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This chapter will examine two questions. First, how can art and cultural heritage contribute to the health and well-being of a place within the context of the tourism industry? More specifically, can cultural tourism be a driver for community sustainability, that is, not only environmental sustainability but also social empowerment, cultural preservation, and economic vitality? To explore these questions, the author begins by establishing the ways art and environment are closely intertwined, while pondering how cultural production generally – along with the cultural tourists it attracts – can be a driver for sustainability in tourism settings. The benefits that the arts draw from the environment as well as the ways the environment benefits from the arts will be examined. In the next section, the author unpacks how cultural tourism, and more specifically art production, can be drivers for environmental sustainability through social and eco-entrepreneurship and the creation of a shared social value. In the third section, the author identifies some of the challenges inherent in government regulation and preservation of cultural heritage sites. The author argues that communication, cooperation, and relationship building, not just between governing bodies and private stakeholders, but with residents and tourists, should be prioritized in destination management and marketing strategies. In the end, the author proposes that this type of strategy is vital in order to move toward greater cultural, environmental, social, economic, and other kinds of sustainability in the tourism industry.

The aim of the study is to gain insight into the link between art and tourism from a value co-creation perspective. This link is discussed with the help of the arts marketing, art tourism and value co-creation literature. The role of art in tourism and the role of cultural places in arts marketing are also evaluated.

Focussing on two cultural heritage sites in Turkey, Zeugma and Göbeklitepe, a qualitative study was undertaken in order to determine the value creation and co-creation processes occurring from the art–tourism contexts based on comparative case study analysis. In-depth semi-structured interviews were conducted with three groups of actors. Motivation, expectation and stakeholder experiences were the main themes explored.

The findings of the study relate to the role of the co-creation process. Marketing art in alternative places creates value in closing the gap between art and society through the use of related fields such as culture and heritage. In terms of cultural value, the paper identifies the reconnection with cultural heritage through contemporary art. This is a way of looking at culture and its concepts in different time and place dimensions which make visitors more engaged with culture and its contemporary reflection through art.

Although the research focusses on two Turkish art and tourism cases, future research can be extended to other countries, including the assessment of the longer-term role of similar activities.

As art is a subset of culture, the people who are interested in culture and history also have the potential to be interested in art. While art impacts on cultural tourism, cultural heritage and tourism work as arts marketing tools in a co-supporting way. The coming together of art and culture has societal benefits. There are lessons for practice such as the opening of a space for contemporary art in cultural heritage museums in order to promote art to society. The museum audience is an important potential for the future of art from a market generation perspective.

The study contribute to arts tourism, arts marketing and value co-creation in theory and practice.

The purpose of this study is to present a review of published academic work on art and tourism. A distinction between papers researching tourism and mentioning art just as one of tourism activities and papers covering “art tourism” specifically is proposed.

The review is grounded on a content analysis of studies containing the words “art” and “tourism” published in the Scopus database. Moreover, to analyze papers specifically consisting of the term “art tourism” a theory‐context‐characteristics‐methods structure was used – the authors call these papers art–tourism-specific papers.

While the number of “art and tourism” papers has been increasing in the past 40 years, little is known about “art tourism” as an independent form of tourism. This study finds limited work on art tourists’ characteristics, preferences and behaviors as costumers. No art-based research and little research with visual representations was found. Artists are very rarely participants of art tourism research.

Most research is conceptual, and little applied research can be identified. Importantly, besides synthesizing and critically assessing the current corpus of knowledge on art tourism, this review presents a final roadmap with directions for future research. One of the limitations of this review is that only studies included in the Scopus database and published in English were considered.

To the best of the authors’ knowledge, this study provides the first comprehensive systematic review of published academic research on art and tourism in the past 40 years. The results of this study offer directions to future art tourism researchers.

本文的目的是回顾已发表的有关艺术和旅游的学术著作。 提出了在研究旅游的论文中将仅将艺术作为旅游活动之一提及的论文与专门涵盖“艺术旅游”的论文进行区分。

该回顾是基于对 Scopus 数据库中发表的包含“艺术”和“旅游”一词的文章的内容分析。此外, 为了分析专门由术语“艺术旅游”组成的论文, 我们使用了理论-背景-特征-方法的结构——我们将这些论文称为艺术旅游特定论文。

虽然过去四十年来“艺术与旅游”论文的数量一直在增加, 但人们对“艺术旅游”作为一种独立的旅游形式知之甚少。 我们发现关于艺术游客的特征、偏好和作为顾客的行为的工作有限。 没有发现基于艺术的研究, 也没有发现很少的视觉表现研究。 艺术家很少是艺术旅游研究的参与者。

大多数研究都是概念性的, 很少有应用研究可以被识别出。重要的是, 除了综合性地批判和评估当前关于艺术旅游的知识库外, 本次回顾还提出了一个最终路线图, 并为未来的研究提供了方向。本回顾的局限性之一是仅考虑了 SCOPUS 数据库中包含的并以英文发表的文章。

本研究首次全面系统地回顾了过去四十年来发表的有关艺术和旅游的学术研究。本研究结果为未来的艺术旅游研究者提供了方向。

El propósito de este artículo es presentar una revisión de los trabajos académicos publicados sobre arte y turismo. Se propone una distinción entre los trabajos que investigan el turismo y mencionan el arte sólo como una de las actividades turísticas Y los trabajos que cubren específicamente el “turismo artístico”.

Esta revisión se basa en un análisis de contenido de los artículos que contienen las palabras “arte” y “turismo” publicados en la base de datos Scopus. Además, para analizar los artículos que contenían específicamente el término “turismo artístico” se utilizó una estructura Teoría-Contexto-Características-Métodos - llamamos a estos artículos específicos de turismo artístico.

Aunque el número de trabajos sobre “arte y turismo” ha aumentado en los últimos cuarenta años, se sabe poco sobre el “turismo artístico” como forma independiente de turismo. Encontramos trabajos limitados sobre las características, preferencias y comportamientos de los turistas de arte como clientes. No se ha encontrado ninguna investigación basada en el arte y poca investigación con representaciones visuales. Los artistas rara vez participan en las investigaciones sobre turismo artístico.

La mayor parte de las investigaciones son conceptuales, y se puede identificar poca investigación aplicada. Es importante destacar que, además de sintetizar y evaluar críticamente el corpus actual de conocimientos sobre el turismo artístico, esta revisión presenta una hoja de ruta final con directrices para futuras investigaciones. Una de las limitaciones de esta revisión es que sólo se han considerado los artículos incluidos en la base de datos SCOPUS y publicados en inglés.

Este estudio proporciona la primera revisión sistemática exhaustiva de la investigación académica publicada sobre arte y turismo en los últimos cuarenta años. Los resultados de este estudio ofrecen orientaciones a los futuros investigadores del turismo artístico.

Trompe l’oeil as a novel art technique can not only promote art tourism but can also transform the landscape of a city into a platform for negotiation. Furthermore, trompe l’oeil aims to create a joyful, entertaining, new experience and an interactive environment for tourists in the cities. This paper highlights the introduction of trompe l’oeil as a new tourist attraction in Shiraz (Iran). Moreover, the goals of this study are to explore the role of trompe l’oeil (three-dimensional [3D] street painting) in promoting art tourism, to investigate the tendency of tourists toward experiencing art tours and trompe l’oeil and to determine the priority of trompe l’oeil themes from the domestic tourists’ perspective.

Qualitative and quantitative methods were used in this research study.

On the basis of the results of this study, it can be concluded that domestic tourists are eager to experience art tours and trompe l’oeil attractions and activities, except for buying and wearing 3D-printed clothes. In addition, trompe l’oeil on street floors and walls with funny, joyful and cultural-artistic and national-historical themes is more attractive for them.

No significant academic work has been undertaken in the field of art tourism to evaluate the attitude of tourists toward the trompe l’oeil attractions and activities.

The purpose of this paper is to explore the business model adopted by an artists' retreat.

The paper comprises qualitative, case‐based exploratory research.

The paper argues that there are some aspects of arts tourism that ally themselves naturally with social enterprise. The case study outlines challenges facing artistic ventures such as the importance of maintaining artistic integrity and managing the tension between creativity and financial return, between the local and the international. The paper argues that partnership between the tourism industry, state agencies, social entrepreneurs and the arts community, has the potential to influence socio‐economic outcomes. The case study suggests that arts tourism has the potential to achieve social change in a peripheral region but obstacles remain. Policy makers require more systematic research, statistics or figures to detail the exact impact of socially‐inspired arts tourism.

The number of interviews conducted was limited and so no, generalisations could be made.

The general conclusion for managers of artistic ventures is that is that there seems to be a need to demonstrate the “multiplier effect” of arts tourism.

To date there has been little analysis of arts tourism from a social entrepreneurship perspective.

This paper aims to discuss the place-making processes of street art within the context of Toronto, Canada, and potential for street art as alternative tourism to contribute to new urban tourism and encourage urban regeneration in the city.

The study applies reflexive thematic analysis to analyse secondary data sources such as reports, maps, videos, websites, news articles and official documents alongside photographic documentation and field research.

Street art in Toronto has been found to coincide closely with processes of creative place-making. While there is some indication that municipal street art organizations and destination marketing organizations are aware of the possibilities for street art to contribute to tourism in the city, it remains an untapped resource for new urban tourism. As a component of creative place-making, it has great potential as a form of alternative tourism to regenerate a still struggling tourism economy.

This paper explores the nascent research area and practical application of street art as an alternative form of urban tourism in Toronto, Canada. It also fills a gap by connecting the concept of creative place-making with street art, urban regeneration and tourism specifically; a focus that needs wider attention.

The purpose of this paper is to analyze the strategy of performance art, especially Silat Movement (as a source and identity of traditional dance movement of Minangkabau ethnic group), as a marketing medium of tourism, especially in West Sumatera Province.

This research used a qualitative approach among six cases of dance. Quantitative method was used to collect data about the dance movement of Minangkabau ethnic group, which is in accordance with the cultural value that they adopt. The data collecting technique used was focus group discussion, documentation, observation and interview. The case study method was used to conduct this research, focusing on the Silat dance movement as a medium to promote tourism. The research method is presented to generate a study that is in harmony with the background and the problem statement. This was a qualitative descriptive analysis research with the aim of providing a comprehensive illustration of performance art as a medium to promote tourism in West Sumatera.

Minangkabau ethnic dance movement, which is based on custom and religion, includes movements originating from the Silat movement. Movements in Minangkabau dance include Silat movements, such as attacking and fending off, rolling over, sawhorse posture and leg and hand movements. This is an original movement source and derives from cultural movements born from the fighter. That is why the Minangkabau dancer is a male; females were initially not allowed to dance because the movements are not suitable for them. Movement stylization suitable for a woman appears when she starts involving in dance movements in Minangkabau. Given the basis of culture and religion, the concept of suitable movements for a woman involves having no pelvic-rocking movements, erotic movements (with legs, hands and head) or other movements, such as rolling over, fighting and fending off. When male and female dancers perform together, they are not allowed to touch each other.

The movement in the dancing art of Minangkabau actually should be in harmony with, balanced on and based on the value of Adat Basandi Syarak, Syarak Basandi Kitabulah, which is the philosophy of the Minangkabau ethnic group. This means, a religious value must be seen in all expressions of dance movements of the Minangkabau ethnic group; no expression should contradict the values of the religious and customs value. A similar perception to the philosophy states that it is very helpful for Indonesian choreographer for the needs of aesthetic from the rich of Indonesian dance. Also, Hastuti and Supriyanti (2012) state that it can be a differentiator from the dance rules of Western thought patterns.

This paper aims to explore the opinions of business owners in an industrial area of Abu Dhabi that could be potentially turned into an art tourism destination.

By mobilizing the concept of “gentrification aesthetics,” the authors use a recall technique to explore support toward art from business owners, regression analyses to understand how the type and content of art predicts gentrification support and chi-square to research the differences between respondents who support the area to become a creative place and those who do not.

A model that explains the connection between gentrification aesthetics and art tourism is presented.

The authors’ proposed model results from testing the possibilities for expanding art tourism specifically and may not apply to other types of tourism. Future research is needed to understand whether and how the model can be applied to other forms of tourist consumption.

The current research presents a case study on how tourism can be strategically expanded into more rural places in a city.

The authors found significant differences between respondents who would like to see Mussafah becoming a creative place in five years and those who believe Mussafah needs to be(come) something else.

While work on tourism gentrification has been conducted, the nexus between gentrification aesthetics and art tourism cannot be found. Their relation can help to expend (art) tourism from busy cultural attractions to industrial areas. The present research fills this gap.

This descriptive, non-experiment case study addresses the little-studied topic of martial arts tourism within the Democratic People’s Republic of Korea (DPRK; i.e., North Korea) to determine if it is a form of non-entertainment tourism.

The current research focusses on a single subject (Singaporean female; 36 years of age (at time of interview); Taekwon-Do 4th degree black belt) who travelled to the DPRK three times to practice the Korean martial art Taekwon-Do. After the initial contact, a questionnaire was used and direct interviews via Skype and Facebook were performed. A broad thematic discourse, as well as analysis of the subject’s travel and practice notes and photographs from her stay in the DPRK, were also incorporated into the findings.

The subject developed new Taekwon-Do skills, which permitted her to obtain higher Taekwon-Do ranks as well as enriched her personality and changed certain conceptions. Self-realization and self-improvement through martial arts are the dominant motives of martial arts tourism. Therefore, the subject’s motivation confirms martial arts tourism can be a variation of non-entertainment tourism.

This research is hindered by the standard case study limitations: it is difficult to generalize this study’s results to the wider DPRK population, the interviewee’s and researchers’ subjective feelings may have influenced the findings, and selection bias is definitely a factor because of the study’s population being a single female of non-DPRK origin.

As one of the first studies on DPRK martial arts tourism and practice, this research examines where research on the DPRK and martial arts tourism intersect. It is thusly unique in providing new insights into the DPRK’s intention for its tourism industry, as well as Taekwon-Do, arguably its most marketable cultural asset.

Community arts practice gives voice to a younger generation, who must be studied as part of the development process from commencement, to accomplish building sustainable destination development in the direction of future prosperity for the rural community.

This paper challenges a relatively weak critical practice of the community-based tourism (CBT) by introducing community arts methodologies as a research approach in the context of tourism, the opportunity is created to give voice to a younger generation that must also be included in the development aims of the CBT to achieve sustainable community tourism development.

The CBT aims to support access to quality participation in the development process. However, investment in education and building tourism entrepreneurs is not inclusive of the future generations beyond the original generation. Consideration of the desires and imaginations of the future generations must be part of the CBT project for tourism development sustainability. Building awareness of the fragility and value of tourist attractions and resources, in a younger generation that never experienced the original attractions of the traditional village, is critical to achieving the objectives of the CBT.

The paper is not yet attempting to examine the empirical data of this research. Rather, it challenges current CBT research processes as having a narrow reach into a community.

Tourism developers and local communities should include an understanding of what directions and what opportunities the next and future generations will have to continue sustainable development. Including children’s imaginations into a community’s tourism development plans will benefit awareness of the present context and assist locals in forecasting the next stage of village development. The present tourism planners would then have a holistic vision for a design strategy sustaining rural livelihoods that acknowledge the limits of nature-based resources and cultural resources.

Community arts research offers the possibility of inclusive participation of community members. Arts methodology attempts to articulate ideas in visual form, for the aim of discussion, reflection and realization of the desires and concerns of the community in terms of lifestyle, environment and cultural heritage, in preparation for the future generation taking control of tourism development. The process aims to impact future decisions effecting the course of tourism development in rural Thailand.

The paper discusses the potential contribution of community arts practice as a complementary tool by taking into account different aspects of sustainable tourism into CBT concept. The paper evaluates what has been missing in advancing our understanding of sustainable rural tourism development in Thailand. It fills the gaps with a methodological approach that gives voice to the local community. The purpose of this paper is to rethinking the ideology and approach of CBT to be inclusive of all demographics of society for the goal of achieving sustainable tourism and sustainable community development in Thailand context.