In the last two decades, creative tourism has evolved as a burgeoning field, encompassing a wide range of concepts and practices, in different places around the world. From the very beginning, however, creative tourism has aimed to contribute to sustainable development and increased community wellbeing, as an alternative to mass cultural tourism. With this review article, our main objective is to identify and analyze a body of literature that specifically addresses creative tourism in islands, contributing to fill a gap in the knowledge since no reviews with this focus have yet been undertaken. Our aim is to provide a critical overview of creative tourism experiences at island destinations worldwide, addressing the plurality of empirical contexts and methodological approaches found in academic research. This review highlights the key trends in creative tourism, pointing out two distinct approaches: creative tourism in urban contexts, based on creative events, “cultural clusters” or Cultural and Creative Industries (CCIs), versus community-focused small-scale tourism experiences in rural contexts. This paper also provides an opportunity to assess the evolution of sustainable creative tourism approaches in islands.

As strategies for the development of creative tourism multiply in contexts ranging from global cities to small communities, the need for a clearer conceptual framework, capable of better differentiating existing approaches, has become more evident. Building upon existing knowledge on cultural and creative tourism, and on a prior review of the literature on creative tourism on islands, this paper proposes a typology of creative tourism initiatives, and after examining this new categorization, develops the concept of sustainable creative tourism. Through highlighting the need for creative tourism developers, policymakers, and practitioners to deepen their engagement with more holistic and integrated approaches oriented towards sustainable development in all its dimensions (economic, environmental, social, and cultural), the authors systematize a set of international principles and policy recommendations meant to promote sustainable creative tourism development strategies, duly adjusted to different places and realities, with an emphasis on vulnerable islandscapes.

Several authors have shown that some tourism typologies—i.e., rural tourism, nature-based tourism, or creative tourism—have a more predominant role in attaining regional sustainability. In this regard, this paper explores the impacts of five pilot projects of creative tourism on the sustainable development of the insular Autonomous Region of the Azores. Through direct exploratory tools, such as interviews and site analyses, the present study enabled us to provide greater insight into creative tourism projects and their relevance to the development of an ultra-peripheral island region. As part of the CREATOUR AZORES Project, this study is based on five creative tourism pilot projects operating in the Azores, Portugal. As such, it is recommended that the regional government, local authorities, and other relevant actors and players in this region actively support and create strategies to strengthen these projects (and similar initiatives) once they not only contribute to regional development and destination promotion but also promote much-desired sustainable development—once these kinds of tourism, in theory, and practice, counteract the dire effects of mass tourism.

As the impact of the COVID-19 pandemic was felt worldwide, the tourism sector was forced to seek ways of reinventing itself. Two decades prior to this crisis, in varied rural areas and island contexts, small-scale, community-based creative tourism had appeared as a sustainable place-making solution to foster place vitality, competitive distinctiveness, regenerative development and destination resilience. From an island perspective, this article presents the theoretical framework, methodological approaches, and empirical practices of the Creatour Azores project, which was carried out in the North Atlantic archipelago of the Azores from 2019-2022. Given this timeframe, the investigators and pilot projects that implemented this research-practice project were confronted with the COVID-19 pandemic, which accentuated the isolation and remoteness that tend to characterize islandscapes, especially peripheral islands such as the Azores. At the same time, however, this devastating global pandemic, which impacted the tourism sector especially, ended up offering unexpected opportunities along with special challenges, seeming to underscore the relevance of studies focused on the isolation and remoteness that characterize islandscapes. After describing the project methodologies and practices, as well as the adjustments adopted due to the pandemic, this article considers future possibilities for creative tourism on islands, in general, and in the Azores.

A quinta (quintã na grafia antiga), deriva etimologicamente do vocábulo latino quintana, cujo significado e evolução semântica permanecem relativamente obscuros. Segundo Bluteau, o significado está relacionado com o costume de o rendeiro da quinta entregar ao dono dela a quinta parte dos frutos, explicação que, porém, não parece historicamente comprovada. Maior consenso recolhe a ideia…

Palavra derivada de chada ou chaada que significa uma pequena chã ou planura entre terrenos acidentados e montanhosos, com alguma aptidão agrícola. Aplica-se por isso toponimicamente a diversas localidades das ilhas açorianas (S. Miguel, Terceira e Graciosa) e ilha da Madeira. [A: Isabel Soares de Albergaria, 2014] Bibliografia: Abreu 2005; Silva & Meneses 1965. doi:10.15847/cehc.edittip.2014v060