Being a tourist as a chosen experience in a proximity destination

Soria, Inmaculada Díaz

doi:10.1080/14616688.2016.1214976

Cited by 48 publications

(11 citation statements)

References 32 publications

(42 reference statements)

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Referring to the elements that have created their experience, TripAdvisor users mention the high quality performance of tour guides and their rich knowledge, personal stories. In special interest tourism there is tendency to employ skilled staff (Minić, 2012) and the guides also act as mediators, of the tourist experience (Weiler & Walker, 2014;Diaz-Soria, 2017). As result the visitors established a personal connection with the sufferings of the people previously imprisoned in the Corner House.…”

Section: Conclusion and Discussionmentioning

confidence: 99%

The Limits of Creative Approach: Conducting an Orchestra of Emotions in the Darkness

Grīnfelde

Veliverronena

2018

Creativity Studies

View full text Add to dashboard Cite

Soviet period has left behind number of uncomfortable, also unwanted heritage sites in Eastern Europe countries that are sensitive, emotionally loaded and easy to communicate neither for locals nor tourists. Such a site is Committee for State Security Building that functions as a museum of Communist regime victims in Riga, Latvia. The research discusses the balance between creativity and authentic simplicity in the designing visitors’ on-site experience in dark tourism objects. The aim of the study is to explore visitors’ emotions during visit to Committee for State Security Building in Riga and the role of a creative tourism product design in stimulating emotions. Visitors’ comments about their visit to the Committee for State Security Building on TripAdvisor were used as the main data source. The research results confirm walking tour in Committee for State Security Building generates memorable impressions and contrast the opinion that new layers of creativity to this dark tourism product would satisfy and entertain customer. The Committee for State Security Building in Riga is an example where creative tourism product design does not have a significant impact on the emotional experience of visitors because main sources of visitors’ experience are high quality performance of tour guides and their rich knowledge, personal stories, authentic atmosphere and interior of the building. Santrauka Rytų Europos šalyse sovietinis periodas paliko daugybę nemalonių ir nepageidaujamų paveldo vietų, kurios yra jautrios, įkrautos emociškai ir nelengvai komunikuojamos tiek vietinių, tiek turistų. Tokia vieta yra Valstybės saugumo komiteto pastatas, veikiantis kaip komunistinio režimo aukų muziejus Rygoje (Latvija). Tyrime aptariama pusiausvyra tarp kūrybiškumo ir autentiško paprastumo, modeliuojant lankytojų vietos potyrius tamsiojo turizmo objektuose. Tyrimo tikslas – paaiškinti lankytojų emocijas, lankantis Valstybės saugumo komiteto pastate Rygoje ir kūrybinio turizmo produkto dizaino vaidmenį sužadinant emocijas. Kaip pagrindiniu duomenų šaltiniu buvo pasinaudota lankytojų atsiliepimais apie jų apsilankymą Valstybės saugumo komiteto pastate TripAdvisor platformoje. Tyrimo rezultatai patvirtina, kad pasivaikščiojimas po Valstybės saugumo komiteto pastatą sukelia įsimintinų įspūdžių ir prieštarauja nuomonei, jog nauji šio tamsiojo turizmo produkto kūrybiškumo klodai patenkins ir pralinksmins klientą. Valstybės saugumo komiteto pastatas Rygoje – tai pavyzdys, kai kūrybinio turizmo produkto dizainas neturi reikšmingo poveikio lankytojų emociniams potyriams, nes pagrindiniai šaltiniai apie lankytojų patirtį yra aukštos kokybės turus vedančių gidų ir jų turimų gausių žinių, asmeninių istorijų, autentiškos atmosferos ir pastato interjero kuriamas spektaklis.

show abstract

Section: Conclusion and Discussionmentioning

confidence: 99%

The Limits of Creative Approach: Conducting an Orchestra of Emotions in the Darkness

Grīnfelde

Veliverronena

2018

Creativity Studies

View full text Add to dashboard Cite

show abstract

“…Tourists want to experience something »out of ordinary« as the opposite of the familiar. However, this otherness is subjectively constructed by each individual (Diaz-Soria, 2017;Tuan, 2001). Since tourists' interests, knowledge and motives differ in terms of the seriousness of the quest for authentic experiences (Cohen, 1979;Cohen & Avieli, 2004), their expectations and perceptions of the destination's heritage may differ considerably (Craik, 2002).…”

Section: Theoretical Context and Methodological Considerationsmentioning

confidence: 99%

Traditional music in tourists’ eyes – the case of Slovene Istria

Sedmak

Kerma

Čivre

2020

Journal of Heritage Tourism

View full text Add to dashboard Cite

The article deals with a modestly researched topic about the attitude of the general tourist population towards the traditional music of the destination. The concept of traditionalism itself is complex, and there are no clear objective criteria for what is and what is not 'traditional.' Tourism brings additional dynamics to the local community in the process of (re)defining its tradition. Although traditional music is an important element of the intangible cultural heritage of any destination, there is relatively little research on the perception, understanding and attitudes of the general tourist population towards traditional music. We believe that the misunderstanding of tourists' wishes, expectations and knowledge of traditional music is at least partly the cause of inappropriate representations of traditional music in tourism. By conducting a survey in the case of Slovenian Istria, a destination with a markedly untapped potential of traditional music, we investigated the factors determining it and its importance in the eyes of tourists. We also studied the differences between tourist segments. The chosen geographical area is highly multicultural and has had a turbulent political and migrant history, which makes it specific and at the same time very suitable for the purpose of the research.

show abstract

“…However, there are very few studies that examine the role of heritage, and more specifically archaeological heritage, in recreational activities or what some authors call tourism leisure [22]. Similarly, there are very few studies that analyse metropolitan regions in terms of their recreational spaces or that focus on short distance trips, considered as proximity tourism [34].…”

Section: Archaeological Heritage and Leisure Activitiesmentioning

confidence: 99%

Archaeological Sites as Peripheral Destinations. Exploring Big Data on Fieldtrips for an Upcoming Response to the Tourism Crisis after the Pandemic

Hernández

García

2021

Heritage

View full text Add to dashboard Cite

Archaeological heritage sites constitute the most recent addition to the tourism supply of Madrid, one of the most visited regions of Spain. In 2003, the Plan de Yacimientos Visitables (Plan of Archaeological Visitable Sites) was implemented, museumising 21 sites. However, the peripheral nature of these sites and the lack of personnel prevent strict control being carried out of who visits them, the practices of these visitors and how they rate the sites. This study proposes a systematic procedure to analyse the data gathered from Twitter and Flickr, in order to determine the most shared archaeological spaces in the years immediately preceding the pandemic, and to assess the perception that the visitors had of them. The information provided is useful for learning about the real weight that these sites have in leisure experiences (school trips, guided tours, recreation, etc.). Now that travel has been restricted due to the pandemic, we should ask whether Spain’s minor heritage is able to structure new proximity tourism routes. This is based on the hypothesis that, until now, these types of heritage have had a very limited role in recreational practices, but offer potential as “outdoor museums” in the present climate.

show abstract

Being a tourist as a chosen experience in a proximity destination

Cited by 48 publications

References 32 publications

The Limits of Creative Approach: Conducting an Orchestra of Emotions in the Darkness

The Limits of Creative Approach: Conducting an Orchestra of Emotions in the Darkness

Traditional music in tourists’ eyes – the case of Slovene Istria

Archaeological Sites as Peripheral Destinations. Exploring Big Data on Fieldtrips for an Upcoming Response to the Tourism Crisis after the Pandemic

Contact Info

Product

Resources

About