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Os turistas na cidade do Porto : turismo cultural, arte e imersão
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O turismo tem sido cada vez mais valorizado por decisores políticos e agentes culturais como um instrumento para a valorização e preservação do património material e imaterial, estimulando o interesse e atraindo investimento económico (Richards, 2003; OMT, 2018). Alem disso, e reconhecido como um fator de promoção e dinamização das artes, do artesanato e de outras formas de expressa o cultural (Richards, 2001, 2003; Yúdice, 2003; Augusto Mateus & Associados, 2010; Smith, 2016; OMT, 2018). Desde que surgiu, na Grand Tour da aristocracia brita nica, que a cultura, nas suas múltiplas vertentes, e imprescindível para o turismo, desempenhando um papel central na construção do produto turístico e na definição da imagem estratégia de um destino (Yúdice, 2003; Santos, Carvalho & Figueira, 2012). A classificação do Centro Histórico do Porto enquanto Património Mundial da UNESCO (em 1996), à qual se seguiu a nomeação enquanto Capital Europeia da Cultura (2001), foi decisiva para o fortalecimento da imagem da cidade enquanto destino cultural e artístico e para o crescimento acentuado da sua procura – mais 37% de hóspedes, em 5 anos. Mais recentemente, têm surgido diversas iniciativas que unem a cultura, as artes e a tecnologia para oferecer experiências imersivas àqueles que visitam a cidade, em alguns dos seus locais mais emblemáticos, indo ao encontro da crescente procura por experiências autênticas, profundas e de elevada envolvência com o destino (Richards, 2001; Smith, 2006; McKercher, 2020). O presente estudo conta com uma extensa e detalhada revisão literária aos elementos que compõem o Turismo Cultural, enquadrando-o no seio da Economia de Experiência e olhando, em concreto, para o caso da cidade do Porto, no Norte de Portugal. A inexistência de investigações que analisassem os turistas culturais na cidade à luz dos conceitos da Economia de Experiência motivou o presente estudo. Assim, foi desenvolvido um questionário de 29 perguntas – das quais faz parte uma Escala de Medição da Participação e Conexão Preferidas em Experiências Artísticas (PaCoPEA), criada e validada (α = 0,8) pela autora –, respondido por 286 turistas, nacionais e estrangeiros, nas ruas da cidade. A partir das suas respostas aferem-se as características demográficas, comportamentais e de opinião/preferências da população-alvo. A amostra é depois segmentada de acordo com o seu comportamento de consumo artístico e motivações para viajar, dando origem a três segmentos: ‘turistas culturais nucleares’, ‘turistas culturais periféricos’ e ‘outros turistas’. Os três segmentos identificados são descritos e analisados à luz das variáveis em estudo e das hipóteses de investigação. Entre as principais conclusões, este estudo demonstra que a motivação artística impacta os gastos com experiências artísticas no destino, com os ‘turistas culturais nucleares’ a serem o grupo que mais dinheiro gasta, no Porto, nestas experiências. Não foram, contudo, apurados elementos suficientes que permitam – além da motivação – distingui-los dos ‘turistas culturais periféricos’. A presença de tecnologias imersivas em experiências artísticas e uma aposta que agrada maioritariamente os turistas culturais, mas de forma moderada. O estudo afere a existência de uma relação estatisticamente relevante entre o segmento de consumo e o tipo de experiência artística preferido. Identifica, ainda, um favoritismo generalizado por experiências artísticas que sejam imersivas, e estabelece uma relação entre o consumo de experiências artísticas e imersivas. Não obstante, menos de metade dos inquiridos admite consumir experiências imersivas na cidade do Porto. Isto revela que existe espaço para melhoria − na comunicação e/ou no produto - entre as empresas que operam no mercado, mas também para implantação de novos players.
Tourism has increasingly been recognized by policymakers and cultural agents as a key instrument for enhancing and preserving both tangible and intangible heritage, stimulating interest, and attracting economic investment (Richards, 2003; OMT, 2018). Furthermore, it is acknowledged as a driver of the promotion and revitalization of the arts, crafts, and other forms of cultural expression (Richards, 2001, 2003; Yúdice, 2003; Augusto Mateus & Associados, 2010; Smith, 2016; OMT, 2018). Since its origins in the Grand Tour of the British aristocracy, culture in its various forms has been an essential component of tourism, playing a central role in shaping the tourism product and defining a destination’s strategic image (Yúdice, 2003; Santos, Carvalho & Figueira, 2012). The designation of Porto’s Historic Center as a UNESCO World Heritage Site (in 1996), followed by its selection as the European Capital of Culture (2001), was instrumental in strengthening the city’s image as a cultural and artistic destination and significantly increasing its tourism demand – resulting in a 37% rise in the number of guests over five years. More recently, various initiatives have emerged that integrate culture, the arts, and technology to offer immersive experiences to visitors in some of the city's most iconic locations. These initiatives align with the growing demand for authentic, meaningful, and highly engaging experiences with the destination (Richards, 2001; Smith, 2006; McKercher, 2020). This study includes an extensive and detailed literature review on the elements that constitute Cultural Tourism, situating it within the framework of the Experience Economy and specifically examining the case of the city of Porto, in northern Portugal. The lack of research analyzing cultural tourists in the city through the lens of the Experience Economy concepts motivated this study. A 29-question survey was developed – featuring a Measurement Scale for the Participation and Connection Preference in Artistic Experiences (PaCoPEA), created and validated by the author (α = 0.8) – and administered to 286 national and international tourists in the streets of Porto. Based on their responses, the study assesses the demographic, behavioral, and preference/opinion characteristics of the target population. The sample is then segmented according to artistic consumption behavior and travel motivations, resulting in three distinct segments: “core artistic tourists”, “peripheral artistic tourists”, and “other tourists”. These three segments are described and analyzed in relation to the study variables and research hypotheses. Among its key findings, the study demonstrates that artistic motivation influences spending on artistic experiences at the destination, with “core artistic tourists” being the group that spends the most on such experiences in Porto. However, apart from motivation, no significant distinguishing elements were found between them and “peripheral artistic tourists”. The presence of immersive technologies in artistic experiences is generally well received by artistic tourists, albeit to a moderate extent. The study identifies a statistically significant relationship between consumer segments and their preferred type of artistic experience. It also highlights a widespread preference for immersive artistic experiences and establishes a link between the consumption of artistic and immersive experiences. Nevertheless, fewer than half of respondents report engaging in immersive experiences in Porto. This finding suggests that there is room for improvement – whether in communication strategies or in the product itself – among businesses operating in this market, as well as opportunities for new players to enter the sector.
Tourism has increasingly been recognized by policymakers and cultural agents as a key instrument for enhancing and preserving both tangible and intangible heritage, stimulating interest, and attracting economic investment (Richards, 2003; OMT, 2018). Furthermore, it is acknowledged as a driver of the promotion and revitalization of the arts, crafts, and other forms of cultural expression (Richards, 2001, 2003; Yúdice, 2003; Augusto Mateus & Associados, 2010; Smith, 2016; OMT, 2018). Since its origins in the Grand Tour of the British aristocracy, culture in its various forms has been an essential component of tourism, playing a central role in shaping the tourism product and defining a destination’s strategic image (Yúdice, 2003; Santos, Carvalho & Figueira, 2012). The designation of Porto’s Historic Center as a UNESCO World Heritage Site (in 1996), followed by its selection as the European Capital of Culture (2001), was instrumental in strengthening the city’s image as a cultural and artistic destination and significantly increasing its tourism demand – resulting in a 37% rise in the number of guests over five years. More recently, various initiatives have emerged that integrate culture, the arts, and technology to offer immersive experiences to visitors in some of the city's most iconic locations. These initiatives align with the growing demand for authentic, meaningful, and highly engaging experiences with the destination (Richards, 2001; Smith, 2006; McKercher, 2020). This study includes an extensive and detailed literature review on the elements that constitute Cultural Tourism, situating it within the framework of the Experience Economy and specifically examining the case of the city of Porto, in northern Portugal. The lack of research analyzing cultural tourists in the city through the lens of the Experience Economy concepts motivated this study. A 29-question survey was developed – featuring a Measurement Scale for the Participation and Connection Preference in Artistic Experiences (PaCoPEA), created and validated by the author (α = 0.8) – and administered to 286 national and international tourists in the streets of Porto. Based on their responses, the study assesses the demographic, behavioral, and preference/opinion characteristics of the target population. The sample is then segmented according to artistic consumption behavior and travel motivations, resulting in three distinct segments: “core artistic tourists”, “peripheral artistic tourists”, and “other tourists”. These three segments are described and analyzed in relation to the study variables and research hypotheses. Among its key findings, the study demonstrates that artistic motivation influences spending on artistic experiences at the destination, with “core artistic tourists” being the group that spends the most on such experiences in Porto. However, apart from motivation, no significant distinguishing elements were found between them and “peripheral artistic tourists”. The presence of immersive technologies in artistic experiences is generally well received by artistic tourists, albeit to a moderate extent. The study identifies a statistically significant relationship between consumer segments and their preferred type of artistic experience. It also highlights a widespread preference for immersive artistic experiences and establishes a link between the consumption of artistic and immersive experiences. Nevertheless, fewer than half of respondents report engaging in immersive experiences in Porto. This finding suggests that there is room for improvement – whether in communication strategies or in the product itself – among businesses operating in this market, as well as opportunities for new players to enter the sector.
Descrição
Palavras-chave
Turismo cultural Artes Economia de experiência Imersão Porto Cultural tourism Arts Experience economy Immersion
Contexto Educativo
Citação
Editora
Licença CC
Sem licença CC