Turismo Cultural Sostenible. Programa museográfico de la producción muralista uruguaya del siglo XX y XXI.

Carazo, M. V. Redondo; María, Eva

doi:10.4995/thesis/10251/88396

Cited by 1 publication

(11 citation statements)

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“…In many cases, the reason for this resignification and updating of public spaces resides solely in the fact of beautifying the actual environment, but directly or indirectly, presently, these places end up becoming tourist attractions due to the high demand of creative cultural landscapes by visitors. On the other hand, as recipients of cultural tourism, this reconversion generates new opportunities around the cultural and tourism industry, generating potential spaces for the creation of alternative tours to mass tourism and contributing to the decentralization of traditional tourist destinations [19,30].…”

Section: Literature Review: Urban Art As a New Tourist Attraction In The Historic Centers Of Large Citiesmentioning

confidence: 99%

“…landscapes by visitors. On the other hand, as recipients of cultural tourism, this reconversion generates new opportunities around the cultural and tourism industry, generating potential spaces for the creation of alternative tours to mass tourism and contributing to the decentralization of traditional tourist destinations [19,30].…”

Section: Literature Review: Urban Art As a New Tourist Attraction In The Historic Centers Of Large Citiesmentioning

confidence: 99%

“…In the 1950s, the mural aspect was linked to the abstraction movement, with Miguel Ángel Pareja as a key actor, promoting the mosaic technique both inside and outside the National School of Fine Arts [52]. In the decade of the 60s and 70s, the movement disassociated itself from high culture, although it continues to be developed within the scope of the National School of Fine Arts through university activities, such as the "visual awareness campaigns" and the "mural painting campaigns" [30,53].…”

Section: Maais An Example Of Resilience and Sustainable Tourismmentioning

confidence: 99%

“…After the decline caused by the civil and military dictatorship (1973)(1974)(1975)(1976)(1977)(1978)(1979)(1980)(1981)(1982)(1983)(1984)(1985), mural painting underwent a process of decentralization in the 1990s followed by regionalization, thus, bringing art and culture closer together and extending it to rural areas in inland Uruguay [19][20][21][22][23][24][25][26][27][28][29][30]. This led to the first creative mural landscape in Uruguay appearing in San Gregorio de Polanco.…”

Section: Maais An Example Of Resilience and Sustainable Tourismmentioning

confidence: 99%

“…This made San Gregorio de Polanco known throughout the country, exponentially increasing the tourist influx (Informant 71). It, thus, became a center for national and international cultural tourism through the country's first open-air museum [30].…”

Section: Maais An Example Of Resilience and Sustainable Tourismmentioning

confidence: 99%

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Creative Mural Landscapes, Building Communities and Resilience in Uruguayan Tourism

2021

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The purpose of this research was to analyze open-air mural painting museums in Uruguay as a model of tourism resilience, sustainability, and social development, being one of the first Latin American examples to demonstrate the ability to adapt to change and overcome external shocks through the creation of creative community landscapes. To do so, documentary research, photographic documentation, and field research were carried out in order to explore the opportunities of mural tourism in small locations in Uruguay. In the nineties, a new type of artistic production was created in Uruguay, initially characterized by its decentralization. This was somewhat of a revolution in the muralist field as, until this time, Montevideo had been the center of cultural tradition, considered the intellectual focus of the country, and had concentrated the largest number of murals. For this reason, the birth of new muralist nuclei in small rural enclaves, which traditionally had not had much access to culture and no link to muralism, is remarkable. Secondly, this new movement sought to diversify economic activity given the consequences of the severe economic crises and environmental catastrophes that were and are still prevalent in these areas. Therefore, these new creative landscapes were conceived as important examples of the resilience of cultural tourist destinations. The results emphasize that, until now, the idea of giving muralism a new use as a tool for local economic development had not been envisaged with reference to mural art in Uruguay. This new rethinking has given rise to the so-called Regionalization Processes of Uruguayan wall production. The most relevant cases are those developed in the municipalities of San Gregorio de Polanco (1993), Rosario (1994), and Pan de Azúcar (1998).

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Section: Literature Review: Urban Art As a New Tourist Attraction In The Historic Centers Of Large Citiesmentioning

confidence: 99%

Section: Literature Review: Urban Art As a New Tourist Attraction In The Historic Centers Of Large Citiesmentioning

confidence: 99%

Section: Maais An Example Of Resilience and Sustainable Tourismmentioning

confidence: 99%

Section: Maais An Example Of Resilience and Sustainable Tourismmentioning

confidence: 99%

Section: Maais An Example Of Resilience and Sustainable Tourismmentioning

confidence: 99%

See 3 more Smart Citations

Creative Mural Landscapes, Building Communities and Resilience in Uruguayan Tourism

2021

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Turismo Cultural Sostenible. Programa museográfico de la producción muralista uruguaya del siglo XX y XXI.

Cited by 1 publication

References 0 publications

Creative Mural Landscapes, Building Communities and Resilience in Uruguayan Tourism

Creative Mural Landscapes, Building Communities and Resilience in Uruguayan Tourism

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