Os turistas na cidade do Porto

: turismo cultural, arte e imersão

Abstract

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.

Date of Award	13 Jun 2025
Original language	Portuguese
Awarding Institution	Universidade Católica Portuguesa
Supervisor	Ana Madsen (Supervisor)