创意旅游之内涵特征、构建图谱与发展前瞻
|
摘要
首先文章通过构建创意旅游图谱来探讨创意旅游的根基来源、要素特征以及价值指向,以期深入诠释创意旅游之内涵。创意旅游是以创意策划为核心,通过主题、景观、活动、空间、功能、服务等旅游元素的创新,激发旅游者的想象力和创造力,促进旅游者参与和互动,使其获得新体验、创造新价值的旅游活动。创意旅游是以理念创新为引领,内容创新为内核,模式创新为指向的活动,并以此为框架构建创意旅游图谱。构建图谱第一层级,理念创新来源于历史挖掘、文化碰撞、技术创新、市场再造;第二层级,内容创新通过主题、景观、活动、空间、功能、服务等旅游元素的创新,激发旅游者的想象力和创造力;第三层级模式创新,通过资源整合、游客参与、主客互动、产业融合等模式创新,最终创造新价值。其次,分别探讨创意旅游活动的特征以及创意旅游者的特征。创意旅游活动具有创新性、独特性、体验性、文化性、有智性和开放性特征;创意旅游者具有双重身份,他们既是旅游消费者,也是旅游产品的生产者和创造者,创意旅游赋予他们高度的能动性、创造感和自我实现感。最后,从发展前景来看,创意旅游对培育创意阶层意义重大,是推动创新文化民主化的有生力量。一方面,创意旅游正从边缘走向核心,将在创意产业中占据更为重要的位置;另一方面,创意旅游活动面临市场规模扩大和快速模仿带来的平庸化倾向。因此,需要对技术决定论、品牌精英霸权、大众市场进行反思和批判,这将有助于创意旅游的可持续发展。
Creative tourism is the result of concept innovation, content innovation and mode innovation in the new era of the tourism industry. Nowadays tourists are more concerned with special and personalized experiences. Their focus is not only on the participation, but also on the interaction in the process of tourism activities. They yearn for new destinations and novelty events. They challenge the unknown in order to get a sense of freedom and the thrill of creativity. Firstly, this thesis builds an atlas of creative tourism to discuss its source, characters, connotation and direction of development. Creative tourism is a kind of tourism activity based on historical excavation, cultural collision, technological innovation and market rebuilding. Planning is the core of creative tourism. Tourists are encouraged to imagine and create. They are led to experience new themes, landscapes, activities, spaces, functions,services and other tourism elements. Creative tourism is a process involving the integration of resources, participation of visitors, interaction between hosts and guests, industrial integration and creation of new values. In the view of culture, the ideal realm of creative tourism is to integrate leisure,work and life, to promote the sustainability of regional culture, and to stimulate people's cultural selfawareness and all-around development. Secondly, in view of the industry system, creative tourism is a highly open new mode of industry chain which promotes interaction between tourism planners and consumers, stimulates the creative potential of participants, and improves their innovation skills. The features of creative tourism include innovation, uniqueness, experience, culture, wisdom, and openness.Creative visitors have a dual identity: visitors as well as producers/creators of tourism products.Creative tourism gives them a high degree of initiative, creativity and self-actualization. Creative tourism is an incubator of creative class, and it promotes the democratization of innovation. On one hand, the creative tourism industry is moving from the edge to the core, and it will play a more important role in the industry chain. On the other hand, it also faces conflicts resulting from economic benefit and mediocrity due to large scale market expansion. Previously, tourism exploration was decided by resources. Now creative tourism is expanding the boundary of resource and leading the resources. Obviously, duplication is the easiest way to harvest profit; however, this will not only lead to mediocrity, but also violate the fundamental requirements of individuality and creativity. Post-modern culture encourages people to express their individuality. This kind of self-presentation is a very important resource of creativity. Creative tourism provides visitors opportunities to do away with mediocrity and control. At the same time, it acts as a double-edged sword. Therefore, it is necessary to scrutinize technological determinism, monopoly of brand elite and public market. This scrutiny will contribute to the sustainable development of creative tourism.
Creative tourism is the result of concept innovation, content innovation and mode innovation in the new era of the tourism industry. Nowadays tourists are more concerned with special and personalized experiences. Their focus is not only on the participation, but also on the interaction in the process of tourism activities. They yearn for new destinations and novelty events. They challenge the unknown in order to get a sense of freedom and the thrill of creativity. Firstly, this thesis builds an atlas of creative tourism to discuss its source, characters, connotation and direction of development. Creative tourism is a kind of tourism activity based on historical excavation, cultural collision, technological innovation and market rebuilding. Planning is the core of creative tourism. Tourists are encouraged to imagine and create. They are led to experience new themes, landscapes, activities, spaces, functions,services and other tourism elements. Creative tourism is a process involving the integration of resources, participation of visitors, interaction between hosts and guests, industrial integration and creation of new values. In the view of culture, the ideal realm of creative tourism is to integrate leisure,work and life, to promote the sustainability of regional culture, and to stimulate people's cultural selfawareness and all-around development. Secondly, in view of the industry system, creative tourism is a highly open new mode of industry chain which promotes interaction between tourism planners and consumers, stimulates the creative potential of participants, and improves their innovation skills. The features of creative tourism include innovation, uniqueness, experience, culture, wisdom, and openness.Creative visitors have a dual identity: visitors as well as producers/creators of tourism products.Creative tourism gives them a high degree of initiative, creativity and self-actualization. Creative tourism is an incubator of creative class, and it promotes the democratization of innovation. On one hand, the creative tourism industry is moving from the edge to the core, and it will play a more important role in the industry chain. On the other hand, it also faces conflicts resulting from economic benefit and mediocrity due to large scale market expansion. Previously, tourism exploration was decided by resources. Now creative tourism is expanding the boundary of resource and leading the resources. Obviously, duplication is the easiest way to harvest profit; however, this will not only lead to mediocrity, but also violate the fundamental requirements of individuality and creativity. Post-modern culture encourages people to express their individuality. This kind of self-presentation is a very important resource of creativity. Creative tourism provides visitors opportunities to do away with mediocrity and control. At the same time, it acts as a double-edged sword. Therefore, it is necessary to scrutinize technological determinism, monopoly of brand elite and public market. This scrutiny will contribute to the sustainable development of creative tourism.
引文
[1]LANDRY C.The Creative City:A Toolkit for Urban Innovators[M].YANG Youlan,trans.Beijing:Tsinghua University Press,2009:22-23.[查尔斯·兰德利.创意城市[M].杨幼兰,译.北京:清华大学出版社,2009:22-23.]
[2]ZHANG Yurong,ZHENG Tao.Creative Tourism:Theory and Practice[M].Chengdu:Southwestern University of Finance and Economics Press,2014:3.[张玉蓉,郑涛.创意旅游:理论与实践[M].成都:西南财经大学出版社,2014:3.]
[3]RICHARDS G.World culture and heritage and tourism[J].Tourism Recreation Research,2000,(1):9-18.[理查兹G.世界文化遗产与旅游[J].旅游休闲研究,2000,(1):9-18.]
[4]United Nations Educational Scientific and Cultural Organization[EB/OL].http://whc.unesco.org,2017-07-13.[联合国教科文组织世界遗产中心[EB/OL].https://asofarmland.co.jp,2017-07-13.]
[5]LI Wuwei,WANG Huimin,SUN Jie.Creative tourism:Innovation of tourism industry development model[J].Tourism Science,?12007,21(6):1-5.[厉无畏,王慧敏,孙洁.创意旅游:旅游产业发展模式的革新[J].旅游科学,2007,21(6):1-5.]
[6]ZHOU Jun,Feng Xuegang.Research of creative tourism and its characteristics[J].Journal of Guilin Tourism University,2008,19(3):394-395.[周钧,冯学钢.创意旅游及其特征研究[J].桂林旅游高等专科学校学报,2008,19(3):394-395.]
[7]WANG Hao,ZHOU Fengjie.Study on cultural creative tourism:Illustrated by the case of Beijing 798 Art District[J].Tourism Overview,2014,(3):79.[王昊,周凤杰.论文化创意旅游--以北京798艺术区为例[J].旅游纵览,2014,(3):79.]
[8]ZHANG Shengnan.Research of creative tourism development model and operating mechanism[J].Research on Financial and Economic Issues,2016,(2):123-129.[张胜男.创意旅游发展模式与运行机制研究[J].财经问题研究,2016,(2):123-129.]
[9]WANG Degen,QIAN Jia.Innovation thinking of tourism planning system in the era of creative tourism[J].Tourism Tribune,2014,29(5):13-15.[汪德根,钱佳.创意旅游时代的旅游规划体系创新思考[J].旅游学刊,2014,29(5):13-15.]
[10]LI Qinglei.Tourism creativity:The origin,connotation and characteristics[J].Journal of Beijing International Studies University,2011,(1):26-34.[李庆雷.旅游创意:缘起、内涵与特征[J].北京第二外国语学院学报,2011,(1):26-34.]
[11]WANG Xin.Development and thinking of chinese cultural creative tourism[J].Academic Exchanges,2013,(10):102-105.[王欣.中国文化创意旅游的发展与思考[J].学术交流,2013,(10):102-105.]
[12]YUAN Bo,BAI Kai.Theory and practice of creative tourism[J].Urban Problems,2008,(11):97-101.[原勃,白凯.创意旅游理论及实践[J].城市问题,2008,(11):97-101.]
[13]THROSBY D.The Economics of Cultural Policy[M].YI Xin,trans,Dalian:Northeast University of Finance and Economics Press,2013:164-170.[戴维·索罗斯比.文化政策经济学[M].易昕,译.大连:东北财经大学出版社,2013:164-170.]
[14]LIU Chunji,GAO Jing.Study on creative tourism development and a few of dialectical relationship to deal with[J].Journal of Beijing International Studies University,2014,(3):1-6.[刘春济,高静.论创意旅游发展及其需要处理的几对辩证关系[J].北京第二外国语学院学报,2014,(3):1-6.]
[15]WU Bihu.TOLD model and creative tourism[N].China Real Estate News,2014-08-18(B03).[吴必虎.TOLD模式与创意旅游[N].中国房地产报,2014-08-18(B03).]
[16]FLORIDA R.The Creative Economy[M].FANG Haiping,WEIQingjiang,trans.Beijing:Renmin University of China Press,2006:10-37.[理查德·弗洛里达.创意经济[M].方海平,魏清江,译.北京:中国人民大学出版社,2006:10-37.]
[17]XU Jing,ZHOU Bin,WANG Lulu,et al.Creative tourism research progress and the enlightenment at home and abroad[J].Science-Technology and Management,2015,17(2):25-32.[徐静,周彬,王璐璐,等.国内外创意旅游研究进展与启示[J].科技与管理,2015,17(2):25-32.]
[18]DAI Ming,YIN Yijin,DAI Xie’er.Innovation theory:1912-2012[J].Economics Information,2012,(4):62-66.[代明,殷仪金,戴谢尔.创新理论:1912-2012[J].经济学动态,2012,(4):62-66.]
[19]LI Duhong,JIANG Jianlan,CAO Shitu.Study of the tourism and man’s all-around development[J].Tourism Research,2011,3(4):31-36.[李杜红,蒋剑岚,曹诗图.试论旅游与人的全面发展[J].旅游研究.2011,3(4):31-36.]
[20]ASO Farm Land[EB/OL].https://asofarmland.co.jp,2019-04-21[日本阿苏农场[EB/OL].https://asofarmland.co.jp,2019-4-21.]
[21]ARISTOTLE.The Politics of Aristotle[M].Beijing:China Social?35Sciences Publishing House Chengcheng Books Ltd,1999:335.
[22]WANG Xiaoqian,CAO Shitu,Study of tourism from the perspective of hominology[J].Geography and Geo-Information Science,2018,34(1):86-91.[王晓倩,曹诗图.试论人学视角的旅游研究[J].地理与地理信息科学,2018,34(1):86-91.]
[23]BAUDELAIRE C.Le Spleen De Paris[M].GUO Hong’an,trans.Shanghai:Shanghai Translation Publishing House,2011:150.[夏尔·波德莱尔.巴黎的忧郁[M].郭宏安,译.上海:上海译文出版社,2011:150.]
[24]O’BRIEN D.Cultural Policy[M].WEI Jiahai,YU Qin,trans.Dalian:Northeast University of Finance and Economics Press,2016:80.[戴夫·奥勃良.文化政策[M].魏家海,余勤,译.大连:东北财经大学出版社,2016:80.]
[25]O’CONNOR J.Art and Creative Industries[M].WANG Bin,ZHANG Liangcong trans.Beijing:Central Compilation&Translation Press,2013:176-177.[贾斯汀·奥康诺.艺术与创意产业[M].王斌,张良丛译.北京:中央编译出社,2013:176-177.]
[26]LI Wuwei,WANG Huimin.New Theory on Creative Industry[M].Shanghai:Orient Publishing Center,2008:197.[厉无畏,王慧敏.创意产业新论[M].上海:东方出版中心,2008:197.]
[27]Fund Town Enhancing Service Capability and Promoting Cooperation[EB/OL].http://hzsc.hangzhou.com.cn,2019-03-12.[玉皇山南基金小镇提升服务能力促进“三化融合”[EB/OL].http://hzsc.hangzhou.com.cn,2019-03-12.]
[2]ZHANG Yurong,ZHENG Tao.Creative Tourism:Theory and Practice[M].Chengdu:Southwestern University of Finance and Economics Press,2014:3.[张玉蓉,郑涛.创意旅游:理论与实践[M].成都:西南财经大学出版社,2014:3.]
[3]RICHARDS G.World culture and heritage and tourism[J].Tourism Recreation Research,2000,(1):9-18.[理查兹G.世界文化遗产与旅游[J].旅游休闲研究,2000,(1):9-18.]
[4]United Nations Educational Scientific and Cultural Organization[EB/OL].http://whc.unesco.org,2017-07-13.[联合国教科文组织世界遗产中心[EB/OL].https://asofarmland.co.jp,2017-07-13.]
[5]LI Wuwei,WANG Huimin,SUN Jie.Creative tourism:Innovation of tourism industry development model[J].Tourism Science,?12007,21(6):1-5.[厉无畏,王慧敏,孙洁.创意旅游:旅游产业发展模式的革新[J].旅游科学,2007,21(6):1-5.]
[6]ZHOU Jun,Feng Xuegang.Research of creative tourism and its characteristics[J].Journal of Guilin Tourism University,2008,19(3):394-395.[周钧,冯学钢.创意旅游及其特征研究[J].桂林旅游高等专科学校学报,2008,19(3):394-395.]
[7]WANG Hao,ZHOU Fengjie.Study on cultural creative tourism:Illustrated by the case of Beijing 798 Art District[J].Tourism Overview,2014,(3):79.[王昊,周凤杰.论文化创意旅游--以北京798艺术区为例[J].旅游纵览,2014,(3):79.]
[8]ZHANG Shengnan.Research of creative tourism development model and operating mechanism[J].Research on Financial and Economic Issues,2016,(2):123-129.[张胜男.创意旅游发展模式与运行机制研究[J].财经问题研究,2016,(2):123-129.]
[9]WANG Degen,QIAN Jia.Innovation thinking of tourism planning system in the era of creative tourism[J].Tourism Tribune,2014,29(5):13-15.[汪德根,钱佳.创意旅游时代的旅游规划体系创新思考[J].旅游学刊,2014,29(5):13-15.]
[10]LI Qinglei.Tourism creativity:The origin,connotation and characteristics[J].Journal of Beijing International Studies University,2011,(1):26-34.[李庆雷.旅游创意:缘起、内涵与特征[J].北京第二外国语学院学报,2011,(1):26-34.]
[11]WANG Xin.Development and thinking of chinese cultural creative tourism[J].Academic Exchanges,2013,(10):102-105.[王欣.中国文化创意旅游的发展与思考[J].学术交流,2013,(10):102-105.]
[12]YUAN Bo,BAI Kai.Theory and practice of creative tourism[J].Urban Problems,2008,(11):97-101.[原勃,白凯.创意旅游理论及实践[J].城市问题,2008,(11):97-101.]
[13]THROSBY D.The Economics of Cultural Policy[M].YI Xin,trans,Dalian:Northeast University of Finance and Economics Press,2013:164-170.[戴维·索罗斯比.文化政策经济学[M].易昕,译.大连:东北财经大学出版社,2013:164-170.]
[14]LIU Chunji,GAO Jing.Study on creative tourism development and a few of dialectical relationship to deal with[J].Journal of Beijing International Studies University,2014,(3):1-6.[刘春济,高静.论创意旅游发展及其需要处理的几对辩证关系[J].北京第二外国语学院学报,2014,(3):1-6.]
[15]WU Bihu.TOLD model and creative tourism[N].China Real Estate News,2014-08-18(B03).[吴必虎.TOLD模式与创意旅游[N].中国房地产报,2014-08-18(B03).]
[16]FLORIDA R.The Creative Economy[M].FANG Haiping,WEIQingjiang,trans.Beijing:Renmin University of China Press,2006:10-37.[理查德·弗洛里达.创意经济[M].方海平,魏清江,译.北京:中国人民大学出版社,2006:10-37.]
[17]XU Jing,ZHOU Bin,WANG Lulu,et al.Creative tourism research progress and the enlightenment at home and abroad[J].Science-Technology and Management,2015,17(2):25-32.[徐静,周彬,王璐璐,等.国内外创意旅游研究进展与启示[J].科技与管理,2015,17(2):25-32.]
[18]DAI Ming,YIN Yijin,DAI Xie’er.Innovation theory:1912-2012[J].Economics Information,2012,(4):62-66.[代明,殷仪金,戴谢尔.创新理论:1912-2012[J].经济学动态,2012,(4):62-66.]
[19]LI Duhong,JIANG Jianlan,CAO Shitu.Study of the tourism and man’s all-around development[J].Tourism Research,2011,3(4):31-36.[李杜红,蒋剑岚,曹诗图.试论旅游与人的全面发展[J].旅游研究.2011,3(4):31-36.]
[20]ASO Farm Land[EB/OL].https://asofarmland.co.jp,2019-04-21[日本阿苏农场[EB/OL].https://asofarmland.co.jp,2019-4-21.]
[21]ARISTOTLE.The Politics of Aristotle[M].Beijing:China Social?35Sciences Publishing House Chengcheng Books Ltd,1999:335.
[22]WANG Xiaoqian,CAO Shitu,Study of tourism from the perspective of hominology[J].Geography and Geo-Information Science,2018,34(1):86-91.[王晓倩,曹诗图.试论人学视角的旅游研究[J].地理与地理信息科学,2018,34(1):86-91.]
[23]BAUDELAIRE C.Le Spleen De Paris[M].GUO Hong’an,trans.Shanghai:Shanghai Translation Publishing House,2011:150.[夏尔·波德莱尔.巴黎的忧郁[M].郭宏安,译.上海:上海译文出版社,2011:150.]
[24]O’BRIEN D.Cultural Policy[M].WEI Jiahai,YU Qin,trans.Dalian:Northeast University of Finance and Economics Press,2016:80.[戴夫·奥勃良.文化政策[M].魏家海,余勤,译.大连:东北财经大学出版社,2016:80.]
[25]O’CONNOR J.Art and Creative Industries[M].WANG Bin,ZHANG Liangcong trans.Beijing:Central Compilation&Translation Press,2013:176-177.[贾斯汀·奥康诺.艺术与创意产业[M].王斌,张良丛译.北京:中央编译出社,2013:176-177.]
[26]LI Wuwei,WANG Huimin.New Theory on Creative Industry[M].Shanghai:Orient Publishing Center,2008:197.[厉无畏,王慧敏.创意产业新论[M].上海:东方出版中心,2008:197.]
[27]Fund Town Enhancing Service Capability and Promoting Cooperation[EB/OL].http://hzsc.hangzhou.com.cn,2019-03-12.[玉皇山南基金小镇提升服务能力促进“三化融合”[EB/OL].http://hzsc.hangzhou.com.cn,2019-03-12.]