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Satu Miettinen, Jaana Erkkilä-Hill, Salla-Mari Koistinen, Timo Jokela and Mirja Hiltunen

This chapter discusses the creative tourism landscape in Lapland and its transformation into a topography of artistic collaboration, walking, and gazing. Three case studies are presented that outline the characteristics of creative participation in tourism activities in the arctic context and introduce a polyphonic discussion of the tourism landscape in Lapland, which expands the landscape into a multi-dimensional and spatial topography. This chapter asks: How is the creative tourism landscape in Lapland constructed? and How is the topography of creative tourism constructed? Arctic design and artistic production are introduced as creative contexts that allow people to both participate and develop a cluster of events aimed at increasing art, creativity, and innovation in the Arctic. The first case study, ‘Lapland Snow Art and Design’, represents snow and ice forming the landscape and location for artistic production and tourist activity. The second case study, ‘Travelling Laboratories for Artistic Thinking’, studies the artist’s way of producing a tourism experience through performance and mediation in silence and walking. The third case study, ‘Master’s degree programme of Applied Visual Arts and Nature Photography’, introduces a contemporary discussion on creating the tourist gaze in the Arctic through photography. As an outcome, the chapter introduces a thematic framework, ‘the topography of creative tourism in Lapland’. Topography is used as a metaphor that introduces boundedness, which enables the shift from passive to active role in learning through creative engagement. Further, topography introduces the spatial dimensions of the creative landscape where people walk, engage in creative activities, and even shape and change the landscape through snow design. The three case studies are analyzed using art education as an embodied practice and collaborative design process for creative tourism. The authors discuss active engagement and ways of introducing creative and cultural activities as tools for collaboration between tourists and local communities, and even the positioning of community members as visitors in their own topography. In closing, the chapter they suggest a few research lines that follow on from this research.