Innovación en El Mercado Turístico: Experiencias en Arte Urbano

Abstract

El turismo es una de las actividades que más encarecidamente precisa de la innovación y la creatividad para mantenerse constantemente en auge. Las tendencias actuales de la demanda exigen experiencias activas, que generen emociones, esten repletas de contenido, tengan dosis de placer. El arte urbano siempre presente en los espacios públicos de las ciudades, emerge como una propuesta innovadora, atendiendo a su capacidad de provocación e interacción con el peatón espectador. Barcelona es el actual laboratorio turístico en el que se lleva a cabo la denominada Pinacoteca a Cel Obert, una galeria de arte abierta que ocupa el espacio público de la ciudad, con 24 obras pictóricas clásicas en el sí de calles comerciales, en las puertas de sus establecimientos. El análisis cualitativo de la información recopilada en la encuesta a 150 visitantes y las entrevistas a los stakeholders del proyecto, conduce a determinar que esta galeria de arte urbano y su itinerario ofrecen una satisfactoria experiencia turística, repleta de emociones y vivencias. Tourism is one of the activities that most urgently requires innovation and creativity to keep its constantly booming. The current demand tendencies require active experiences, that generate emotions, experience content, doses of pleasure. The permanent presence of street art in public spaces emerge now as an innovative proposal due to its capacity of provocation and interaction with the pedestrian observar. Barcelona is the present tourism lab where the Pinacoteca a Cel Obert is implemented, an open gallery in the public space of the city, with 24 classic paintings into the street, on the business doors. Cualitative analysis of collected data in the survey to 150 visitors and the interviews to the project stakeholders, lead to conclude that this street art gallery and its itinerary offer a satisfactory tourist activity, pleint of emotions and experiences.

Street Art in Aveiro: City Walls as Dialogic Spaces of Collective Memories and Identity

“…This positive trend over the last two decades has occurred in part because new tourism profiles have emerged. Unlike the 1950s-1970s tourists, who for the most part sought sun and beach tourism products [29], contemporary, global tourists are more active and curious [9]. These are individuals who seek leisure activities that allow for exploration, growth, renewal, reflection and self-actualization [30].…”

“…Keen on the emotional dimension of the tourist experience [31], tourists are now eager to take part in unique, "authentic" experiences 1 . They seek new escapist venues and activities that allow them to discover different leisure spaces-places away from work and everyday life [34] where they can connect with local communities, learn about new ways of living and immerse themselves in their pasts and collective memories [9]. With around 40% of travelers identifying themselves as cultural tourists [35], cultural tourism has, thus, become one of the most important segments in the sector.…”

“…In this respect, Ref. [9] (p. 499) underlines that "the local identity, the tangible and intangible heritage rooted in the destination, are the most coveted and appreciated images for tourists, as they reveal the singularity of a place, differentiating it from elsewhere in the globalized, homogeneous world".…”

“…All in all, street art has evolved into an instrument of urban regeneration intended to grace a public space [9], serve as a mechanism for the revitalization of marginalized neighborhoods [69], construct a sense of beauty and encourage belonging [62] and offer a tourist resource of important economic value along with significant power in the development of a city's character [69]. Furthermore, street art is not only a phenomenon that has been repositioned as a strategic commodity for urban development 3 [73] by transforming the urban landscape; while engaging the public in transformative conversation [74], it also creates an important dialogic space for the community.…”

“…There is growing literature that addresses how street art is used to boost tourism destinations and attract new and returning visitors [9][10][11][12]. To further our understanding of street art's role and function, this paper seeks to look beyond its value as a tourism asset and explore the idea that alongside its touristic and socioeconomic value, this art form has gained another important purpose: the role of being the carrier of elements and messages with the potential to be added to one's identitary map, especially for younger members of the community.…”