT – Centre of Studies on Geography and Spatial Planning | Deputy Director of the Degree in Tourism, Territory and Heritage | Coordinator for International Mobility at the Faculty of Arts; Mónica Morais de Brito, CEGOT – Centre of Studies on Geography and Spatial Planning | Executive Director of SinesTecnopólo | Department of Geography and Tourism, University of Coimbra; Paulo Carvalho, CEGOT – Centre of Studies on Geography and Spatial Planning | Director of the Degree in Tourism, Territory and Heritage | Department of Geography and Tourism, University of Coimbra; Paulo Nuno Nossa, CEGOT – Centre of Studies on Geography and Spatial Planning | Department of Geography and Tourism, University of Coimbra; Cayetano Espejo Marín, Department of Geography - University of Murcia | Director of the journal 'Cuadernos de Turismo'; Ramón García Marín, Department of Geography - University of Murcia | Editorial Secretary of the journal 'Cuadernos de Turismo'; Luis Silveira, CEGOT – Centre of Studies on Geography and Spatial Planning | Department of Geography and Tourism, University of Coimbra SECRETARIAT | SECRETARIADO Claudete Oliveira Moreira; Norberto Santos, Paulo Nuno Nossa & Luís Silveira. Department of Geography and Tourism, University of Coimbra. III This work was co‐financed by the European Regional Development Fund (ERDF) through the COMPETE 2020 ‐ Operational Programe Competitiveness and Internationalization (POCI) and natio nal funds by FCT under the POCI‐01‐0145‐FEDER‐006891 project (FCT Ref: UID / GEO 04084/2013). Trabalho cofinanciado pelo Fundo Europeu de Desenvolvimento Regional (FEDER) através do COMPETE 2020 – Programa Operacional Competitividade e Internacionalização (POCI) e por fundos nacionais através da FCT, no âmbito do projeto POCI‐01‐0145‐FEDER‐006891 (Refª FCT: UID/GEO/04084/2013). Trabajo cofinanciado por el Fondo Europeo de Desarrollo Regional (FEDER) a través del COMPETE 2020 —Programa Operacional Competitividade e Internacionalização (POCI)— y por fondos nacionales a través de la FCT dentro del ámbito del proyecto POCI-01-0145-FEDER-006891 (Ref. FCT: UID/GEO/04084/2013 PARTNERS | PARCEIROS SPONSORS| PATROCINADORES IV INDEX | ÍNDICE Theme A Uniqueness and notoriety in classified sites – Trends and challenges ............................... 1 Museums and tourism at World Heritage Sites in Spain ......................... 3 The Impact of Tourism on Bdoul community in Petra .......................... 21 On the UNESCO World Heritage route. Characteristics and behaviours of visitors to the University of Coimbra’s Botanical Garden. .....................................................................................................39 Extinct traditional Isparta Baths (Hammams), urbanization and tourism effects .......................................................................................... 57 How to turn Europe/EU’s ‘Unity and Diversity’ motto into key-rings for tourist to buy. ..................................................................................... 73 O passado em permanente construção. O património em transformação. O caso da Universidade de Coimbra – Alta e Sofia Património Mundial. .................................................................................87 Theme B New tourism and the relationship with the tangible and intangible heritage – Gastronomy, wine and religion ...........................................................................................111 A semana santa como fator de desenvolvimento turístico na cidade de Lorca (região De Múrcia, Espanha) ....................................... 113 Tempo e temporalidade, espaço e espacialidade: a temporalização do espaço sagrado .................................................................................. 123 Os Cavalos do Vinho (Caravaca de La Cruz, Múrcia, Espanha): um património singular como atrativo turístico ........................................ 135 Teaching heritage to tourists – visitors involvement in the attractions ............................................................................................... 145 V Cultural journey of faith: the tourist use of historical heritage on the route alongside the procession of the cirio of Our Lady of Nazareth in Belém Pará. ......................................................................... 153 Mafra and Saramago. Strategies of mediation between a potential World Heritage Site and a Nobel Prize winner’s literary masterpiece ..............................................................................................177 Theme C Management of destinations and sustainability in world heritage sites ....................... 197 The re-use potentials for two monuments in Walled-City Famagusta within tourism perspectives .............................................. 199 How tourist value Cultural Heritage in Coimbra? Exploring the key aspects to retain in a Marketing Mix strategy .................................... 223 Between sacred and profane. New tourism, destination management and other challenges in the Serbian medieval monasteries that are World Heritage Sites ......................................... 241 Challenges and development of the bulgarian unesco tourism sites in the context of the position of director Mrs. Irina Bokova ..... 251 Proposal for the arrangement of space through interpretation, protection and presentation of World Heritage Site. Eco-Museums of the Republic of Srpska. ...................................................................... 267 An evaluatıon of tourism potentıal and sustainability ın Cappadocıa, Turkey. ...............................................................................283 Challenges in determining the impact of cultural heritage's value on the economic sustainability of a tourism destination – the case of the episcopal complex of the euphrasian basilica in the historic centre of Poreč. ...................................................................................... 297 Promoting sustainability in World Heritage Cities. The case of the historic centre of Havana. ..................................................................... 315 Acessibilidade a edifícios históricos de interesse turístico por pessoas com mobilidade reduzida: análise da igreja de São Francisco – centro histórico de Salvador – Brasil. .............................. 329 Managing tourist information at the cape floral region world heritage site. A south african case study .............................................. 357 VI Património património cultural e investimento público na região centro de Portugal. Estudo de caso dos monumentos património da humanidade ....................................................................................... 367 O carnaval de Olinda e a preservação de seu centro histórico: desafios da legislação municipal para a conservação de seu patrimônio histórico...............................................................................385 Beyond sustainable management and tourism at World Heritage Sites: Lessons from Himeji Castle in Japan ........................................... 395 Cultural sustainability in the Unesco site of Matera: risks and challenges................................................................................................. 411 Database management of world heritage. Application of new technologies on wine iconography from the Theban necropolis in Egypt. ....................................................................................................... 417 Redevelopment of two historical heritage sites. Finding a balance between preserving the past and embracing the future ....................427 Theme D Tourism recreation and cultural events ............................................................................ 441 Histórias de cultura. O poder do Storytelling em destinos de turismo cultural ..................................................................................... 443 Cultural and creative industries and the city: the case of the old town of Corfu in Greece. Creativity strategies in the development of a cultural economy.............................................................................453 The management of tourism animation in world heritage destinations. Cultural events: St. John’s festival in Porto and the harvest festival in Douro valley ............................................................ 467 Eventfulness as a new strategy for heritage sites involvement in tourism: the experience of Russia ........................................................ 483 Tourism development in small destinations through creativity and innovation in events – The cases of Óbidos (Portugal) and Paraty (Brazil). ................................................................................................... 493 The impact of Storytelling on cultural tourists’ motivations, authenticity and involvement ................................................................ 515 VII Theme E New technologies applied to tourism management and research ................................ 527 Cultural cartography. The use of gis as a tool for spatialization, analysis and representation of cultural manifestations in Mato Grosso (Brazil).........................................................................................529 Theme F Management of Portuguese influenced heritage worldwide ........................................ 553 Dimensões do patrimônio cultural da capitania de Mato Grosso. Os grupos sociais na formação da fronteira oeste da América portuguesa (1719-1822) ........................................................................... 555 A Concepção de sustentabilidade em políticas públicas de turismo. Análise de um município com centro histórico classificado como Patrimônio Mundial da UNESCO ........................................................... 573 Cultura Bairral as a heritage resource in Lisbon .................................. 593 Theme G Territory, tourist routes and cultural landscapes ........................................................... 603 The vibrant cultural landscapes of the cold desert of Himachal: A case study of Spiti and Kinnaur regions............................................... 605 Cenários da Pesca. O patrimônio naval de Camocim (Ceará) como paisagem cultural e o turismo no litoral do Nordeste brasileiro........ 617 Are the Lighthouses Only a Croatian Cultural Story or do They Have a Human Role in Tourism? ............................................................ 635 Elementos da geodiversidade em roteiro geoturístico no centro histórico de Natal/RN, Nordeste do Brasil ........................................... 643 The power of a dream. How the gold train rumour has turned “Poland’s ugliest town” into a popular tourist destination ............... 657 Leisure and tourism at Araripe geopark ............................................... 671 Estudo comparativo de paisagens culturais marítimas da Galiza. Os centros históricos de Baiona, Combarro e Muros (Espanha) ....... 681 VIII Ethnotourism: (re) invention of the culture or appreciation of the indigenous culture? An analysis of the tourist route of the native brazilians from the Paresi tribe (MT) - Brazil ....................................... 703 Museus e paisagens culturais. Controvérsias da turistificação dos espaços .................................................................................................... 719 Process and stakes in the touristification of a mountain in difficulty. Argan Biosphere Reserve Heritage in High Western Atlas of Morocco .................................................................................... 731 Revitalization and popular use in an historical and touristic area. A case study of the Sólon de Lucena Park, João Pessoa, Brazil. ............ 739 Património cultural, turismo e desenvolvimento local em Moçambique ........................................................................................... 753 Os "novos” velhos portos: espaços de metamorfose para o capital imobiliário e para o turismo. ................................................................ 769 From Territorial Identity to Territorial Branding: Tourism-led Revitalization of Minor Historic Towns in Reggio Calabria ............... 789 Potencialidades da comunicação para as agroindústrias da rota turística e gastronômica de Santa Maria – Silveira Martins, RS, Brasil ........................................................................................................ 801 Rota das emoções. Paisagem cultural e turismo no Polo Costa do Delta ......................................................................................................... 817 Caminho Padre João Schiavo: community belonging. Located in Caxias do Sul, it begins to attract religious tourism ............................ 841 O desenvolvimento de uma rota turística no litoral leste do Estado do Ceará (Brasil) ancorada em paisagens culturais ............................. 851 IX Tourism development in small destinations through creativity and innovation in events – The cases of Óbidos (Portugal) and Paraty (Brazil). Luís Silveira CEGOT I Department of Geography and Tourism, University of Coimbra | Portugal aviladasilveira@gmail.com Fábia Trentin Federal Fluminense University of Niterói | Brazil fabia@turismo.uff.br Vitor Ferreira CEGOT, University of Coimbra | Portugal vitor.ferreira@olhares.org Abstract Tourism has been and will increasingly be a development opportunity for small territories. Cultural events – as one of the tourism segments – have been an important opportunity for tourism development in small destinations and between large metropolitan areas and main tourist destinations. Through creative and innovative actions from the local governance management in these destinations, a cultural multi approach destination branding was created in the last decade’s and resulted in the association of quality in the tourism activity with the destinations. Óbidos is a small destination between the metropolitan areas of Lisbon and Oporto in Portugal. Paraty is located between São Paulo and Rio de Janeiro metropolitan areas and biggest cities of Brazil. Despite of a theoretical and initial disadvantage on competitiveness of these small destinations in using tourism as a development tool, the local governance agents created different cultural events which increased tourism to a level where this activity reached an important position for local economy, though not threatening authenticity. In this context, our paper aims to make a comparison between Óbidos and Paraty through the description of the local governance management in each destination and to identify the cultural events which are responsible for attracting tourists through the last years. Finally, it is crucial to understand which creative and innovative actions and tourist products are being created and implemented to keep these territories competitive among other tourism destinations. Keywords Cultural Heritage; Destinations; Creativity; Events; Tourist Products. 1. Cultural heritage, governance and creativity on events planning 1.1. Cultural heritage and its importance for the development of tourist destinations What is Cultural Heritage? A definition of Cultural Heritage is given by Francioni (2008: 6), considering it as being constituted by “the totality of cultural objects, traditions, knowledge and skills that a given nation or community has inherited by way of learning processes from previous generations and which provides its sense of identity to be transmitted to subsequent generations”. Deepening the definition of the concept, it is necessary to bear in mind that it has, in its etymological origin, as referred by Selicato (2016: 7) the latin word patrimonium, which is “the union of two terms: pater (father) and munus (duty)”. The author adds that this term has the literal meaning “the duty of the father” or, in a broader translation, “things belonging to his father”. That is, the goods that belonged to the father and that carry or evoke value and meaning. According to the Portuguese Basis Law of Protection and Valuation of Cultural Heritage, Law 107/2001 of September 8th, the cultural heritage is constituted by all the assets that, being testimonies of civilization or culture value, bearing relevant cultural interest, should be the subject of special protection and appreciation. We are faced with a comprehensive definition of 493 Heritage, which included in it all the goods of all time. As Nabais (2010) points out, we are facing a vision that involves understanding the cultural heritage as open, dynamic and living terms, surpassing a conservationist and preservationist vision, and definitively placing emphasis on valorisation and enrichment. The testimony of the way in which the concept of Cultural Heritage has been extended and incorporated other elements is a reflection of the evolution and needs of the contemporary societies. The semantic opening of the concept is the result of a triple extension (Vecco, 2010). We are facing a typological-thematic extension, since objects that were not part of the traditional concept are now included, in so far as a chronological and geographical extent since the heritage status has been given to other attitude or to extremely recent assets. The vision of the concept has also changed in relation to the context. Heritage cannot be seen as an isolated element, but in relation to the context, which implies the adoption of an integral approach in its issues. Heritage thus acquired a new centrality in contemporary societies and in the affirmation of the territories. A notion of cultural heritage as a dual viewable concept is presented by Graham et al., (2000), who considered it to be both a resource of economic capital and a resource of cultural capital. The Cultural Heritage is progressively seen as a lever for the progress of the communities that give rise to it and enliven it. As Getz (2007) points out, the concept of cultural heritage is open to interpretation, and this concept is a politically charged term, meaning more than history, where judgments of value prevail over what is important. At the same time, we see a general strategy, as Zukin (2000) states, to mythicise the city to sell it as a ‘site’, adding that “developers and elected officials seek investment funds by marketing the cultural values of place”. Or an urban development based on an attempt “to 'theme' cities in such a way as to make them into a series of urban experiences which are commodifable” (Amin and Thrift, 2002: 124), and which in turn generate economic revenues. The reality of places as commodities and products to be consumed (Lipovetsky, 2010; Hall, 1997), is easily understood in the light of the societal context of globalization and symbolic competition that we live in, however, as Richards and Wilson (2006: 1221) states it “seem to be leading to increasing the serial reproduction of cultural attractions and 'commodification' of the cultural tourism product”. The postmodern context has also transformed urban space insofar as it is directed towards leisure activities. As Ferreira and Fernandes (2012) point out, the historical identities of cities that rediscover their past are highlighted and prepare thematic spaces, designed to respond to the search for a supposed authenticity, with a growing desire to escape the routine by individuals greedy of environments and forged exoticism, many times in folkloric traits of a spectacle reality. It is a unbridled by the dollars coming from the tourists and financial investments reinforcing “the city's image as a center of cultural innovation” (Zukin, 2000: 3), resulting from the phenomena of privatization of the pleasures, the individualization and the commercialization of leisure time. Urban space is thus marked by a set of architectural themes, which play an increasingly important role in urban redevelopment strategies based on historical preservation and local cultural heritage (Zukin, 2000). Nonetheless, places that do not have what Richards and Wilson (2007: 4) call “hard cultural resources” to compete effectively in this cultural arena, are 494 increasingly considering creativity as one of the few alternatives to cultural development. It is therefore understandable that we are witnessing a transition of the bet, although not as a universal phenomenon, as Evans (2009: 1013) points out, in the arts, cultural heritage and cultural industries, for the cultural and creative industries, which in the opinion of the author goes further and we will watch in the future the bet on the city of knowledge. The reality is that places have been progressively commodified, considered as commodities to be consumed, and as Philo and Kearns (1993) argued, places which are understood as commodities do not preclude the need to be made attractive, to be publicized, as it happens with all consumer products in the capitalist market. 1.2. Governance and its relevance to the management of tourist destinations In common sense, the term governance and government can be misinterpreted and used as synonyms (Ruhanen et al., 2010), but the meanings are different. There is also no agreement as to the definition of the term governance, in addition they all pervade ideas related to changes in the standards regarding the way of governing. This change implies the re-sizing of command and control of the state, as well as the existence of new structures, mechanisms and decisionmaking procedures that involve the democratic participation of actors (Hall, 2011; Beritelli et al., 2007; Kooiman, 1993), which presupposes the existence of a favourable context for democracy, decentralization of decision-making processes, citizen participation and a high level of trust among social actors. For this research, we use two concepts of governance. The first is tourism governance, which "would be a new way of leading innovation processes, strengthening and changing tourist dynamics in a specific space, incorporating public and private actors to make collective decisions” (Velasco, 2013: 508). From the increase and consolidation of cooperation, collaboration and coordination, the interactions between social actors create possibilities to face challenges such as improving the competitiveness of tourist destinations. The second brings the approach of cultural governance that retains the look to the public space and the interaction of cultural subsystems and their intersectionality. In this set, it is necessary to identify the actors and clarify their capacities and responsibilities, to ensure that they are not only consulted about the use and representation, but actively participate in the public space (Meyer-Bisch, 2002), enabling the cultural empowerment it provides Integration of communities at risk or in decline. With cultural empowerment, the exercise of civil rights, including cultural rights and respect for the identities, tends to avoid conflicts, while at the same time opens up possibilities for innovation processes and creative diversity (Meyer-Bisch, 2002). When the democratic governance system interacts with cultural empowerment it is possible to establish public spaces whose functions and objectives become the place of creation (knowledge connections), production and socio-cultural exchange in which there is simultaneous destruction and creation that influence the configuration of competitive territories. In this context, cultural policy governance fosters the interaction that results in the production of society and its networks of actors. Governance with a democratic basis and the creation of a network is based on the definition of resources - of the actors, of the capital functions, of the responsibilities - that each actor will assume by defining the responsibilities (functioning) from the objectives contemplated by normative instruments that will be adopted in view of human 495 rights and normative principles of the rule of law, in addition to those that comprise social, cultural and economic wealth (Figure 1). RESOURCES OPERATION GOALS Norms Human Rights and General Principles of the Rule of Law Definition of Actors Definition of Loops of Responsability Definition of Functions Productive Products and Interaction Density (Wealth) Evaluation of Capital Figure 1 – Criteria for assessing democratic governance Source: adapted from Meyer-Bisch, 2002. Governance is the political principle that will contemplate the different forms of knowledge that correspond to the social capital present in a certain tourist destination. Integrating cultural governance and tourism governance is a challenge that, once overcome, will provide the collective construction of creative tourist destinations embracing different identities and various forms of knowledge, such as: sciences, values, ways of life, production, and beliefs among others. Tangible Intangible Image Identity Lifestyles Atmosphere Narratives Creativity Media Built heritage Museums Monuments Beaches Mountains Figure 2 - The shift from tangible to intangible tourism resources Source: adapted from Richards and Wilson (2007: 18) The integration of cultural and tourism governance will also enable the integration of cultural and tourist interests, tangible and intangible, and their use in the field of creativity, promoting changes that tend to influence local social groups and tourism. In this case, the use of tangible and intangible material heritage would influence a transition from cultural tourism to creative tourism (Figure 2). The conception of tourism governance, adding innovation with cultural governance linked to creativity, is a genuine native resource with the capacity to produce distinctiveness between territories and emphasize them in the context of cultural tourism, shows and creative spaces as well as creative tourism. 496 1.3. Creativity and innovation in the paradigm of tourism offer and differentiation Creativity and innovation have been affirmed as elements capable of producing distinctiveness between territories. As we have pointed out, the competition of the territories for the sake of their affirmation in the global world is a recurring practice. The phenomena of samefication (Mateus, 2010), of McDonaldization (Ritzer, 2001), or yet the phenomena of thematization, the construction of iconic structures, or the heritage mining (Richards and Wilson, 2006: 1212), are phenomena that evidence this struggle, and demonstrate the despair of the territories, in this search for elements of differentiation. Places have opted instead for a logic of importing exogenous strategies rather than for outlining cultural and heritage promotion policies based on endogenous resources. The brand of authenticity and originality of the activities and tourist products offered goes away and the demand, of the exotic, of the different in force is put in question. It should be kept in mind that this demand, as Gonçalves (2008: 4) refers to, wants to experience the smells, tastes, sounds, and the touch of a culture. The same opinion is shared by Cravidão and Fernandes (2003) when they affirm that the practices of massification of Fordism coexist in the present with the valorization of diversity, creativity and innovation. In turn, Evans (2009: 1005) considers that the phenomenon “creative city and space” is a global phenomenon adopted by cities and states, in the eagerness to claim for themselves some of the generated economic knowledge, or to obtain a good position in the cultural ranking of cities. On the other hand, Pratt (2009: 10) points out that policy makers face huge challenges in selecting best practices and their implementation, but that the most recurrent solution of policy makers has been “what I term ‘Xerox’ policy making that is, direct replication”. However, it should be remembered, as Amin and Roberts (2008) state, that a creative community tends to thrive by developing an informal generic project that allows the production and promotion of the work of its members, of reactions, comments and stimuli, revolution-inspiring triggers for this community. The central idea in this scientific field is that there is only possible to affirm the places in the present context, through innovation and creativity, and as Gonçalves (2008: 7) points out, in the identification of their differentiating factors in relation to other places that are successful, and in the promotion and encouragement of the local context, essentially through what is not imitable. The best of urban spaces has been to promote the inimitable, which, as Evans points out (2009: 1005), has seen a shift from the promotion of the arts, cultural heritage and cultural industries to the creative industries. The truth is that in the contexts under analysis the relationship between creativity and tourism, as referred to by Gonçalves (2008) is still at an early stage, however, presents a great potential for development considering the new leisure needs, the need the reinvention of economies, the new consumption and, finally, the new trends in urban regeneration. Concerning urban cultural strategies, it is necessary to bear in mind, as stated by Bianchini and Parkinson (1993, cited by Taylor, 2009: 155), that there are three types of risk’s, in the first instance, the risk of gentrification and exclusivity, when conceptualized in a centreperiphery basis. On the other hand, the conflict between requests for investments in cultural 497 production and cultural infrastructure, and finally the tension that may occur between shortterm events, carried out to increase the profile of a certain place and attract visitors, and the planning of long-term events solutions based on sustainable solutions to attract visitors. It is therefore necessary to combat the identified risks by planning long-term events with a capacity for sustained attraction, but also to fight against gentrification and the notion of exclusivity that increasingly marks events, or the gap between support to produce events and support for cultural infrastructures. Peripheral regions tend to be more active in terms of events and culture, and as Williams (1997: 140) points out that it is even questioned that this activity will not be dependent on the fact that policies in these regions are considered as preponderant. Williams (1997, 140) adds that while peripheral regions may be more effective in marketing their cultural resources, the larger urban centres were still the ones that were more profitable to achieve it. The truth is that even if this is a reality, it is in peripheral regions that these benefits are essential. What is undeniable is the fact, as Florida (2008) mentions, that cities around the world increasingly focus on Culture and Creativity to increase and / or improve their reputation, but also to achieve economic growth. But of course, and even though locals who have never had a chance, are now at the centre of the action, as Florida (2008) points out, not everyone has the ability to participate and benefit in the same way. These inequalities derive from the inability to use innovation and creativity as a genuine indigenous resource for the affirmation of the territory. As Pratt points out (2008: 35), "a creative city cannot be founded like a cathedral in the desert: it needs to be linked to and part of an existing cultural environment". However, the complex network of interdependence between creativity, local cultural environment and territorial affirmation objectives is not taken into account, and one is often used as a way of exploring the other (Pratt, 2008). That is, it is not possible to affirm the territory through creativity if it is not based on a dynamic cultural environment. We dare to say that a dynamic cultural environment is not possible unless it is not based on innovation and creativity. It is also necessary to point out that the centrality that creativity occupies today in local planning and development results from the awareness of its capacity to generate revenue and development, but also, as Florida (2012) points out, by the growing recognition that creativity is a source of new technologies, new industries. It will be pertinent to further emphasize that the way creativity is seen in its strands creativity, technology, or inventions, economic creativity, or entrepreneurship, cultural and artistic creativity has ceased to be in isolation. Today we are aware that all strands are extremely interconnected in the current context. (Florida, 2012). The conviction is that creativity is in fact a motor of development, we must also bear in mind that competition among cities makes creative cities create and induce drastic movements of the community among themselves (Amin and Roberts, 2008). Creativity, though dependent on hatching conditions, or as Amin & Roberts (2008) points out, form the creative city soil, which provides places and events for the fertile interweaving between creative communities, being characterized by immateriality, is not so as anchored to the territory, as the heritage resources or cultural products. Richards e Wilson (2006: 1215) consider that “creativity can become extremely mobile-arts performances and artworks can today be produced virtually anywhere, without the need for much infrastructure”. 498 1.4. The importance of events for the development of the territories The main premise governing this study is to “Events act as a concentrator in terms of time and space, forming important nodes in creative networks and providing a direct link between creativity and tourism” (Richards, 2011: 1240). The importance of events for local development results in the first instance, as Taylor (2009) points out, from the pressures of globalization. According to the author this is more felt at the local and regional level, where the phenomena of deindustrialization and delocalisation have had considerable social and personal effects. The needs of territorial assertion, and consequent revenue needs, have created a phenomenon in which local and regional policies are refocused on culture and creativity. As Kong and O'Connor (2009) have pointed out, cultural and creative industries have become central to political agendas, with different administrations identifying not only the domestic consumption potential generated by them but also the potential of external consumption that comes from its realization. The notion that signs, symbols and desires support consumption and that cultural industries, such as the arts, media, tourism, recreation and leisure, increasingly, as Amin and Thrift (2007) point out, or, Bowdin et al. (2006), exploit them as a way to feed the economy, has become widespread. Consequently, we are not in the paradigm where territories and local authorities can ignore this phenomenon. Contrary to Williams (1997), there is recognition of the importance of cultural industries in economic development, and this importance is also recognized by the authorities. The paradigm shift lies in the fact that cultural industries per se are not the core of local development policies, but rather that in their place the notion that they are uncreative is failing. The importance of culture and creativity as a lever for economic progress and job creation is also evident in the European Structural Funds programs, which evidence awareness of the potential that exists (Taylor, 2009). And that has been explored by the territories through the accomplishment of events, being that as Hall refers (1989: 263) “they have assumed the key role in international, national and regional tourism marketing strategies. Their primary function is to provide the host community with an opportunity to secure high prominence in the tourism market place”. The cities with the superior results in the capacity of attraction of tourists, investment and recipes, are those, as they refer Bell and Jayne (2004, cited by Meethan and Beer, 2007: 218) that are characterized by the greater cultural diversity and the spaces. Thus, we understand that private companies, but also public administrations, are increasingly interested in harnessing the creative energies of groups that exist in communities, but usually disconnected, through tasks, capacity building actions and common projects (Amin and Roberts, 2008). These actions allow us to counteract what Williams (1997) had already pointed out as a fragility of cultural production, namely that consumption and production are extremely proprietary and controlled, and the development of strategies and consequent policies that allow the promotion of ownership by the local community of cultural production and cultural consumption infrastructures. Adding that local demand satisfaction must also be a concern of developed policies, since if this has not been considered, there is a risk of alienation from the local community. Hall (1989) argues that in addition to the importance of events in attracting tourists, they also play a role in the development or maintenance of the identity of the community or 499 region. In Hall's view (1989) short-term staged events, such as carnivals and festivals in small towns and villages have not only economic importance but also social importance. Events are a different type of achievement than the cultural and patrimonial offerings available to tourists, as they are not a continuous or a seasonal phenomenon (Hall, 1989). It is important to design them as Pedro et al. (2012) to bear in mind the premise that they should have an impact, using creativity not only during their realization, but above all, through appropriate promotion and dissemination. Developing, events, as Getz (2012) refers to are living entities created to achieve specific outcomes, including those related to economics, but also to business, culture, society, and the environment. They are designed, as Goldblatt adds (2011), “to produce outcomes, and a special event is a unique moment in time celebrated with ceremony and ritual to satisfy specific needs”. And why is there a worldwide demand for events? If, on the one hand, there is a push on the part of the territories and places, underlying the need to create or diversify the tourism offer that they have, as we have been able to point out, there is another, in contemporary society, derived, as Goldblatt (2011: 9) points out, from the strong need to escape from an increasingly stressful work environment, and that can be attenuated in seeking experiences or through activities. Bowdin et al. (2006: 3) share the same opinion when they state that the “events are central to our culture as perhaps never before”, adding that this centrality comes from increased leisure time and discretionary spending. Tribe (2011) notes, however, that the degree of importance given to recreation and tourism is not uniform, and that this depends on the stage of economic development of a country, and that as a Country, leisure, and the activities and events that underlie it, are of growing economic importance. The way we see the world conditions the realization of events, and the identified tendency is that they meet the differences, to serve the specific needs of a tourist demand. As Florida (2008: 10) states, being “the most mobile people in human history, we are fortunate to have an incredibly diverse menu of places - in our country and around the world - from which to choose”. This perspective of event menu is important because it underlies the need for targeting and segmentation of the supply, not forgetting that each one tries to meet different needs and necessarily have different preferences (Florida, 2008). Thus, the supply of events nowadays results from the awareness of its importance for the development of places, the potential for revenue creation, and is, or at least should be, underlying the segmented demand. The events are thus the solution in the creation of a reputation of the places, that associated with the tourist bonanza, attend to the different needs of the market (Bowdin et al., 2006). However, the reality is that the copy, called 'Xerox' (Amin and Roberts, 2008: 245), where replication of successful formulas is constant, whereas Orbasli (2000) refers to events, dances, the religious ceremonies and the festivals are organized having exclusively the tourist interests by base, having in many occasions lost its original meaning or even the logic and sequence of accomplishment in the calendar. This is compounded by the generalized importation of concepts, per se, bad in view of the lack of links with the local social and creative context, but which, when analyzed in detail, totally fail in a thematic and conceptual coherence with the territory where are being developed at either 500 the aforementioned levels or at the cultural and heritage level. The risks of this type of action are well identified, and destinations that produce events for tourist consumption, without considering local communities, tend to refer as Bowdin et al. (2006), to produce inauthentic and superficial events, and this type of event, exploited or poorly managed and conceived, can generate the counterproductive effect of damaging the reputation of a place. It is essential to carry out a detailed analysis of the different contexts underlying the reality where the event will be organized. This will be the capital for decision making, making the objectives underlying the organization of the event, such as increasing notoriety, increasing the attractiveness and / or simultaneously raising economic revenue, paraphrasing Ritchie (1984), are matched with the needs to be met by potential tourist demand, but also with the objectives and agendas as reported by Bowdin et al. (2006), the main stakeholders in the event, such as tourism agencies, destination community, government agencies associated with the area and the main event organizers. One example, among the many that have been studied, namely the case of Montreal in Canada, is given to us by Amin and Roberts (2008). The authors believe that creativity allowed the city to play an active role as the city culturally, socially and economically innovative. However, this role has only been achieved because the place and its stakeholders have developed a culture of large projects, based on a shared vision and as such with popular involvement. Lastly, it should be noted that the existence of abandoned or neglected sites in cities has been recurrently exploited by events, but also by the cultural and creative industries, stimulating urban regeneration and the development of these fringes of the territory that had been abandoned. As Amin and Roberts (2008) point out when "recycled" with a new vocation, these sites become open platforms for projects and events. The result of this recycling will be a new life of the places, contributing to the development of the community, being important, however, to bear in mind, as mentioned, that these projects and events must be the result of a genuine will of the communities that originated them. 2. The tourist destinations of Óbidos and Paraty Óbidos is a Portuguese municipality located 85 km from Lisbon (capital) and 239 km from Porto (second largest population centre in the country). It is located just 63 km from Leiria (capital of the sub region) and 88 km by land routes from Fatima (world-class religious destination). In 2011, the population of the municipality was 11,772 inhabitants, corresponding to the central population nucleus, the fortified village (within the walls and surroundings), to a population of about 3,779 inhabitants (Figure 3). Óbidos is evidenced by its castle and by its ancient wall, and fortified village in its interior with the built heritage representative of the passage of several architectural styles. Óbidos, through its main urban centre, arises mainly as a destination associated with history and the corresponding atmosphere. Paraty is a Brazilian municipality located 249 km from Rio de Janeiro, capital of the state of the same name, and 268 km from the city of São Paulo, therefore between the two Brazilian metropolises and the two most important emitting nuclei of the country. In 2010, the total population was 37,533 inhabitants (IBGE, 2013). In terms of tourism Paraty is in the region of the Costa do Sol, also composed by the municipalities of Angra dos Reis, Mangaratiba and Rio Claro (Figure 3). 501 Figure 3. Fortified village of Óbidos and Paraty Source: comercioenoticias.pt and vipsseguros.com.br Although the village of Óbidos is not located by the sea, the municipality extends into the Atlantic Ocean, offering sun and beach tourism from May to September and a diverse set of other activities with a tourist character from the presence of the lagoon with the name of the municipality and that makes this territory geographically diverse. Paraty offers various possibilities to enjoy the territory from the activities it develops, having as main tourist segments the sun and beach, nature, ecotourism, adventure and cultural, including cultural events. The tourist resources of Paraty are based on natural resources, whose occurrences are beaches, islands, vegetation of the Atlantic forest, fauna, peaks, that make up a unique landscape both on the continent and in the marine and insular environment. The cultural patrimony is represented by the architectural set that integrates the material heritage, and by immaterial goods such as the Festa do Divino, both dating back to the colonial period and protected by the National Historical and Artistic Heritage (IPHAN). The authenticity (preservation of the elements of the past) of the material and immaterial heritage in Paraty, as well as in the local cultural / economic activities of this territory, is justified by the partial isolation of this territory up to the 1970s in relation to the great metropolises, from there being served by quality roads and enabling mobility on a larger scale. The tourist infrastructure in the two municipalities is composed of several types of lodging such as hotels, hostels, hostels and Airbnb. The gastronomy includes from well-known and sophisticated restaurants to simpler options, with several and local and national typical dishes. Paraty has a characteristic regarding its territory reflecting on governance. In general, the municipalities have political and administrative autonomy as specified in the Brazilian Constitution of 1988. Meanwhile, Paraty has 100% of its territory protected by IPHAN and approximately 80% in federal, state and municipal conservation units. That is, the local government, to manage the territory on which it has autonomy, must dialogue and negotiate with the supra-municipal bodies that also, have both responsibilities and their specificities. This fact directly implies tourism, whether for the preservation of natural and cultural patrimony or the release of permits for interventions in land use and material goods. In this case, multilevel governance among public entities would be the most appropriate to manage the territory and obtain better results regarding the management and coordination of government actions and investments. Local governance is constituted by public power, private initiative and community (Figure 4). In the case of Óbidos, included in the Portuguese context, the national tourism institution (Turismo de Portugal) stipulates the general guidelines and direction for the development of tourism activity in the country, organizing the tourism activity in more specific traits from each 502 one of the seven national tourist regions. In the case of Óbidos, included in the region of action of Turismo Centro de Portugal. It is at the local level, through the municipal company Óbidos Criativa, created in 2012 by Óbidos City Council that creativity is fostered and stimulated, among other activities, in the main events organized in this territory. One of the presuppositions must be conceptual development and experimentation in creative education. ÓBIDOS PARATY National Turismo de Portugal Federal Public Institution Turismo Centro de Portugal State Public Institution Óbidos City Council Municipal Secretary of Tourism Óbidos Criativa Local Civil Entities Organizations, Hotel Associations, Non-Governmental Organization, etc. Figure 4. Tourism governance from the public institutional point of view (actors) The municipality's commitment to creativity has become widespread. In 2009, in Óbidos, the first meeting of canvassers from several countries took place in the Creative Clusters - creative clusters in low density urban areas network. One of the recitals of the network is creativity and innovation as necessary conditions for the economic, political, social and cultural development of cities and regions, and is at the heart of the challenges facing Europe today: globalization, demographic change, climate change and building of the knowledge society. It is also mentioned that despite the commitment to creativity and innovation, each region, city or urban area must base its development strategy on factors that differentiate the territory, promoting its local identity, namely traditional products, native species, and the tangible and intangible heritage (Creative Clusters in Low Density Urban Areas, 2009). With a project started in 2011 by the city council, in 2015 Óbidos joined the UNESCO network of creative cities, aiming to promote social, economic and cultural development, and based on the creative industries. Óbidos was distinguished in the literary village category. The project resulted in the creation of more than a dozen bookstores in non-standard places, such as a former wine cellar or an old primary school. In the case of Paraty, at this moment there is an intention on the part of the governmental institutions for the submission of an application to UNESCO for a creative city in the category of Gastronomy. 3. The main events and its creativity elements The year 2016 had about 24 events in Óbidos with tourist attraction capacity and distributed among four of the six categories promoted by the model of the planned events of Getz (2012), namely (1) Cultural Celebrations, (2) Business and Trade, (3) Arts & Entertainment, (4) Sport and Recreation. In addition to these four typologies arise (5) Political & State and (6) Private functions (both non-existent or residuals in the municipality). 503 Within the totality of the events held in 2016 and with an annual periodicity, there are five planned events with highlight and as tourist main attractions in the county (Table 1). Of these five events, there are three (Holy Week of Óbidos, International Chocolate Festival of Óbidos and Óbidos Vila Natal) which are included in the Cultural Celebrations (festivals, heritage commemorations, Carnivals, Mardi Gras, religious rites, pilgrimage and parades) typology. The event Mercado Medieval de Óbidos is included on the typology of Business and Trade (meetings, conventions, fairs exhibitions, markets, corporate events) and Semana Internacional de Piano de Óbidos is included in Arts & Entertainment. Three of these events are promoted and organized by Óbidos Criativa being the chocolate international festival the event that will be analyzed in this paper. Table 1. Main events, promoters and calendar in Óbidos (2016) Event Promoter Semana Santa de Óbidos (Holy Week of Óbidos) Festival Internacional de Chocolate de Óbidos (Chocolate International Festival of Óbidos) Mercado Medieval de Óbidos (Medieval Market of Óbidos) Semana Internacional de Piano de Óbidos SIPO (International Piano Week of Óbidos SIPO) Óbidos Vila Natal (Óbidos Christmas Village) Óbidos catholic parish Óbidos Criativa E.M. Óbidos Criativa E.M. Associação de Cursos Internacionais de Música Óbidos Criativa E.M. Calendar March 20th – 27th March 31st – April 25th July 14th – August 7th July 17th – 29th November 30th – January 1st Source: adapted by authors from bol.pt, obidos.pt and pianobidos.org As far as Paraty is concerned, in 2016, 33 events were held with the tourist attraction capacity. Among the five main and selected events (Table 2), namely, Festa do Divino, Bourbon Festival Paraty, the Festival da Cachaça, Cultura e Sabores de Paraty, the Festa da Nossa Senhora dos Remédios (these as Cultural Celebrations typology), and Feira Literária Internacional de Paraty FLIP (Arts & Entertainment), two events stand out, considered local products according to an interview with a local tourism decision maker: [...] we have as our product the Festival of Cachaça, the Carnival and the Feast of the Divine, are those that are genuine products, so to speak, that we have as our product. We realize that we cannot give the same treatment for these events, except this year, that we got with the Cachaça Festival, but there is a concern of mine to take better care of the Carnival and Divine Feast, to see if there is more quality, in order to be able to highlight its details, so that it can be better marketed (interview with a Local tourism decision maker in 2015). Table 2. Main events, promoters and calendar in Paraty (2016) Event Promoter Festa do Divino (Holy Spirit Party) Bourbon Festival Paraty Feira Literária Internacional de Paraty (International Literary Fair of Paraty) Festival da Cachaça, Cultura e Sabores de Paraty (Sugarcane liquor, Culture and Flavours Festival of Paraty) Calendar Festa do Divino and Sectur Organizers Bourbon Street Casa Azul Association May 6th – 15th APACAP and Sectur August 11th – 14th 504 May 20th – 22th June 29th – July 3rd Festa da Nossa Senhora dos Remédios (Our Lady of Remédios Party) Source: adapted by authors from paraty.com.br Catholic church and Sectur August 30th – September 8th Other two events, the Bourbon Festival Paraty and FLIP (external promoted events), which are organized by a show house located in São Paulo (Bourbon Street music club) and the second by a local Civil Society Organization of Public Interest (OSCIP). The Bourbon elected Paraty to hold a jazz festival for the characteristics of the destination and its relation with the manifestation of culture in its different forms linked to the image of Paraty as a reference destination in Cultural Tourism that is located geographically between the two main Brazilian metropolis, Rio de Janeiro and São Paulo. 3.1. The chocolate international Festival of Óbidos and the International Literary Fair of Paraty Started in 2002 under the name of the European Chocolate Festival, the International Chocolate Festival is, according to the local municipality, an event that has been demarcating this territory among the others and is organized annually through the municipal company Óbidos Criativa. It was the first event of its kind in Portugal and has seen an overall increase in the number of visitors (exception for 2009-2012 due to the economic crisis), and with about 65,000 visitors in 2016 (Figure 5). The premise of the event was initiated by the town hall and at the suggestion of an American resident in Óbidos and who participated in the campaign of Ronald Reagan for the presidency of the USA. This premise was to cross the magical world of chocolate with the medieval atmosphere of the local castle (expresso.sapo.pt, 2017). Figure 5. Chocolate International Festival of Óbidos Source: nit.pt About the duration of the event, the number of days has been extended: 2002 to 2004 - from Thursday / Friday to Sunday; 2005 to 2012 - 11 days in a row; 2013-2016 - Four weekends (From Thursday / Friday to Sunday 12/16 days). The festival has a different theme every year and from which are based and inspired various activities contained in the program. These activities consist of "activities, exhibitions, games, courses, workshops, shows, points of sale, show cooking, demonstrations, etc., which are different from edition to edition, diversified enough to keep visitors for a few hours in the event, always with reasons of interest "(interview with a person in charge of the festival). The activities also include the creation of chocolate sculptures, and specific activities for children, allowing the promotion of creativity through the creation of 505 chocolate products (cook it and eat it / do it yourself). In 2016, there were about 58 the number of events within the festival (Table 3). Table 3. Activities in the events Chocolate International Festival of Óbidos and in FLIP of Paraty Chocolate International Festival of Óbidos International Literary Fair of Paraty Books releases Children’s literature Chocolate atelier (hands on chocolate and smear it) Cinema sessions Conferences with book authors Exposition Debates Fashion show Expositions Food bloggers – Chocolate in network Music shows Healthy chocolate shows Party Kids cooking Performance and visual arts Magazine release Reading mediation Making chocolate sculptures live Reading sessions Products (chocolate based) releases Street dance Show cooking with chefs Spectacles with music and other arts Tasting Theater performances Source: retrieved and adapted by authors from obidos.pt and flip.org The International Literary Festival of Paraty (FLIP) has emerged from the interest of local people through the Casa Azul Association and which annually organizes FLIP, since 2003, through the premise of creative diversity. It is the only event in the country with this typology and interaction with the population of various age groups. The FLIP is subdivided into: Flipinha (directed to children) (Figure 6), FlipZona (for young audiences) and FlipMais (theater, music, cinema and literature). This group offers activities such as children's literature, performance, debates, performing and visual arts. Each year a Brazilian author is honored as "a way to preserve, perpetuate, disseminate and value the Portuguese language and the literature of Brazil" (FLIP, 2015). Figure 6. International Literary Fair of Paraty) – Flipinha zone Source: feriasbrasil.com.br At FLIP, the program includes parallel and simultaneous events, bringing together intellectualized audiences as national and international authors and artists, as well as the public in general. In 2016, FLIP counted about 195 events in its program, with 37,036 participants in the program activities, and of 25,000 the number of people who participated as public (Relatório FLIP Report, 2016). FLIP has been playing an inspiring and leverage role in the development of creativity in the remaining events in Paraty, "It has implemented a very high standard of quality in the events, 506 others have been following it" (interview with a representative of the Casa Azul association in 2015). The FLIP has also had the capacity to bring external visibility (extra municipal, national and international) of the territory: [...] the balance is very positive, today Paraty is known also by the Literary Festival (FLIP), nationally and internationally. The Blue House brings as spontaneous media to FLIP project more than 140 million clips (Media clips). About this resource, if we were to pay we would never get it, it is more than the Ministry of Tourism invests in Brazil for the media, and Paraty gets this media from a Literary Festival (Representative of the Casa Azul Association). 3.2. Creativity elements in the events of Óbidos and Paraty Considering the diversity of elements associated with creativity as a promoter of the development of tourist destinations, Richards & Wilson (2007) present a framework where they present the context of creativity in the development of tourism (Table 4); “There are clearly different models for creative development, different concepts of creativity, different creative experiences, different levels of visibility of creative spaces and spectacles, and creativity may be integrated with or separated from other policy areas” (Richards & Wilson, 2007b: 255). They also point out that many tourist destinations seek creative solutions to common challenges in their tourism development. In this sense, they indicate that “it may be possible to identify broad and narrow types of creativity. In the broadest sense, everything that exposes one’s identity to some kind of challenge or learning can be creative” (Cloke 2007, cited by Richards & Wilson, 2007b: 256). Table 4. Contexts of creativity in tourism Development context Cultural tourism Hardware Spatial context Geographical scale Timescale Backdrop Global or local Past and present Cultural context High culture, popular culture Mode of consumption Product focus Learning orientation Passive Reproducibility Intervention Serial Economic development Identity Artistic focus Competitive environment Engagement in consumption process Heritage Reinforcing Aesthetic Competition Custom, bespoke, co-production Economic and Cultural, social cultural and economic development development Pluralizing IP Collaboration, co-opertition Abstract Visual Historic or contemporary Source: Richards & Wilson (2007:258) Creative spectacles Orgware/ Software Activity Glocal Present Arts, performance, festivity Performance focus Passive Transcendent 507 Creative spaces Creative tourism Present and future Arts, architecture, design Atmosphere Past, present, future Creative process Interactive Multisensory Experience, comakership Active skill development Realizing creative potential Flow From the point of view of the characterization of cultural tourism (from which creative tourism develops) to the characterization of creative tourism itself, there are several elements of creativity that can be found in creative spectacles and Creative spaces. It is assumed that the development and fulfillment of these creative elements in creative spectacles and Creative spaces will allow to identify an evolution and passage from cultural tourism to creative tourism in a certain destination. According to these authors, Creative spectacles are “Creative and innovative activities which then form the basis of more passive tourist experiences as spectacles (i.e. production of creative experiences for passive consumption by tourists)” and Creative spaces as “Creative enclaves populated by cultural creatives to attract visitors (often informally at first) due to the vibrant atmosphere that such areas often exude” (2017a: 20). Considering Table 5, it can be inferred that Óbidos and Paraty have characteristics related to cultural tourism, cultural spectacles, creative space and experiential tourism that make them destinations in which creativity and tourism are now tangled are now intertwined. Therefore, in the case of Paraty, the Ministry of Tourism awarded the destination a prize in the local economy category in 2015, due to the business leveraged by events such as FLIP, Bourbon Festival Paraty and other local events. In the case of Óbidos, local, national and international commitment through the integration of the municipality in creative networks and with policies in accordance with the objective of stimulating creativity. Table 5. Creative characteristics in Chocolate International Festival of Óbidos and in FLIP of Paraty Development context Spatial context Geographical scale Timescale Cultural context 1 2 Óbidos Paraty Creative spectacles Orgware1/software2 Software Activity Glocal – global and local Present Arts, performance, festivity Activity Glocal – global and local Present Arts, performance, festivity Performance focus Passive - - - - Atmosphere Atmosphere Interactive Interactive Custom, bespoke, co-production Cultural, social and economic development Custom, bespoke, coproduction Cultural, social and economic development Collaboration, coopetition Collaboration, co-opetition Mode of consumption Learning orientation Reproducibility Performance focus Intervention - Custom, bespoke, coproduction - Identity Artistic focus Competitive environment Pluralizing Collaboration, coopetition Pluralizing Collaboration, co-opetition Passive Custom, bespoke, co-production - Óbidos Paraty Creative spaces - Sectors, industries, clusters, policies, governance atmosphere/ambience, fashion, quality of life, perceived diversity 508 Engagement in consumption process Heritage Visual Visual Multisensory Multisensory Transcendent Transcendent - - Both the Chocolate International Festival of Óbidos (CIFO from now on) and the International Literary Fair of Paraty (FLIP), the main international event in Paraty, fit as creative spectacles, although they also have the characteristics of creative spaces by having a learning orientation which is also interactive and the intervention impacts cultural, social and economic developments. Concerning the development context both events have ambiance and perceived diversity in their creative spectacles (Software). In the case of Óbidos, Local policies and governance (Orgware) is added for creativity in its events, being stimulated by the municipal public company. The spatial context is filled by the activity of the event in the two destinations, being carried out in a geographical scale designated by Glocal, where the main themes (chocolate in the CIFO and literature in the FLIP) cross and interact with the characteristics of the territories where they take place. The events are held annually in a timescale with a character associated with the present and with a sub-theme. In the case of CIFO, in 2016, the theme was water (associated with Óbidos lagoon) and FLIP, associated with an author and a country invited. The Cultural context unfolds through the demonstration of arts, performances and festivity. The mode of consumption in the spectacles is stimulated by performance focus, both destinations being Creative spaces, as places with atmosphere that, year after year, are establishing an image and a sensation of places of consumption of creative products. The Learning orientation is passive on the Creative spectacles where the public watch creative performances but with opportunity of interaction in the annually created and creative spaces dedicated for these events. About the Reproducibility, both events have custom, bespoke, coproduction which make them unique, especially with the creative spaces where spectacles occur, justified by the context with each territory or destination. In these two destinations, creativity on events is a cultural, social and economic development strategy. There is direct intervention and support by the local public government in Óbidos and in Paraty there is a support from the municipality. It is plural the identity expressed in Creative spectacles where interests are covered, motivations and encouraged the participation of diverse populations, making these events inclusive. Creativity in shows may have this capacity and, as Richards & Wilson (2007: 14) point out, "The emphasis on creativity is also linked to a wider shift towards a plural vision of society in an era of increased mobility and social fragmentation”. In both Óbidos and Paraty, the Competitive environment at events is characterized by collaboration and co-opetition between public institutions and civil entities within each of these, leveraging the development of the creative process. About the engagement in the consumption process the Creative spectacles are characterized as fostering the visual element and the creative spaces as being promoters of multisensorial experiences and feelings. As opposed to cultural tourism where heritage is perceived as historic or contemporary, in creative spectacles as CIFO and FLIP, heritage is seen and experienced as transcendent, formulating individual sensations and diverse living moments. 509 Conclusions Cultural heritage has increasingly become a plural concept, from which different characteristics have been created and adapted, which have been witnessing its use for the creation of new tourism products and with the capacity to allow the differentiation of destinations to others. Governance as a lever for creativity is fostered in Óbidos through the local public governmental institution and with active participation of the community and the different stakeholders. Óbidos Criativa then has the role of creating, promoting and supporting creativity and innovation in events, with public and private support for events. In the case of Paraty, it refers to the absence of a creative orgware with policies and governance that promote cultural empowerment, unfolding in the intentional development of spectacles, spaces and creative tourism. The role of promoter of creativity in the territory has been occupied by the organizing association of FLIP. With the various actions and creative elements presented annually in this event, this organization has caused the stimulation (through competitiveness) to include creativity in the other main events of this destination. The local public governmental institution participates as financial and/or logistical support, and there is also the active involvement of the community and stakeholders. It is in this line that creativity and innovation have come to affirm themselves as elements capable of producing distinctiveness between the territories and that the peripheral regions tend to be more active in what concerns events and culture that appear Óbidos and Paraty as destinations that, although of small size, have achieved the respective national tourist demarcations through the organized events. These events, as Castells (2009) refers, are increasingly sources of creative experiences which connect the global space of flows with the local space of places. A paradigm shift or overcoming of the cultural tourism model can be observed, identifying the expectation of people who want to be more interactive than spectators, and to build their own experiences. Although creative tourism cannot yet be identified while existing in these destinations, events have brought creative elements to these territories, making the offer different from the type of cultural tourism. This context, in turn, opens successive opportunities and possibilities for innovation and creativity, seen as elements capable of producing distinctions between territories and generating new social, cultural and economic opportunities. Creativity emerges as a strategy with the capacity to attract visitors through its capacity in the generation of products and services, and the platforms events are successful and increasingly used to achieve this goal, the tourism development of the territories. This work was co-financed by the European Regional Development Fund (ERDF) through the COMPETE 2020 - Operational Programe Competitiveness and Internationalization (POCI) and national funds by FCT under the POCI-01-0145-FEDER-006891 project (FCT Ref: UID / GEO 04084/2013). 510 References Amin, A. & Roberts, J. (2008). Community, Economic Creativity, and Organization. Oxford: Oxford University Press. Amin, A., & Thrift, N. (2002). Cities Reimaging the Urban. Cambridge: Polity. 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