Tourism and industrial heritage: between local authenticity and community appropriation - The case of S. João da Madeira, Portugal

UNIVERSITY OF SEVILLE FACULTY OF TOURISM AND FINANCE Doctoral Thesis TOURISM AND INDUSTRIAL HERITAGE: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal Tânia Marina Ferreira Guerra Seville 2022 UNIVERSITY OF SEVILLE FACULTY OF TOURISM AND FINANCE PhD in Tourism: Tourism in Regional Economic Analysis Doctoral Thesis TOURISM AND INDUSTRIAL HERITAGE: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal Tânia Marina Ferreira Guerra Thesis supervised by Professor Maria Pilar Moreno Pacheco, of the Faculty of Tourism and Finance, University of Seville and co-supervised by Professor António Sérgio Araújo de Almeida, of the School of Tourism and Maritime Technology, Polytechnic of Leiria Seville, February 2022 To my daughter, Maria Leonor! "Everything is considered impossible until it happens" Nelson Mandela “Para ser grande, sê inteiro: nada Teu exagera ou exclui. Sê todo em cada coisa. Põe quanto és No mínimo que fazes.” Ricardo Reis, in "Odes" Heterónimo de Fernando Pessoa Dedication To my daughter, Maria Leonor, and my husband, Ricardo Ferreira, I am eternally grateful for their companionship, motivation, strength, dedication and patience in this demanding and challenging period. My sincere thanks! To my sister, Guida Guerra, brother-in-law, Noel Vinagre and nephews André Vinagre and Afonso Vinagre, for the motivation, unconditional support and family support that they have always provided me. I would like to thank my parents, Maria Rosa Matias Ferreira and Rui Manuel Alves Guerra, for all the values they passed on to me and for the teachings that made me who I am today, especially my mother, who passed away recently, for the strength and determination she left me as an inheritance! I put in everything I do a little bit of both of you. Thank you! role of heritage values and place identity in the authenticity perceived by the local community; and 4) to analyse the importance of authenticity perceived by the local community towards their participation ideals and their support for tourism development. In order to meet these objectives, a mixed methodology was adopted with quantitative and qualitative data collection, these data being analysed, integrated, compared and discussed. This allowed taking advantages of the complementary of using both methodologies, thus improving the validity of the results and successfully addresses the central research questions. For this purpose, in the qualitative methodology, in-depth interviews were applied with 10 direct stakeholders in industrial tourism circuits. As quantitative methodology, online and face-to-face questionnaires were applied to a sample of 389 individuals permanently living in the municipality of São João da Madeira. To answer the first specific objective, it was performed an interpretative analysis based on the interviews transcripts using the Webqda software. The other three specific objectives were also addressed through a quantitative analysis. A conceptual model was tested through the structural equation technique using SPSS Statistics and AMOS. From the interviews analysis it was concluded that the industrial tourism circuits stakeholders try to bring local community and the industrial tourism programmes closer, allowing the resident to participate in tourism activities whenever, due to the activity specificities, it is feasible. However, it was found that the local community has no active voice in the planning and structuring of the programmes, being called only as a consultant of the process. It should also be noted that, in the context of community interpretation, mainly in places of industrial heritage and industry open to visitors, authenticity is an essential element to be considered. It was identified that the residents understand the transformations in their heritage and are interested in preserving both its tangible and intangible elements. It was also found that a diversified tourism offer, based on differentiated industrial resources, promotes local culture and traditions, creates value for the territory, improves the image and encourages the destination sustainability while fostering, albeit indirectly, territorial development. The analysis of the results obtained, established from the eight hypotheses formulated, lead to the conclusion that heritage values and place identity, based on endogenous industrial resources, influence the residents' understanding of their territory as a tourist destination, namely when objective and existential authenticity are considered. Similarly, the results of perceived objective and perceived existential authenticity are positively and significantly correlated with community participation ideals. Also, the xvii perceived objective authenticity proved to have a positive impact on the perception of tourism development, whereas perceived existential authenticity in tourism development perception of proved to be negative and therefore not statistically significant. Based on the results obtained through multiple methods, this research concludes that local people have the capacity, through identity assumption, to confer authenticity to endogenous resources of their territory and can play a crucial role in the decision-making process towards a sustainable tourism development. It is expected that the results of this study contribute to a better understanding of industrial tourism in Portugal with useful practical and theoretical suggestions. The discussion section highlights that the results that contribute theoretically to the deepening of the authenticity concept from the resident's perspective while, in practice, they enable planning and development strategies in industrial tourism destinations, which may, at the same time, be applicable to other community-based cultural contexts. Keywords: industrial heritage; industrial tourism; perceived authenticity; place identity; local community; tourism development. xix Resumen Esta investigación doctoral dentro de la temática del turismo cultural, se centra en el patrimonio industrial en el contexto de un territorio industrializado, y explora las percepciones tanto de la comunidad local como de los agentes implicados en la planificación y ejecución de los programas turísticos. El objetivo principal de este estudio es destacar la importancia del patrimonio industrial para el turismo, por lo que se analiza este recurso para el uso turístico teniendo en cuenta las percepciones de autenticidad por parte de la comunidad local, en particular los recursos endógenos históricos y actuales asociados a la industria. Para ello, con el objetivo de comprender mejor el contexto de la investigación, se utilizó un estudio de caso en el municipio de São João da Madeira, al norte de Portugal, pionero en la implantación de circuitos de turismo industrial en el territorio nacional, sustentados en el patrimonio, la industria activa y los centros tecnológicos. La presente investigación pretende suplir la falta de investigación empírica en el contexto del turismo cultural y patrimonial, más concretamente del turismo de patrimonio industrial, en particular en lo que respecta a las percepciones de una comunidad sobre la autenticidad de sus recursos, a saber: los valores patrimoniales, la identidad del lugar y las futuras intenciones de comportamiento desde un enfoque cualitativo y cuantitativo. También se pretende explorar y comprender un concepto clave que es la contribución de los circuitos de turismo industrial al desarrollo y a la competitividad de un territorio industrial desde la perspectiva de las partes interesadas. Con este fin, se definieron en cuanto a objetivos generales comprender la contribución de los circuitos de turismo industrial al desarrollo y la competitividad de un territorio industrial, y analizar la relación de los valores del patrimonio industrial y de la identidad del lugar como antecedentes de la autenticidad percibida por la comunidad local, teniendo como consecuencia los ideales comunitarios de participación y apoyo al desarrollo del turismo en São João da Madeira. Estos dos objetivos dieron lugar a cuatro objetivos específicos, en particular: 1) comprender la contribución y el papel de los circuitos de turismo industrial en la valorización, la creación de valor, la diferenciación y en el desarrollo de un territorio industrial; 2) identificar los elementos de identidad (tangibles e intangibles) xx asociados al patrimonio industrial y a la industria, capaces de promover una experiencia turística holística y potencialmente implementada por el destino; 3) analizar el papel del valor patrimonial y de la identidad del lugar en la autenticidad percibida por la comunidad local; 4) analizar la importancia de la autenticidad percibida por la comunidad local en sus ideales comunitarios de participación y en su apoyo al desarrollo turístico. Para cumplir estos objetivos, se adoptó una metodología mixta con la recogida de datos cuantitativos y cualitativos, los datos fueron analizados, integrados, comparados y discutidos. Esto permitió aprovechar la complementariedad del uso de ambas metodologías, mejorando así la validez de los resultados y expone con éxito las preguntas centrales de la investigación. Para ello, en la metodología cualitativa, se aplicaron entrevistas en profundidad a 10 agentes directos de los circuitos de turismo industrial. Como metodología cuantitativa, se aplicaron cuestionarios online y presenciales a una muestra de 389 individuos que residen permanentemente en el municipio de São João da Madeira. Para responder al primer objetivo específico, se realizó realizamos un análisis interpretativo basado en los discursos transcritos de las entrevistas utilizando el programa informático Webqda. También se respondió a los demás tres objetivos específicos mediante un análisis cuantitativo. El modelo conceptual se probó mediante la técnica de ecuaciones estructurales utilizando SPSS Statistics y AMOS. Del análisis de las entrevistas se concluyó que los actores de los circuitos de turismo industrial promueven, en general, un acercamiento entre la comunidad local y los programas de turismo industrial, permitiendo que el residente participe en las actividades turísticas siempre que, por las características de la actividad, sea factible. Sin embargo, se comprobó que la comunidad local no tiene una voz activa en la planificación y estructuración de los programas, siendo llamada sólo como consultora del proceso. También hay que señalar que, en el contexto de la interpretación comunitaria, concretamente en los lugares del patrimonio industrial y de la industria abierta a los visitantes, la autenticidad es un elemento clave que hay que tener en cuenta. Se ha comprobado que los residentes comprenden las transformaciones de su patrimonio y están interesados en preservar tanto el patrimonio material como el inmaterial. Se comprobó que una oferta turística diversificada y basada en recursos industriales diferenciados impulsa la cultura y las tradiciones locales, crea valor para el territorio, mejora la imagen y promueve la sostenibilidad del destino, mientras fomenta, aunque sea indirectamente, el desarrollo territorial. El análisis de los resultados obtenidos, sobre las ocho hipótesis formuladas, permite concluir que los valores patrimoniales y la identidad del lugar, basados en los recursos xxi industriales endógenos, influyen en la percepción que los residentes se forman de su territorio como destino turístico, concretamente cuando se considera la autenticidad objetiva y existencial. De igual modo, los resultados de la percepción de la autenticidad objetiva y existencial están correlacionados positiva y significativamente con los ideales comunitarios de participación. Asimismo, la percepción de la autenticidad objetiva también resultó tener un impacto positivo en la percepción del desarrollo turístico, mientras que la autenticidad existencial en la percepción del desarrollo turístico resultó ser negativa y, por lo tanto, no significativa estadísticamente. Con los resultados obtenidos mediante múltiples métodos, esta investigación concluye que la población local tiene el poder, a través de la asunción de la identidad, de conferir autenticidad a los recursos endógenos de su territorio y puede desempeñar un papel crucial en el proceso de toma de decisiones hacia un desarrollo turístico sostenible. Se espera que los resultados de este estudio contribuyan a una mejor comprensión del turismo industrial en Portugal con sugerencias prácticas y teóricas útiles. El tópico de la discusión destaca resultados que contribuyen teóricamente a la profundización del concepto de autenticidad desde la perspectiva del residente, así como también, en la práctica, posibilitan estrategias de planificación y desarrollo en destinos turísticos industriales, que pueden ser, en paralelo, aplicables a otros contextos culturales de base comunitaria. Palabras-clave: patrimonio industrial; turismo industrial; autenticidad percibida; identidad del lugar; comunidad local; desarrollo turístico. xxii Resumo A presente investigação de doutoramento, inserida na temática do turismo cultural, versa o património industrial em contexto de um território industrializado e explora as perceções, quer da comunidade local, quer dos stakeholders envolvidos no planeamento e execução dos programas turísticos. O principal objetivo deste estudo consiste em evidenciar a importância do património industrial para o turismo, pelo que se analisa esse recurso para usufruto turístico perspetivando as perceções de autenticidade por parte da comunidade local, em particular dos recursos endógenos históricos e atuais associados à indústria. Para tal, objetivando uma compreensão mais rica do contexto da investigação, empregou-se uma abordagem de estudo de caso no município de São João da Madeira, norte de Portugal, local pioneiro na implementação de circuitos de turismo industrial em território nacional, circuitos sustentados no património, na indústria ativa e nos centros tecnológicos. A presente investigação pretende colmatar a carência de investigação empírica em contexto de turismo cultural e patrimonial, mais especificamente na área do turismo de património industrial, em particular no que se refere às perceções de uma comunidade sobre autenticidade dos seus recursos, nomeadamente: os valores patrimoniais, a identidade do lugar e as intenções futuras de comportamento a partir de uma abordagem qualitativa e quantitativa. Também é intenção explorar e compreender um conceito-chave que é o contributo dos circuitos de turismo industrial para o desenvolvimento e competitividade de um território industrial, tendo por base a perspetiva dos stakeholders. Com essa finalidade, definiram-se como objetivos gerais compreender o contributo dos circuitos de turismo industrial para o desenvolvimento e competitividade de um território industrial, e analisar a relação dos valores patrimoniais industriais e da identidade do lugar como antecedentes da autenticidade percebida pela comunidade local, tendo como consequência os ideais comunitários de participação e o apoio ao desenvolvimento turístico em São João da Madeira. Estes dois objetivos originaram em quatro objetivos específicos, nomeadamente: 1) compreender o contributo e o papel dos circuitos de turismo industrial para a valorização, criação de valor, diferenciação e desenvolvimento de um território industrial; 2) Identificar os elementos da identidade (materiais e imateriais) associados ao património industrial e à indústria, capazes de promover uma experiência turística holística e potencialmente implementada pelo destino; 3) analisar o papel do valor patrimonial e da xxiii identidade do lugar na autenticidade percebida pela comunidade local; e, 4) Analisar a importância da autenticidade percebida pela comunidade local nos seus ideais comunitários de participação e no seu apoio ao desenvolvimento turístico. Para cumprir com os objetivos adotou-se uma metodologia mista com recolha de dados quantitativos e qualitativos, estes analisados, integrados, comparados e discutidos. Isto permitiu retirar proveito da complementaridade de recorrer a ambas metodologias, e como tal melhorando a validade dos resultados e expondo com sucesso as questões centrais da investigação. Para o efeito, aplicaram-se, na metodologia qualitativa, entrevistas em profundidade junto de 10 intervenientes diretos nos circuitos de turismo industrial. Como metodologia quantitativa foram aplicados questionário online e de forma presencial a uma amostra de 389 indivíduos residentes permanentes no município de São João da Madeira. Para dar resposta ao primeiro objetivo específico, efetuou-se uma análise interpretativa com base nos discursos transcritos das entrevistas recorrendo ao software Webqda. Os restantes três objetivos específicos foram, ainda, respondidos com a análise quantitativa. O modelo concetual sido testado por meio da técnica de equações estruturais com recurso ao SPSS Statistics e ao AMOS. Da análise das entrevistas, conclui-se que os stakeholders dos circuitos de turismo industrial promovem, na generalidade, uma aproximação entre a comunidade local e os programas de turismo industrial, possibilitando ao residente a participação em atividades turísticas sempre que, pelas especificidades próprias da atividade, seja viável. Contudo, aferiu-se que a comunidade local não tem voz ativa no planeamento e na estruturação dos programas, sendo apenas chamada para o processo enquanto consultora. De referir ainda que, no contexto de interpretação comunitária, especificamente em lugares de património industrial e de indústria aberta a visitantes, a autenticidade é um elemento essencial a considerar, tendo sido identificado que os residentes percebem as transformações no seu património, quer tangível, quer intangível, enquanto relevante para a sua preservação. Verificou-se que uma oferta turística diversificada, assente em recursos industriais diferenciados, promove a cultura e as tradições locais, cria valor para o território, melhora a imagem e promove a sustentabilidade do destino, ao mesmo tempo que fomenta, ainda que por via indireta, o desenvolvimento territorial. A análise dos resultados obtidos, partindo de oito hipóteses formuladas, permitem concluir que os valores patrimoniais e a identidade do lugar, fundamentados nos recursos industriais endógenos, influenciam a perceção que os residentes formam do seu território enquanto destino turístico, nomeadamente quando consideradas a autenticidade objetiva e a xxiv existencial. À semelhança, os resultados da perceção da autenticidade objetiva e existencial estão positiva e significativamente correlacionados com os ideais comunitários de participação. De igual forma, a perceção da autenticidade objetiva revelou ainda ter impacto positivo na perceção do desenvolvimento turístico, já a autenticidade existencial na perceção do desenvolvimento turístico revelou ser negativo, pelo que não significativo estatisticamente. Com base nos resultados obtidos através de múltiplos métodos, esta investigação conclui que a população local tem poder, por meio da assunção identitária, para conferir autenticidade aos recursos endógenos do seu território e pode desempenhar um papel crucial no processo de tomada de decisão com vista a um desenvolvimento turístico sustentável. Espera-se que os resultados deste estudo contribuam para um melhor entendimento do turismo industrial em Portugal com sugestões práticas e teóricas úteis. O capítulo da discussão evidencia resultados que contribuem teoricamente para o aprofundamento do conceito de autenticidade na ótica do residente, ao mesmo tempo que, na prática, possibilitam estratégias de planeamento e desenvolvimento em destinos de turismo industrial, que poderão em paralelo ser aplicáveis a outros contextos culturais de base comunitária. Palavras-chave: património industrial; turismo industrial; autenticidade percebida; identidade do lugar; comunidade local; desenvolvimento turístico Table of contents Acknowledgements .............................................................................................................. xi Publications and conferences.............................................................................................. xiii Abstract ................................................................................................................................ xv Resumen ............................................................................................................................. xix Resumo .............................................................................................................................. xxii List of tables ........................................................................................................................ 31 List of figures....................................................................................................................... 35 List of acronyms and abbreviations ..................................................................................... 37 INTRODUCTION ............................................................................................................. 41 I. Framework ............................................................................................................... 42 II. Research aim and objectives .................................................................................... 45 III. Structure of the work ............................................................................................... 46 CHAPTER I TOURISM, CULTURE AND HERITAGE AS A STUDY OBJECT OF SOCIAL SCIENCES .......................................................................................................................... 49 1.1. Tourism as a social system and its evolution ........................................................... 51 1.2. Culture and cultural tourism .................................................................................... 59 1.2.1. Cultural tourism .............................................................................................. 62 1.2.2. Cultural tourists typology ............................................................................... 66 1.3. Heritage and cultural heritage tourism..................................................................... 70 1.3.1. Heritage concept ............................................................................................. 70 1.3.2. Link between heritage and tourism ................................................................ 74 1.4. Culture and heritage values...................................................................................... 80 Table 26 Coding system and group profile of the exploratory interviews. Source: own ...................................................................................................................... 247 Table 27 Themes recognised in blocks of significance from the analysis of the interviews ..................................................................................................... 249 Table 28 Identified categories of identity and heritage values ................................... 251 Table 29 Excerpts coded as: Identity of place ............................................................ 252 Table 30 Excerpts coded as: Identity elements ........................................................... 256 Table 31 Excerpts coded as: Heritage and heritage values. ........................................ 259 Table 32 Excerpts coded as: Authenticity and authentic experience .......................... 264 Table 33 Identified categories of interpretation of community perceptions ............... 269 Table 34 Excerpts coded as: Attachment to place and support for tourism ................ 270 Table 35 Excerpts coded as: Community participation and involvement................... 274 Table 36 Identified categories of local development and destination competitiveness... ...................................................................................................................... 282 Table 37 Excerpts coded as: Local development and destination competitiveness ........ 283 Table 38 Excerpts coded as: Image of the destination ................................................ 291 Table 39 Excerpts coded as: Advantages of industrial tourism circuits ..................... 297 Table 40 Excerpts coded as: Disadvantages of tourism development ........................ 300 Table 41 Excerpts coded as: Programming improvements ......................................... 302 Table 42 Excerpts coded as: Future trends ................................................................. 306 Table 43 Characterisation of the sample ..................................................................... 312 Table 44 Profile of residents surveyed ........................................................................ 314 Table 45 Characterisation of the identity elements (n=389) ....................................... 317 Table 46 Internal consistency identity elements ......................................................... 318 Table 47 Characterisation of place identity (n=385)................................................... 319 Table 48 Internal consistency of place identity ........................................................... 319 Table 49 Characterisation of the variable industrial heritage identity resources (n=385) ...................................................................................................................... 320 Table 50 Internal consistency of industrial heritage identity resources ...................... 320 Table 51 Characterisation of the equity values variable (n=383) ............................... 321 Table 52 Internal consistency of the equity values variable ....................................... 322 Table 53 Characterisation of the variable perception of tourism development (n=389) .. 323 Table 54 Internal consistency of the variable perception of tourism development .... 324 Table 55 Characterisation of the variable community participation ideals (n=383) ... 324 Table 56 Internal consistency of the variable community participation ideals ........... 325 Table 57 Characterisation of the variables perceived objective and existential authenticity (n=389) ..................................................................................... 326 Table 58 Internal consistency of the variables perceived objective and existential authenticity ................................................................................................... 327 Table 59 Pearson correlations between variables ........................................................ 330 Table 60 Confirmatory factor analysis ........................................................................ 336 Table 61 Discriminant validity analysis ...................................................................... 338 Table 62 Exogenous and endogenous constructs of the structural model ................... 339 Table 63 Estimated coefficients of the structural model and respective statistics ...... 341 Table 64 Structural equations of the model ................................................................. 342 Table 65 Standardised residuals matrix ....................................................................... 343 Table 66 Summary table of the results of the hypotheses ........................................... 352 List of figures Figure 1 Structure of the research ................................................................................. 47 Figure 2 Tourism system according to Leiper. Source: Leiper (1979) ......................... 53 Figure 3 Model of partial industrialisation of tourism. Source: Leiper et al. (2008, p. 215) ................................................................................................................. 55 Figure 4 Product-space model for destination development. Source: Costa (2001b) .. 58 Figure 5 Manifestation of culture at different levels of depth. Source: Hofstede (1997) in Csapó (2012, p. 202) .................................................................................. 61 Figure 6 Types of cultural tourist by McKercher. Source: McKercher (2002) ............ 67 Figure 7 Theoretical approaches to cultural tourism. Source: Adapted from ETC (2005, p. 2) ..................................................................................................... 68 Figure 8 Elements of heritage tourism. Source: adapted from Swarbrooke (1994) ..... 78 Figure 9 Types and forms of industrial tourism. Source: Adapted from Pardo Abad (2011) ........................................................................................................... 101 Figure 10 Types and forms of industrial tourism according to the Datar Report. Source: Adapted from Pierre (2005) ......................................................................... 102 Figure 11 Four components of industrial tourism. Source: Frew (2000) ..................... 107 Figure 12 Industrial tourism characterised by the extent of automation in industry. Source: Frew (2000) ..................................................................................... 108 Figure 13 Industrial tourism characterised by the extent of tangibility of the observed process. Source: Frew (2000) ....................................................................... 109 Figure 14 Industrial tourism characterised by visitor involvement. Source: Frew (2000) ...................................................................................................................... 109 Figure 15 Conceptual scheme of industrial tourism. Source: Prat and Cànovas (2012) ...................................................................................................................... 110 Figure 16 Authenticity in Tourism. Source: adapted from Wang (1999) ..................... 131 Figure 17 Host authenticity exposed to the three levels of analysis. Source: Hsu (2018) ...................................................................................................................... 144 Figure 18 Typologies of community participation in tourism. Source: Tosun (2006) . 172 Figure 19 Research methodology design ...................................................................... 189 Figure 20 Proposed conceptual model. Source: own ................................................... 199 Figure 21 Location of São João da Madeira in Portugal. Source: Viver S. João (n.d.) 201 Figure 22 Systemic organisation elements model - qualitative methodology. Source: own ............................................................................................................... 213 Figure 23 Structural equation modeling steps. Source: Hair et al. (2010, p. 628) ....... 236 Figure 24 Cloud of words most used in the interviews. Source: own from Webqda ... 250 Figure 25 Involvement in tourism activities. Source: own ........................................... 314 Figure 26 Intention to participate in tourism planning. Source: own ........................... 315 Figure 27 Average of importance attributed to identity elements. Source: own .......... 328 Figure 28 Average of importance attributed to industrial heritage resources. Source: own ............................................................................................................... 330 Figure 29 Outliers ......................................................................................................... 332 Figure 30 Measurement model ..................................................................................... 333 Figure 31 Final structural model .................................................................................. 340 List of acronyms and abbreviations APPI Associação Portuguesa para o Património Industrial (Portuguese Association for Industrial Heritage) EC European Commission ERIH European Route of Industrial Heritage ETC European Travel Commission (ETC) ICOMOS International Council on Monuments and Sites INE National Statistical Institute OECD Organisation for Economic Co-operation and Development UN United Nations Organisation WTO World Tourism Organization PGDL District Attorney General of Lisbon SEM Structural Equation Modeling SET Social Exchange Theory SJM São João da Madeira EU European Union TICCIH The International Committee for the Conservation of Industrial Heritage UNESCO United Nations Educational, Scientific and Cultural Organization UNWTO United Nations World Tourism Organization / World Tourism Organization UNSTAT United Nations Statistical Commission WHL World Heritage List WTO World Trade Organization INTRODUCTION Introduction 41 INTRODUCTION This topic briefly introduces the developed study and justifies its relevance in the tourism current context. The present research, entitled "Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal", materialized through a case study in a Portuguese territory, the city of São João da Madeira, which promotes industrial circuits, has as its first objective to answer the following research questions:  How can industry and tourism create value and contribute to the competitiveness of an industrial heritage tourism territory?  What factors precede the perception of an industrial territory's authenticity, which drive intentions and shape perceptions of a local community? The chosen research topic is justified mainly by the state of reduced research on industrial tourism, highlighted by researchers in the area, as well as by the relevance of the topics. The growing interest in this tourism area is highlighted, with favourable developments regarding the tourist usage of the heritage and resources of industrialised territories, leading to the Portuguese governmental entity "Turismo de Portugal" announcement, in January 2019, of the creation of an Industrial Tourism network in Portugal. Also the Secretary of State for Tourism, Dr. Rita Marques, in the opening session of the 3rd Webinar of Industrial Tourism in Portugal, held in February 2021, stressed the importance of considering industrial tourism in Portugal as a priority in national tourism. Considering the progressive international recognition of this tourism segment it was considered pertinent to carry out a research that approaches industrial tourism from the supply perspective, identifying the endogenous resources of São João da Madeira, an industrialized territory, by evaluating the perception of the community and the local agents. It is therefore hoped that the results achieved can contribute to complement and improve the theoretical concepts under analysis and also to a better understanding and planning of industrial tourism circuits, both in the case study untaken and in future industrial tourism projects. Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 48 Figure 1 Structure of the research CHAPTER I Tourism, culture and heritage as a study object of social sciences INTRODUCTION AND FRAMEWORK CHAPTER VI Analysis and results discussion CHAPTER II Industrial tourism and industrial heritage CHAPTER IV Community and identity CHAPTER V Research methodology CONCLUDING REMARKS Theoretical framework Empirical Studies CHAPTER III Authenticity in heritage and tourism CHAPTER I TOURISM, CULTURE AND HERITAGE AS A STUDY OBJECT OF SOCIAL SCIENCES Chapter I | Tourism, Culture and Heritage as a Study Object of Social Sciences 51 Chapter I Tourism, culture and heritage as a study object of social sciences This chapter will put forward a general conceptualisation of tourism and its relationship with the Social Sciences. To this end, first a literature review is carried out, highlighting the main paradigms on which research in tourism has been developed by the Social Sciences, based on its origin, evolution and growth, when referring to the importance and influence in today's society. Subsequently, it will be discussed the evolution of the concept of culture, focusing on the relationship between tourism, culture and heritage. In this topic, the various conceptualisations will be analysed together with the evolution of the concepts. In short, this chapter is considered necessary to approach tourism in a multidisciplinary and holistic system. From these notions we give way, in the following chapters, to industrial heritage concept, the main subject of this study, and the way it is represented in the culture and identity of a place. 1.1. Tourism as a social system and its evolution Since the 20th century, the tourism sector has evolved along with society and it is a phenomenon that involves millions of journeys, allowing a development of the regions where it occurs, this so significant that its effects are reflected in the economy, society, education, culture and environment of the territory. In order to briefly trace the evolution of tourism over time, we will try to list below some contexts that have marked its history (Goeldner, 2002; Oliveira, 2002). Man has always needed to move around (Cunha & Abrantes, 2013), however, it is thought that the first journeys date back to a few centuries before Christ, with visits to the tombs of the pharaohs in the Nile valley. The Olympic Games of 776 BC were the first international tourism event, which led people travelling from several countries to be able to attend the event. Later, with the building of roads during the heyday of the Roman Empire, religious trips began in which people visited cathedrals, shrines or other sacred places. Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 52 Gradually, more and more people began to seek out travels. From the 17th and 18th centuries onwards, the English nobility started travelling for educational purposes. An essential part of the education of young English knights was to make journeys within the European continent with the specific functional purpose of education and learning. This phenomenon was called Grand Tour and represents the birth of the tourism concept, along with the rise of the designation of tourists for the people who travelled. Nevertheless it was with the transports development that the tourism industry really took off. Steamboats crossed the English Channel, and railways took people to the civilised world. As soon as the first railways were built in the 1830s, Thomas Cook, a great revolutionary in tourism, began to exploit, from England, the potential of railways to organise excursions. With itineraries across continental Europe, hotels and resorts were built to meet the needs of those seeking the pleasures of travel, and traveller's cheques and hotel vouchers were introduced, thus the tourism industry emerged in its modern form with the concept of the package tour. By the end of the 19th century, the middle classes had joined the tourist classes, and mass tourism was a reality. The post-war years witnessed the maturing of mass tourism as, soon after the end of the World War II, paid holidays became normal in Britain and in many other countries. People had more disposable income to spend on leisure time, and travel and tourism were now affordable for many. The holiday package abroad started to appear in the 1950s, but it was with the introduction of the first commercial jet planes that the idea of holidays away from one's own country really took off. Tourism thus became the main economic support of several people (Goeldner, 2002; Oliveira, 2002). Tourism has come a long way since its humble beginnings and is currently driven by the demand for tourist experiences and niche markets, including cultural tourism. McKercher and du Cros (2002) state that it was after the fractionation of the mass market in the 1990s that cultural tourism became evident as an activity capable of satisfying tourist demand. Leiper (1979) believes that the foundations of tourism have Greek origins, and also states that it was at the time of the Grand Tour, around the 17th century, that what we now call tourism emerged. However, only after World War II, in the mid-twentieth century, an exponential growth of this activity was detected (Costa, 1996), and from this came the need of this phenomenon conceptualization. Currently tourism is a widely discussed activity, being an inter and multidisciplinary concept that produces various definitions and approaches and with a preponderant economic weight. Perhaps due to this multidisciplinary there is no consensual and universally accepted definition, so defining tourism can be a difficult task (Costa, 1996; Gunn & Var, 2002; Chapter I | Tourism, Culture and Heritage as a Study Object of Social Sciences 53 Leiper, 1979; Mill & Morrison, 1992; Smith, 1988). In this context, some authors (Gunn, 1972; Leiper, 1990; Mill & Morrison, 1992) were led to propose models capable of systematizing the concept of tourism. Leiper's (1979) model is believed to be one of the oldest. The author represents it through circles that reflect the key components of tourism, as illustrated in Figure 2. Figure 2 Tourism system according to Leiper. Source: Leiper (1979) Leiper introduces tourism as a system through a model with a multidisciplinary and interdisciplinary approach that highlights the various components of tourism and their relationships within the tourism system. According to this model, the elements of the system are "tourists, generating regions, transit routes, destination regions and a tourist industry. These five elements are arranged in spatial and functional connections. Having the characteristics of an open system, the organization of five elements operates within broader environments: physical, cultural, social, economic, political, technological with which it interacts" (Leiper, 1979, pp. 403-404). Costa (2005) refers that tourism was only approached from a demand perspective until the end of the 20th century. One of the recognised definitions is that of the World Tourism Organisation (WTO, 1999) which states that "tourism comprises the activities of persons traveling to and staying in places outside their usual environment for not more than one consecutive year for leisure, business and other purposes". This definition also includes a clear distinction between those who stay overnight (tourists) and those who travel only for Physical Environment Tourist Generating Regions Tourist Destination Regions Cultural Environment Social Environment Economic Environment Political Environment Technological Environment Transit Regions Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 54 a day without staying overnight (excursionists). Another definition is provided by Neil Leiper (1979) stating that tourism comprises " the system involving the discretionary travel and temporary stay of persons away from their usual place of residence for one or more nights, excepting tours made for the primary purpose of earning remuneration from points en route. The elements of the system are tourists, generating regions, transit routes, destination regions and a tourist industry. These five elements are arranged in spatial and functional connections." (pp. 403-404). Following this concept, Middleton (2002) refers that in 1979 The Tourism Society defines tourism as "the temporary, short-term movement of people to destination outside the places where they normally live and work and their activities during the stay at each destination. It includes movements for all purposes.” (p. 3). Another definition of tourism is that of Peter Murphy, who conceptualises tourism from the demand side by referring to tourism as an activity related to the movement of people out of their usual areas of residence, provided that such movement does not lead to a definitive stay in the area visited (Murphy, 1985). In turn, Mathieson and Wall (1982), similarly to the previous authors, defend tourism as the temporary movement of people to places outside the area of usual residence and work, but they add to this definition the activities performed during the stay and the facilities created to welcome and entertain tourists. This definition is complemented by the concept of the impact that tourists generate in destination areas at the environmental, economic and socio-cultural levels. This approach places the issues of heritage and socio-cultural resource assessment, as well as environmental and economic issues, at the centre of the tourism planning process, adding new ideas and new concerns to the previous definitions. However, it should be noted that in these definitions of tourism from the demand side there are some limitations, one of which is that no distinction is made between tourism and the tourist, which makes it difficult to delimit the tourism sector and, although demand is essential to tourism, definition from this perspective alone appears incomplete, as in these definitions tourism emerges primarily as a sociological phenomenon and not as an economic one. Smith (1988) made a crucial contribution by presenting a definition focused on the supply side in which he underlined the importance of services that exist in a destination and that are geared to meet the needs of tourists as well as other activities that may, in addition to being essential for the tourist, also meet the needs of residents. This author states that tourism is composed of an aggregate of business activities which, directly or indirectly, provide goods or services that support leisure and business activities undertaken by people Chapter I | Tourism, Culture and Heritage as a Study Object of Social Sciences 55 outside their usual places of work and residence (Smith, 1988). The author divided these activities into two groups: a first group representing the goods and services provided almost entirely to tourists, the second group refers to goods or services provided simultaneously for tourism and non-tourism activities. Thereby, tourism includes a set of businesses that also benefit the local community. Culture and the creation of cultural and industrial experiences fall into the last group, as they favour both the tourist and the resident. From this reading it outcomes the fact that the two widely known perspectives, on the supply or demand side, are complementary rather than antagonistic, making tourism a transversal and multidisciplinary sector. At the same time, McIntosh et al. (1995) also emphasise that tourism is the set of relationships arising from the interaction between tourists, stakeholders, governments and host communities. As a complement to this idea of businesses focused exclusively on tourism activity versus businesses with dual purpose, tourists and residents, and because it is believed that tourism is a phenomenon not entirety industrialised, Leiper et al. (2008) clarify the initial idea of Leiper (1979) of the partial industrialisation of tourism. The authors argue that the model illustrated below (Figure 4) is the perfect representation of the tourism reality. Figure 3 Model of partial industrialisation of tourism. Source: Leiper et al. (2008, p. 215) No cooperative participation in tourism industries Extensive cooperation in tourism industries Quadrant 1 Quadrant 2 Quadrant 3 Quadrant 4 Competing for tourist´s custom via business strategies targeting their distinctive attributes Passively accepting tourists as customers: No business strategies that target their distinctive attributes Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 56 Measuring the industrialisation of tourism becomes difficult because it is an activity that consists mostly of services, so this model is shown as a way to explain that tourism is a sector in which there are only a few companies that are geared solely towards tourists. The poles represent the presence or absence of business strategies aimed at the tourist, and each of the quadrants represents its degree of industrialization. The authors believe that from this model one can adopt strategic planning and understand where there will be a greater need to apply cooperation strategies between public and private agents and the local community which, according to the authors, are a condition for businesses and destinations to function as a tourism whole. Currently, the global economic panorama is transforming, both in the implementation of products and services innovation, and in the growth of new tourist segments through changes in habits and customs. In this context, it becomes essential to understand these new audiences and adapt the offer. To this end, there is a clear need to have intelligent management and planning organisational systems in the tourism sector. Mathieson and Wall (1982) argue that tourism supply is constituted by a set of resources and particularities intrinsic to a tourist destination and, as such, the evolution of paradigms and models of tourism development have moved towards taking advantage of the potential of this range of resources and characteristics, bearing in mind the economic evolution that is increasingly interconnected and dependent on various actors. Costa (2001a), in a perspective of evolution and tourism planning, argues that bottom-up models and organizational networks are central to the future of tourism, thus, tourism planning is essential and should consider the particular internal characteristics of each territory, which, similarly to the idea of Mathieson and Wall (1982) when conceptualizing the tourism offer, are identified as: primary resources, tourism facilities, economic, social and political structures, geography and environment, infrastructure and accessibility. This planning should be supported by governance and organisational structure. Leiper (1979) states that tourism should be understood in an integrated way in terms of the "spaces" that constitute it. Following this idea, Costa (2001b) mentions that tourism development should take into account the territorial specificities, but points out that it cannot just concern the territory. The author suggests that the tourism sector should be structured according to a product-space perspective, by managing tourism in its space, but thinking in an integrated perspective through the public and private agents’ involvement. In the same line of thought, the author states that there is a need to go back to the past in order to understand how the future should be repositioned through a bottom-up perspective while it Chapter I | Tourism, Culture and Heritage as a Study Object of Social Sciences 57 is necessary that there are interactive relationships between all stakeholders in the sector, in order to promote networks (Costa, 2011). Also according to this author (Costa, 2011) tourism planning should be governed, firstly, by the knowledge of the physical territory, through the inventory of local resources and attractions as well as the evaluation of the dynamics and existing conditions, in order to attract partners interested in the same goals so that, subsequently, the surrounding space is reorganized and conditions for tourism are met. The active nature of this process, together with the constant need to invest in new and differentiated products, in order to promote destinations and consumer satisfaction, including emerging realities, is confirmed by new trends and motivations (Costa, 2001a; Buhalis & Costa, 2006b). Tourism strategy and policy has been guided by a product-space approach, in which players associate themselves because they have common interests and not because of the products. However, the new emerging models advocate the need for the opposite association, the product-space approach, in which the interest is in spaces that associate because they are different and have critical mass. There is then the need to look at the territory, identify the structuring product of each place and recognise the clusters associated with the territory (Costa, 2001b). Through the model (Figure 4) suggested by Costa (2001b) for a new restructuring of the tourism sector, tourist destinations should be planned and have the ability to design distinctive products to offer in a product-space logic, seeking to define the existing honeypots, or the structuring products, which should define and strengthen the brand image of a destination. This model shows us that in addition to having a product it is essential to know the area where the product will be applied. Also it is important to understand how a given product can interconnect with others and how the areas can be associated by the product. As structural elements for tourism, the private sector should be strengthened at the same time as the product is identified and clarified in order to subsequently implement a system. This model shows that, in addition to having a product, it is essential to know the area where the product will be applied and to understand how this particular product can interconnect with others, and how the areas can be associated by that same product. As structural elements for tourism, the private sector should be strengthened at the same time as the product is identified and clarified in order to subsequently implement a system. Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 64 Urban renewal via spaces for cultural supply in cities is structured on the basis of heritage, the tourist consumption of heritage assets, whether tangible or intangible, and promotes the creation of different types of cultural tourism (OECD, 2009). Referring to a relevant study about urban cultural tourism, it is stated that there are a large number of meanings of cultural tourism, resulting in different definitions to be used in tourism-related research studies and in the field of cultural tourism (OMT, 2005). Richards (2003), in turn, refers that, due to the fact that cultural tourism (sometimes also called heritage tourism and ethnic tourism) is a phenomenon of a comprehensive nature, numerous definitions, serving different purposes, of different authors have emerged over the years. Some of these definitions were collected and subjected to a systematisation which is presented in Table 1 below. Table 1 Definitions of cultural tourism. Source: own from various authors Definition of cultural tourism Source Cultural tourism is any form of tourism to another place, which involves the visitor experiencing all the "cultural" aspects of that place: lifestyles, food, topography, environment, towns and villages, as well as many of its historical sites and cultural performances. Cultural tourism is that form of tourism which aims, among other things, at getting to know monuments and historic-artistic sites. It exerts a really positive effect on destinations as much as it contributes - to meet its own ends - to their maintenance and protection. ICOMOS (1976) Cultural tourism is every situation in which the role of culture is contextual, namely it serves to shape the tourist experience in a general way, without a particular focus on the uniqueness of a specific cultural identity. Wood (1984) In the narrow sense: Cultural tourism is the movement of people with primarily cultural motivations, such as study visits, performing and cultural arts, travel to festivals and other cultural events, visits to sites and monuments, travel to study nature, folklore or art, and pilgrimages. In the broad sense: All movements of people can be included in the definition of cultural tourism because they satisfy the human need for diversity, tending to raise the cultural level of the individual and giving rise to new knowledge, experiences and encounters. OMT (1985) Cultural tourism always encompasses people (tourists and the community visited), places (tangible cultural heritage assets such as museums, historical sites and festivals) and cultural heritage (intangible forms of culture, which include traditions, social values, customs, religion and language, among other aspects of the community visited). Zeppel and Hall (1992) Cultural tourism is a form of special interest and experiential tourism based on seeking or participating in new and profound cultural experiences of an aesthetic, intellectual, emotional or psychological nature. Reisinger (1994) Chapter I | Tourism, Culture and Heritage as a Study Object of Social Sciences 65 Definition of cultural tourism Source Cultural tourism is visits by people outside the host community who are motivated wholly or partly by the historical and cultural or scientific interest, lifestyle or heritage that a community, region, group or institution has to offer. Silberberg (1995) Cultural tourism focuses on culture and cultural environments, including the destination's landscapes, values and lifestyles, heritage, visual and performing arts, industries, traditions and leisure activities of the local population or host community. ATLAS, quoted in Richards (1996) Cultural tourism is the movement of people towards specific cultural attractions, such as heritage sites, artistic and cultural events, arts and drama, outside their normal place of residence, with the intention of gathering new information and experiences to satisfy their cultural needs. Richards (1996) Cultural tourism implies not only the consumption of a cultural past, of a historical product, but also of those products which include the contemporary and cultural way of life of the people and/or region. Cultural tourism can therefore be considered to encompass both heritage tourism and art tourism. Richard (2001) Cultural tourism is constructed, offered and consumed explicitly or implicitly as a cultural appreciation, either as an experience or as a knowledge gain. Prentice (2001) They provide various definitions of cultural tourism segmented between: derived definitions of tourism, motivational definitions, experiential or aspirational definitions and operational definitions. Cultural tourism is a form of tourism that is based on the cultural assets of a destination and transforms them into products for tourist consumption. McKercher and du Cros (2002) Cultural tourism is a process of commodification, a nostalgia for heritage and the past, a psychological experience, a process of learning and curiosity, a modern form of pilgrimage, as an industry representing cultural values and as a specific form of cultural consumption." Pereiro (2002) Cultural tourism is a type of special interest travel where the culture of a host country is an important factor in attracting tourists to a destination. The culture of a host country is presented through its material (art, music, handicrafts, etc.) and non-material (hospitality, customs, history, religion) elements. Reisinger (2009) Cultural tourism is visiting or participating in living cultures (elements of everyday life), contemporary art and music or other elements of modern culture. Timothy (2011) Cultural tourism is when a tourist travels away from his residence, looks at what he visits in a systematic way, in an attempt to structure what he sees, supported by a set of cultural values, which allow him to experience what he sees. Petroman (2013) Cultural tourism is travel prompted by the desire to see new things, to increase knowledge, to get to know the peculiarities and habits of other peoples, to get to know different civilisations and cultures, past and present, or to satisfy spiritual needs. Cunha and Abrantes (2013) Cultural tourism is characterised by the tourist's motivation to get to know and experience places based on the history of a particular society. Marujo et al. (2013) Cultural tourism is a form of tourism that relies on the cultural heritage of a destination and transforms it into products that can be consumed by tourists. McKercher and du Cros (2015) Cultural tourism implies a passive, active and interactive involvement with the heritage, arts and cultures of communities, through which the visitor gains new experiences of an educational, creative and/or entertaining nature. Smith (2016) Cultural tourism translates into the affluence of tourists to receiving centres which offer as an essential product the legacy of Man in different eras, represented from the heritage and the cultural collection. Carvalho (2017) Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 66 Definition of cultural tourism Source Cultural tourism is a type of tourist activity in which the visitor's essential motivation is to learn about, discover, experience and consume the tangible and intangible cultural attractions or products in a destination. These attractions and products are related to a set of material, intellectual, spiritual and emotional characteristics of a society encompassing arts and architecture, historical and cultural heritage, culinary heritage, literature, music, creative industries and people with their lifestyle, value systems, beliefs and traditions. UNWTO (2018) Also Ashworth (1995) has categorised not one, but three definitions of culture-related tourism. The first definition is called "art tourism" and corresponds to the simplest form of marketing culture through tourism. This is generally associated with art, artistic products and performances, such as theatre, ballet, concerts, festivals, museums and opera performances. The second definition mentioned is "heritage tourism" and consists of a type of tourism related to preserved buildings, conservation of urban landscapes, places associated with historical events and personalities. The last and most general of the three definitions is mentioned by Ashworth as "site-specific tourism", meaning that tourism is associated with a set of values, attitudes and behaviours of a social group with cultural value. According to Rodzi et al. (2013), cultural tourism comprises four elements. These include tourism, tourists, cultural heritage assets and the consumption of experiences and/or products. Let us look next at the typologies of tourists in the context of cultural tourism. 1.2.2. Cultural tourists typology To affirm the importance of cultural tourism in the decision to visit a destination McKercher (2002) proposed a model (see Figure 6) with the classification of cultural tourists that segments "the cultural tourism market according to two dimensions: (i) the importance of cultural reasons in the decision to visit a destination and (ii) the depth of the experience" (McKercher, 2002, p. 29). The typology of cultural tourists provided by McKercher serves as a resource for both academics (Richards, 2007; Smith, 2003; Smith et al., 2010) and international tourism organisations (ETC, 2005; UNWTO, 2005). Chapter I | Tourism, Culture and Heritage as a Study Object of Social Sciences 67 Figure 6 Types of the cultural tourist by McKercher. Source: McKercher (2002) The main characteristics of each type of tourist with regard to their attitudes towards cultural tourism are summarised in Table 2, presented below. Cultural tourist Table 2 Types of cultural tourists by McKercher. Source: McKercher (2002) Type of cultural tourist Brief characterization Purposeful cultural tourist Cultural tourism is the main motivation for visiting a destination and the tourist has a very deep and elaborate cultural experience. Sightseeing cultural tourist Cultural tourism is one of the main reasons for visiting a destination, but the experience is less profound and elaborate. Serendipitous cultural tourist A tourist who does not travel for cultural reasons, but who, after participating in some cultural activity, ends up having a profound cultural tourism experience. Casual cultural tourist Cultural tourism is a poor reason to travel and the resulting experience is shallow. Incidental cultural tourist This tourist does not travel for cultural reasons, however participates in some activities and has shallow experiences. With this table it can be seen the distinction and extent of tourist involvement in cultural tourism. The first three groups are connected to the demand side and manifest that the cultural travel decision and cultural tourism play an important role for the tourist, while the fourth and fifth groups refer to tourists who are only casually and incidentally involved in the cultural part of tourism. The tourists who are most involved in cultural tourism are Serendipitous cultural tourist Purposeful cultural tourist Incidental cultural tourist Casual cultural tourist Sightseeing cultural tourist Deep Shalow Low Moderate High Experience Sought The importance of cultural tourism in the decision to visit a destination Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 68 those who belong to the first group (Csapó, 2012). These cultural tourists have a great interest in the culture, history and heritage of the destination and become deeply involved with the tourist-cultural attractions visited (McKercher & du Cros, 2002; Richards, 1996). From this content it is highlighted that culture can be an element of motivation for cultural tourists, but it will not always be the main one (Smith, 2009). McKercher and du Cros (2002) proposed an approach to define cultural tourism. The four main themes that McKercher and du Cros (2002, p. 3) described have been integrated into the conceptual framework (Figure 7) of cultural tourism of the European Travel Commission (ETC, 2005, p. 2). The framework consists of two axes: the vertical axis shows the conceptual approach and the horizontal axis shows the operational approach for defining cultural tourism. Figure 7 Theoretical approaches to cultural tourism. Source: Adapted from ETC (2005, p. 2) This division proves useful in defining cultural tourism by facilitating an integration, on the one hand, of the main issues related to the motivation and measurement of tourist activities and experiences, and on the other hand, through the association with the authenticity of the tourist experience. Experiencial/ Conceptual (Meaning) Motivacional (Demand) Tourism-derived resource based (Supply) Operational (measurement) Chapter I | Tourism, Culture and Heritage as a Study Object of Social Sciences 69 The vertical axis represents an approach to defining cultural tourism by measuring meaning. "On the vertical axis the experiential/conceptual definitions indicate the nature of the cultural tourism experience in conceptual terms. [...] At the opposite end the operational definition is used to identify the cultural tourist and often used to measure the scale or scope of cultural tourism activity. The vertical axis is therefore the measurement - meaning axis. In other words the ends of the axes are differentiated by understanding the nature of cultural tourism and its meaning and by counting the number of cultural tourists" (ETC, 2005, p. 2). The horizontal axis represents the operational approach to defining cultural tourism, this "has at one end the tourism-derived definitions looking at cultural tourism from the perspective of the tourism industry or the tourism system. At the opposite end the primary focus for motivational definitions are the tourists themselves and their reasons for travel. So this axis deals with supply and demand in relation to cultural tourism as a segment of the tourism industry and the demands of the cultural tourist" (ETC, 2005, p. 2). Most definitions of cultural tourism are positioned at the two ends of the horizontal axis. If, on the one hand, the descriptive definitions fall on the supply side, by referring to the (authentic) nature of cultural resources (heritage), on the other hand the conceptual definitions fall on the demand side, as they mention the tourist motivations for seeking cultural resources. McKercher's model (Figure 8) shows what kind of expectations tourists have and what kind of cultural activities they seek, and can result in guidance about the type of activities that should be offered in a destination to make it more attractive. Of note, according to Richards (2018), the most recent tourism trends have been marked by the fragmentation of cultural tourism into several emerging niches, such as heritage tourism, art tourism, gastronomic tourism, film tourism and creative tourism. Here also cultural heritage, connected to artefacts of the past and art tourism, is related to contemporary cultural production (Richards, 2007). Thus, space opens up for new segments of cultural tourism such as those structured from industrial heritage that is widely regarded as an integral part of culture, consciously chosen, explicitly valued and shared with the public (Xie, 2015). As a conclusion of the present topic, it can be said that culture and cultural heritage of a tourist destination attract different types of tourists who visit places for numerous reasons. Some cultural tourists purposely visit tourist destinations in search of deep cultural experiences, others visit destinations to know the spaces of those places, the tangible heritage. Nowadays many tourists visit places without cultural intention, however they end up having deep cultural experiences, and they are called serendipitous cultural tourists Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 70 (Rodzi et al., 2013). On the other hand, some tourists eventually visit tourist destinations just for fun, so they have shallow cultural experiences. Incidental cultural tourists are those who do not visit a destination with the main purpose of a cultural experience, but end up engaging in the cultural practices of those places. Any of these five typologies of tourists may be initially influenced by the tangible and intangible heritage and uniqueness of their tourist destinations. 1.3. Heritage and cultural heritage tourism Since leisure travel emerged, the tourism industry has become the world's largest industry (Timothy & Boyd, 2003). For Timothy (2011), cultural tourism and heritage tourism complement each other; as such, in this section, the dimensions of heritage and its role in the tourism sector will be explored. 1.3.1. Heritage concept The word "heritage" originates from the Latin word "patrimoniu" and is synonymous with paternal inheritance, family property, property necessary to ordain an ecclesiastic (Silva, 2000). Pérez (2003) defines heritage as inherited goods, a legacy, which includes movable and immovable goods or capital, public or private. Also Timothy and Boyd (2003) iterate that cultural heritage can refer to: tangible immovable resources, such as buildings, rivers, natural areas; tangible movable resources, such as objects in museums and documents in archives; intangible resources, such as, values, customs, ceremonies, lifestyles, or even experiences, such as festivals and other cultural and artistic events. It is consensual when defining heritage that it is a legacy inherited from the past and transmitted to future generations (Becerra, 1997; Moreira, 2006; Nuryanti, 1996; Pérez, 2003; Richards, 1996; Silva, 2000; Timothy & Boyd, 2003). However, not all traces of the past will be considered as heritage, since this is not only about heritage, but also about what a group wishes to preserve for the future and to pass from generation to generation (Moreira, 2006; Silva, 2000); preservation which is not automatic, but rather supposes an intentional choice of the elements a society wishes to keep from its past (Silva, 2000) and, therefore, cultural heritage is object of a selective process (Timothy & Boyd, 2003). Moreira (2006) also adds that cultural heritage lies in the basic identity elements belonging to a group that Chapter I | Tourism, Culture and Heritage as a Study Object of Social Sciences 71 distinguishes itself from other groups and is "a social construction" (Silva, 2000, p. 218), grounded by the cultural legacy and the consequent identity assumption that "under certain conditions can result in sustainable tourism and differentiated offers" (Almeida, 2010, p. 40). Heritage emerges from the value that a social group gives to the material and immaterial legacy of the past, which "is no more than a journey through history, revisited and materialized in the present by the material legacy, particular symbols that reinforce the collective feeling of identity and that feed in the human being the comforting feeling of permanence in time" (Silva, 2000, p. 219). The enhancement of this legacy makes it promoted by public or private actors and triggers direct and indirect economic flows (Audrerie, 1997). Considering the importance of preserving the mentioned values, policies and guidelines for heritage conservation and management emerge from international organisms, through letters, conventions and decrees. Let us now put forward the concept of heritage and its evolution, evident in several documents. After the World War II, as a way of combating the illicit trafficking of cultural goods, protecting tangible and intangible heritage and promoting culture, the first nongovernmental world organisation was born, the International Council of Museums - I.C.O.M. (ICOM, n.d.). Subsequently, UNESCO, in 1954, in the Hague Convention, designated as the Convention for the Protection of Cultural Property in the Event of Armed Conflict, provides, in Article 1, the definition of cultural property founded on heritage, which came into effect in 1956 and is listed in the following three points: "(a) movable or immovable property of great importance to the cultural heritage of every people, such as monuments of architecture, art or history, whether religious or secular; archaeological sites; groups of buildings which, as a whole, are of historical or artistic interest; works of art; manuscripts, books and other objects of artistic, historical or archaeological interest; as well as scientific collections and important collections of books or archives or of reproductions of the property defined above; (b) buildings whose main and effective purpose is to preserve or exhibit the movable cultural property defined in sub-paragraph (a) such as museums, large libraries and depositories of archives, and refuges intended to shelter, in the event of armed conflict, the movable cultural property defined in sub-paragraph (a) Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 72 (c) centres containing a large amount of cultural property as defined in subparagraphs (a) and (b), to be known as `centres containing monuments’." (UNESCO, 1954, p. 3). In 1964, at the Second International Conference for the Conservation of Historic Monuments, the Venice Charter also provides a definition of the concept of heritage and the importance of its conservation, set out in three articles: "Article 1 The concept of a historic monument embraces not only the single architectural work but also the urban or rural setting in which is found the evidence of a particular civilization, a significant development or a historic event. This applies not only to great works of art but also to more modest works of the past which have acquired cultural significance with the passing of time. Article 2 The conservation and restoration of monuments must have recourse to all the sciences and techniques which can contribute to the study and safeguarding of the architectural heritage. Article 3 The intention in conserving and restoring monuments is to safeguard them no less as works of art than as historical evidence." (ICOMOS, 1965, pp. 1-2) Later, in 1972, the Convention concerning the Protection of the World Cultural and Natural Heritage also recognises and protects this heritage of universal value and, alongside the recognition of the importance of cultural properties, also legitimises the inestimable importance of natural properties. Because of its relevance, the most widely accepted definition of "cultural and natural heritage" will be as set out below: “Monuments: architectural works, works of monumental sculpture and painting, elements or structures of an archaeological nature, inscriptions, cave dwellings and combinations of features, which are of outstanding universal value from the point of view of history, art or science; Groups of buildings: groups of separate or connected buildings which, because of their architecture, their homogeneity or their place in the landscape, are of outstanding universal value from the point of view of history, art or science; Sites: works of man or the combined works of nature and man, and areas including archaeological sites which are of outstanding universal value from the historical, aesthetic, ethnological or anthropological point of view" (UNESCO, 1972, p. 3). Chapter I | Tourism, Culture and Heritage as a Study Object of Social Sciences 73 In Article 2, natural heritage is also defined in three categories: "Natural monuments consisting of physical and biological formations or groups of such formations, which are of outstanding universal value from an aesthetic or scientific point of view; Geological and physiographical formations and precisely delineated areas which constitute the habitat of threatened species of animals and plants of outstanding universal value from the point of view of science or conservation; Natural sites or precisely delineated natural areas of outstanding universal value from the point of view of science, conservation or natural beauty ". (UNESCO, 1972, p. 3). In 1991, Portugal adhered to the Convention for the Protection of the Architectural Heritage of Europe, drawn up in 1985, in which the concept of architectural heritage is detailed: "For the purposes of this Convention, the expression "architectural heritage" shall be considered to comprise the following permanent properties:  Monuments: all buildings and structures of conspicuous historical, archaeological, artistic, scientific, social or technical interest, including their fixtures and fittings;  Groups of buildings: homogeneous groups of urban or rural buildings conspicuous for their historical, archaeological, artistic, scientific, social or technical interest which are sufficiently coherent to form topographically definable units;  Sites: the combined works of man and nature, being areas which are partially built upon and sufficiently distinctive and homogeneous to be topographically definable and are of conspicuous historical, archaeological, artistic, scientific, social or technical interest." (Council of Europe, 1985, p. 2). It should also be noted that in Portugal, in 2001, the Law for the Protection and Enhancement of Cultural Heritage - Law no. 107/ 2001, of 8 September, which replaced Law no. 13/ 85 of 6 July 1985 - was created. The law briefly sets out the concept of cultural heritage, referring to its political components, as well as the forms of protection. This law of cultural heritage includes "all the assets which, being testimonies with a value of civilisation or culture bearing relevant cultural interest, must be the object of special protection and enhancement" (PGDL (2001, article 2, point 1 of Law no. 107/ 01 of 8 September 2001). The law broadens the notion of cultural heritage, integrating what has been called "new" heritage, conceptualizing the cultural heritage as "the relevant cultural interest, namely historical, paleontological, archaeological, architectural, linguistic, documental, artistic, Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 80 result of past and present "human artistic productivity" (Ashworth, 2010, p. 281). Cultural heritage can generate broad economic benefits for tourism destinations (Garrod & Fyall, 2000, p. 683), serving as a tool for regional economic development, both in terms of income and job creation (Towse, 2011). Whereas, on the one hand, it lies in a strategy of urban renewal and, on the other, of economic growth for cities (Ashworth & Tunbridge, 2000; Middleton, 2007; Richards, 1996; Smith, 2003). It is therefore highlighted that heritage and cultural tourists entail an economic advantage for the tourism industry, as they are, as a rule, considered as well-educated and affluent (Richards, 2007; Timothy & Boyd, 2003). Casanelles and Longunov (2003) refer to historical heritage also as the remains of industrial culture, social, technological, architectural, scientific and historical value, so the preservation of industrial heritage as a competitiveness strategy (Crouch & Ritchie, 2005) "allows not only the conservation of buildings - and often industrial machinery -, but their reuse, creating new activities, which partially replace the disappeared economic activity" (Carvalho, 2017, p. 358). These remains can consist of machinery and buildings from workshops, factories and mills, transport, energy-generating facilities, and social places such as schools and places of worship (Perry et al., 2020). The International Committee for the Conservation of the Industrial Heritage (TICCIH, 2003) describes industrial heritage as the existing evidence of activities that have long been associated with historical consequences, a heritage that still holds that evidence. Furthermore, the reason for protecting industrial heritage should be based on the universal value of that evidence and not just the uniqueness of sites. These factors have led many public authorities to perceive industrial heritage tourism as the solution for deteriorated industrial towns and old centres as a way of revitalising the economy. 1.4. Culture and heritage values The cultural heritage of tourist destinations and its authenticity are the main driving forces behind the expansion of tourism, as most tourists seek to have exceptional cultural experiences, whether tangible or intangible. Heritage can be recognised as "the contemporary purposes of the past" or "the part of the past that we select in the present for contemporary purposes, whether economic, cultural, political or social" (Graham et al., cited in Loulanski, 2006, p. 212). This should be conserved, so experts need to identify and select Chapter I | Tourism, Culture and Heritage as a Study Object of Social Sciences 81 what is valuable or not, and what might result in tourist activity. This type of activity qualifies as cultural tourism, conveying to tourists an exceptional experience based on attractions of cultural traditions, architectural buildings, and values, such as religious practices, folk traditions, and specific social customs of communities or ethnic groups (Petronela, 2016). One of the meanings of cultural heritage in tourism, in relation to its heritage value, is to provide a learning environment through interaction and engagement (Boyd, 2002). Generally, much of the tourism experience will consist of learning about something of a territory's past while profiting from the present. This is usually more achievable through detailed interpretation rather than simple contemplation of the place. Therefore, exhibitions, tourist centres, re-enactments, guided tours, among others, facilitate positive economic and social results, as well as strengthen the place identity. The learning dimension is therefore a key distinction between cultural heritage tourism and other types of tourism; however, cultural attraction sites should not be limited to a tangible resource, they can also be based on experiences arising from personal and emotional relationships with heritage (Timothy, 1997), and the desire for individual involvement, the main motive of cultural tourism (Chen & Rahman, 2018). Soon, the importance of cultural heritage in tourism can be observed from the efforts of the government and different organisations to preserve tangible and intangible cultures in order to protect heritage values. All tourism involves the consumption of products and experiences influenced by the culture of the place visited. However, for cultural heritage assets to be consumed by tourists, they have to be reconstructed into cultural tourism products (Oliveira et al., 2020). Adaptive reuse seems to be a valid and sustainable strategy capable of giving new use to heritage while preserving its cultural value; for this, there will be a need to ground it in cultural or heritage value, in an attempt to find a balance between the values related to a specific heritage. In heritage tourism planning, social actors pass through both citizens and government entities, and each will have their own interests and ideas of participation in heritage tourism development (Fouseki & Sakka, 2013; Mydland & Grahn, 2012; Smith, 2009). The heritage value they attach to it can be heterogeneous, allowing them to show the personal and community connotations attributed to heritage resources (Dillon et al., 2014). Although values are an essential element in the conceptualization of heritage, Mason (2002, p. 10) recognizes that finding a "common nomenclature of heritage values" is complex. For this reason, the articulation of cultural heritage values becomes crucial in order to achieve a global and shared vision that facilitates the discussion of those values (Mason, 2002). Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 82 Table 3, based on Mason (2002), refers to some elements considered by various authors with a view to a representation of heritage values. Table 3 Heritage values. Source: Adapted from Mason (2002) Reigl (1902), at the beginning of the last century, tried to establish a system for the protection of values associated with cultural heritage, arguing that heritage requires public intervention. Frey (1997) listed the elements associated with cultural heritage values which tend to be more supported from an economic perspective, however for the author the focus lies essentially on the intrinsic motivation and satisfaction which individuals acquire from the enjoyment of heritage (Frey, 1997). The author, however, makes no mention of intrinsic qualities of heritage. In fact, "the protection of cultural heritage assets has been mainly a matter of objectbased conservation or restoration of monuments" and focused on a tangible and instrumental dimension of heritage (Pereira Roders, 2013, p. 1). Yet, nowadays, the emphasis on conservation and protection of aspects of cultural heritage for tourism purposes is positioned within the protection of the rights of host communities' culture and the rights of different ethnic groups. This means that there will be a need to secure the opinions of these groups by imposing on the community "owning" the cultural asset collective decisions about how the heritage (tangible and intangible) should be accessible. This focus on conservation and promotion based on the host community safeguards selective components of the past and preserves traditional and hereditary characteristics. The definition of the Burra Charter (ICOMOS, Australia, 2013) highlights in Article 1 that "cultural significance is embodied in the place itself, its fabric, setting, use, associations, meanings, records, related to places and related objects" (ICOMOS, Australia, 2013, p. 2). The Charter also highlights that, depending on the place, the values that the individual or group attach to it may differ. Reigl (1902) Frey (1997) Burra Charter (1999 - 2013) Mason (2002) Age Historical Commemorative Use Art Novelty Monetary Optional Existence Bequest Prestige Educational Aesthetics Historical Scientific Social Spiritual Sociocultural (historical, cultural-symbolic, social, spiritual-religious, aesthetic) Economic (use and non-use) Chapter I | Tourism, Culture and Heritage as a Study Object of Social Sciences 83 The intrinsic qualities of heritage are manifested in the elements mentioned by Mason (2002), listing the main socio-cultural qualities related to cultural heritage and also referring to its economic value. In 1902, Alois Riegl (quoted in Pérez, 2003) referred to the values normally associated with cultural heritage, listing them in six points: 1. Historical value, associated with the memory of a past era. 2. Aesthetic or artistic value, associated not only with beauty but also with utility, related to political and socio-economic profitability. 3. Value of antiquity, considered as a subjective value, which highlights the pleasure and current experience of what is old. 4. Current or contemporary value, associated with the cultural heritage that meets the needs of today. 5. Documentary value, related to the documentary records in order to be preserved. 6. Ethnographic value (ethnological or anthropological), manifested through the cultural representation of past and present ways of life and also through cultural identities. Although these values are directed to monuments recognized as something tangible, they can be observed in a logic of intangible heritage, namely regarding past and present experiences, social representations and the place identity. In this context, identity can be interpreted as the "essence" of a community and heritage as the manifestation of that same community, which endures in time and whose fundamental existence is preserved (Peralta & Anico, 2006). An important component in the enjoyment of cultural heritage by tourism is the conservation and protection of existing resources (Boyd, 2002). These resources are used for the enjoyment of both cultural heritage tourists and non-tourist users of a given region. As a result, and knowing that today there is a certain variety of understandings and uses of the concept of community in relation to heritage (Mydland & Grahn, 2012), it is necessary to implement an integrative approach based primarily on heritage values perceived by the community. Labadi (2013), through reading the information in the World Heritage nominations, refers that "values" maintain the consideration of inherent or intrinsic values to heritage sites, being a value considered from the perspective of the tangible. Mason (2002), in turn, in a wider division, distinguishes two meanings of the term: first, values are understood as the principles "that serve as guides to (individual or collective) action"; second, as "the qualities Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 84 and characteristics seen in things, particularly positive characteristics" (Mason, 2002, p. 7). In other words, the author views heritage values as socially constructed meanings and as the actual or potential qualities attributed to heritage resources. The second definition associates intrinsic values that can be extended to cultural assets that concern the unique value of the heritage itself, while in the first definition the values cover the more intangible aspects. These two meanings of the term, once associated, can be related to industrial heritage, as there are values "intrinsic to the industrial sites themselves" conferred by the community and "intangible values contained in the memory of men and their traditions" (TICCIH, 2003). As mentioned above, Mason (2002) distinguishes between "value" as a moral action or guiding principle and "value" as a quality referred to a particular object. However, these two approaches cannot be dissociated because if heritage value is a social construction dependent on context and people, associated with traditions and memories, the tangible qualities of a specific object reflect this context and the principles of the people who evaluate it. In this same sense, Duranti et al. (2016) refer that, in contexts of exhibitions and museums, tangible interactions in cultural heritage shape intangible contents. Tangibility considers the touch that derives from the materialization of the experience. Thus, tangible aspects relate to experiences that promote a strong involvement of the physical as the person interacts with the different tourist sites and resources. Duranti et al. (2016) further note that interactions based on gestures and objects can multiply the narrative levels, thus making tourists' visits memorable. Consequently, interaction will give the materiality to intangible values (Su et al., 2020). Having this in mind, tangible interaction acts as an approach that allows the audience to experience rituals and practices associated with the contents, as well as the representation of intangible values embodied in the assets. Therefore, this provides an excellent explanation of the significance of tangible interaction in promoting the intangible values of a region's cultural heritage, in that both form part of the memory and experiences of cultural heritage, as well as the making of industrial heritage and industrial identity. Similarly, industrial heritage is also based on the promotion of cultural values of regional character (Pardo Abad, 2014), intrinsic to industries and based on industrial traditions, which emerge from the memories and experiences existing in the heritage and industry, by reflecting their evolution and rebirth through revitalization for cultural enjoyment. Industrial heritage tourism is also faced with challenges, such as the need to connect culture with the past, the representation of the object as authentic, the appealing Chapter I | Tourism, Culture and Heritage as a Study Object of Social Sciences 85 presentation of the product to tourists, the experience to relive history, and sustainability to involve stakeholder participation (Xie, 2015). It becomes obvious that the industrial values approach will improve both community involvement in inclusive planning and communication and planning in participatory governance. From here we make way to explore in the next chapter, more in depth the concept of industrial heritage and industrial tourism. CHAPTER II INDUSTRIAL TOURISM AND INDUSTRIAL HERITAGE Capítulo II | Industrial tourism and industrial heritage 89 Chapter II Industrial tourism and industrial heritage The aim of this chapter is to convey the concepts of industrial tourism and industrial heritage, thus contributing to the clarification of the importance of industry within tourism. Having said that, this topic will begin with a bibliographical review of the concept of industrial heritage, while addressing the industrial archaeology, then it will explore the concepts associated with the type of industrial tourism, referring briefly to the main motivations in industrial tourism and its role in the general tourism context. The importance of this concept for the dynamization of the territory will also be addressed. 2.1. From industrial heritage to industrial tourism As mentioned in the previous chapter, cultural heritage can be considered as the set of tangible or intangible assets originating from human activity. This heritage, properly used and valued, has the potential to be the main tourist resource of a territory. Taking into account the situation of decline of some industrialized territories, a large number of agents have outlined strategies for the revitalization of the space based on industrial heritage, considering the heritage of industry, so the conceptualization of industrial tourism emerges. Industrial tourism, as a visit to revitalised heritage for the enjoyment of the community and visitors is not something new because, as an object of study arising from industrial archaeology, industrial heritage is already quite ancient (Hudson, 1979; Otgaar, Van den Berg et al., 2008; Otgaar, 2010; Periáñez et al., 2012). Industrial heritage also falls within the study area of archaeology and sometimes the concepts may overlap. According to Mendes (1990), archaeology refers to ancient history, related to the Greco-Roman world, and it was only in the 17th century that this concept began to acquire the essence that predominates to this day as a subject that studies, with the intention of knowing, the material remains. Later, in the mid-twentieth century, and after the consolidation of the concept, new paradigms began to emerge and the industrial archaeology arose from the study of the evolution of techniques and equipment related to Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 96 Heritage - ERIH (Câmara Municipal São João da Madeira, 2017). Currently, ERIH includes 3 anchor points in Portugal (ERIH, n.d.). In Portugal, work is already underway to set up the Portuguese Industrial Tourism Network, through the launch of the Industrial Tourism - Supply Structuring Programme 2020, published by Turismo de Portugal on 17 January 2020. This programme is being developed by the Portuguese Industrial Tourism Network Facilitator Group, which has undertaken various initiatives to this end. This same entity, Turismo de Portugal, has already established and published the Portuguese standard (4556) of industrial tourism services with guidelines that support the creation of industrial tourism products based on resources associated with living industry and industrial heritage. 2.2. Industrial tourism Frew (2000) defines industrial tourism as a typology involving visits by tourists to operational industrial sites, in which the main activity of the site is not oriented towards tourism. The author assumes that the industrial tourism offer is available from operating companies. However, this definition is somewhat limiting in that many current industrial tourism programmes also look at spaces that are no longer operational. Otgaar et al. (2008) share a broader definition by describing industrial tourism as a typology which includes visits to operational and non-operational companies, and which allows the visitor an experience related to the product, the production process, the applications and the historical background of a particular industry. Despite the considerable interest in industrial heritage tourism, the terms that serve its description are often confusing (Xie, 2015), so it cannot be claimed that there is a comprehensive and consensually accepted definition (Mota & Costa, 2013) that considers all points of view. From this non-conformity there are a variety of terms used in the tourism literature to describe this phenomenon of "bourgeois" tourism (Xie, 2015, p. 40). Otgaar et al. (2008) and Xie (2015) provide us some designations, such as "industrial tourism", "factory tourism", "factory visits", "company visits", "technical visits" or "industrial archaeology". Consequently, several authors have contributed with their ideas along with the evolution of the theme. Given this, Table 4 compiles some definitions of industrial tourism, according to the most referenced authors. Capítulo II | Industrial tourism and industrial heritage 97 Table 4 Definitions of industrial tourism. Source: own from various authors Definition Author(s) Form of cultural tourism whose main objective is the dissemination of industrial heritage (old and new) closely related to technology and work characteristic of a place. It includes all those trips motivated by interest in industrial companies, agro-food industries, craft workshops, museums and interpretation centres related to the industrial activity of a given territory. OMT (2005) It refers to visits to industrial centres (factories, workshops, warehouses) to complete the tourist's culture, as a way to expand and learn about the economic activity of cities. Calabuig and Ministral (1995) Industrial heritage tourism which concerns the tourism development activities related to industries in man-made locations, such as buildings and landscapes that originate from industrial processes of ancestor times. Edwards and Llurdés i Coit (1996) It includes visits to old industrial plants, large industrial plants and scientific establishments. Capel (1996) 1) Industrial tourism involves visits by tourists to operational industrial sites whose core activity is not tourism-oriented, thus the tourism component is secondary. 2) Industrial heritage tourism refers to visits to non-operational industrial sites; sites where the industrial operations for which the site was originally built, are no longer in operation. Frew (2000) Industrial tourism is the sum total of all tourism practices where the motive for travel is the discovery of the past, present or future "world of work", namely work-related places, techniques, organisations and cultures. Cuvelier (2001, (cited in Mota & Costa, 2013) Industrial tourism makes it possible to discover the whole of the industrial past and highlight the succession of different productive and technical changes. It is a specific type of tourism which seeks to discover something different, focusing both on the vestiges of the last two centuries and on visits to industries still in operation, where the manufacture of a particular product is explained. Pardo Abad (2004) Industrial heritage themes encompass the material remains of industry. Industrial heritage tourism is defined as an industrial area, past or present, evolving for new purposes (Llurdés, 2001, quoted in Xie, 2006, p. 1322), and reuses may include a change or expansion in the function of the site from industrial to a tourist attraction or to a new functional purpose distinct from its original and/or current use. Xie (2006) (Industrial) heritage tourism is the area where there is a clear convergence of heritage, tourism, identity and community. Ballesteros and Ramírez (2007) It is a type of tourism that involves visits to operational or non-operational companies, whose core business is not tourism activity, and which offers visitors an experience related to the product, the production process, the applications and the historical background. Otgaar et al. (2008) Tourism product defined by companies or destinations, usually consolidated in traditional production sectors, which strive to increase the value of tourism facilities. Mancebo (2010) Industrial tourism comprises visits to sites that allow visitors to learn about past, present and future economic activities. Otgaar (2010) Tourism practised around industries with two typologies depending on what is visited: the first is industrial factory or production type tourism; the second is of the heritage or historical type and represents visits to abandoned factories which are reused as museums or as artistic or interpretative centres. Pardo Abad (2011) Knowledge of old industrial sites that have fallen into disuse. Hidalgo Giralt (2011) Industrial heritage includes sites, structures, complexes, territories and landscapes, as well as related equipment, objects or documents, that bear witness to past or current industrial production processes, the extraction and processing of raw materials, and the related energy or transport infrastructure. Industrial heritage reveals a deep connection between the surrounding cultural and natural environment, while industrial processes, whether ancient or modern, depend on natural resources, energy and transport networks to produce and distribute products to broad markets. Dublin Principles (2011) Tourism activities carried out on man-made sites that have their origins in the industrial processes of past or present times. Use and enjoyment of heritage, whether historical, newly created or even intangible. Vargas-Sánchez et al. (2011) Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 98 Definition Author(s) To complete the traveller's culture, giving them the opportunity to learn about the economic reality and history of a territory in a playful and enriching way, through the generation of experiences based on the industrial, scientific and technical activity of the past. Visits to companies and industrial heritage. Díaz (2012) Visits to old and modern factories to show visitors the production processes. Millán (2012) Industrial heritage tourism should be properly defined as industrial sites, functional and no longer functional, that participate in tourism activities, offering the kind of coherent image and convenience that is needed to produce the tourism experience. Xie (2015) Taking into account the previous definitions, it can be seen that they are mainly based on two types of tourism in industrial context, the first refers to visits to industrial heritage, and the second to visits to operational companies, however, there may be a combination of both typologies. The definitions show two mutual ideas centred essentially in the tourist activity and in the visitor experience, and in some of them the heritage and territorial valuing is implicit. From this table it is clear that, in an initial period, industrial tourism was exclusively related to visits to the industrial historical heritage (Edwards & Llurdés, 1996; Hidalgo- Giralt, 2011), contemplating the inactive industrial spaces rebuilt or in a state of degradation. Later, the conceptualizations evolved to include also the industry in operation, recognizing the active heritage as tourism use (Calabuig & Ministral, 1995; Capel, 1996; Frew, 2008; Mancebo, 2010; Millán, 2012; Otgaar et al, 2010; Pardo Abad, 2004; Szromek et al., 2021; Vargas-Sánchez et al., 2011), so they began to also consider "visits to industries still in activity where the company facilities and the manufacture of a particular product are shown. In which the interest is essentially technical where the machines in operation become a special attraction" (Pardo Abad, 2011, p. 18). Otgaar et al. (2008) emphasise that in the Anglo-Saxon literature the distinction between industrial tourism, as visits to operational companies, and industrial heritage tourism is highlighted and that this categorisation differs according to the country. As examples in Europe, in Germany, industrial tourism (Industrietourismus) is commonly associated with visits to industrial heritage; on the other hand, in France, where operational companies are favoured, industrial tourism is associated with visits to living industry (Otgaar et al, 2008), which is evident in its name, "Tourisme de la découverte économique" (economic discovery tourism), an activity that has been promoted for many years and refers to not only two but three features, also mentioning scientific tourism as another complementary pole of industrial tourism (Pierre, 2005). Although many definitions focus essentially on the heritage aspect, other conceptualisations, such as Frew’s (2010), focus Capítulo II | Industrial tourism and industrial heritage 99 only on the living industry, highlighting that the core business can be either the production of goods/services oriented solely to visitors, or it can be the production of goods and services not exclusively oriented to visitors, but with infrastructure and products for tourists (Frew, 2000). She also adds, making a clear distinction between 'industrial tourism' and 'industrial heritage tourism', that the former involves visits by tourists to operational industrial sites where the core activity of the site is non-tourism, while the latter refers to visits to nonoperational industrial sites (Frew, 2000). However, attempting to distinguish between both operations-based and functionality-based terms poses a theoretical challenge in that the same industrial sites may be operational and non-operational in different periods (Xie, 2015). Xie (2015) introduces us several examples related to this mutability, such as Kodak and Nokia which have consolidated as a living industry and perpetuate in the present day as heritage (tangible or intangible). Therefore, the reasoning of functionality does not seem to be the most prudent considering the vicissitudes of industrial transformation (Xie, 2015). The definition of Otgaar et al. (2008) is more complete and, similarly to Xie (2015), also defends the complementarity of the concept. For Otgaar et al. (2008), this typology involves visits to operational and/or non-operational companies, whose core business is not related to tourism; "industrial tourism offers visitors an experience taking into account the products, the production processes, their applications and their historical past" (Otgaar et al., 2008, p. 1). The same author, Otgaar et al. (2008), referring to factory visits, highlights that the purpose will be to learn more about a culture and production processes and, if we consider visits to "French vineyards and chocolate factories, Greek and Maltese lace, Dutch cheese factories and flower markets" (p. 1), this aspect of industrial tourism has been around for several centuries. This definition is close on the one hand, to Frew's narrower definition, considering the concept of visiting companies, on the other hand, it refers to the historical past making the link to industrial heritage and bridging the gap between the two conceptualisations. This complementarity is shared by several authors (Hospers, 2002; Otgaar, 2010; Szromek et al., 2021; Xie, 2015) who consider that the term industrial tourism has different meanings and ramifications, and also argue that industrial tourism is not limited to visits to industrial enterprises, but also to other sectors, so that the planning of industrial tourism programmes will have, in the first instance to pass through classifying the typologies associated with the space. Following on from this, Zhang et al. (2021) provide three categories associated with industrial tourism and these are: Industrial Heritage Landscape, this lies in the relationships between industrial production facilities such as machinery, architecture and nature; Post-Industrial Landscape, when there is a transformation or Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 100 improvement of the old industrial facilities; and Industrial Tourism Landscape, in these the factories and industrial facilities have progressively evolved into tourism products and started to have dual economic benefits optimising the industrial structure of the city. Despite several categorizations and a growing interest in this segment, it is perceived that there is still a lack of clear definitions (Otgaar, 2010) about the concept of industrial tourism considering a more comprehensive and holistic perspective. According to the World Tourism Organization (WTO, 2005), industrial tourism is recognized as a branch of cultural tourism that observes the factory buildings as basilar in what concerns the culture of a destination. Therefore, coming from culture, industrial heritage tourism is sometimes also called "industrial culture" when it refers to the "tourism development activities and industries in artificial sites, buildings and landscapes that originated with industrial processes of previous periods" (Edwards & Llurdés, 1996, p. 342). The same entity (WTO, 2005), conceptualises industrial tourism as visits to heritage sites related to industrial archaeology and industries in operation, also considering the intangible heritage. According to this WTO (2005), the main motivation of the tourist is related with the interest in knowing and visiting the companies, their installations, elaboration process, thematic museums or interpretation centres. Taking into account the framework and evolution presented, as well as tourism demand, and recognising that different publics will have different interests, the existence of two contexts of industrial tourism visits stands out, and can encompass either visits to industrial heritage or visits "to still active industries that show the company's facilities and the manufacture of a given product. The interest is basically technical and the machinery in use becomes a special attraction" (Pardo Abad, 2011, p. 18). There can also be a combination of these typologies that "combine visits to more modern sites with more traditional sites, which allows to obtain a general notion of the industrial history of the area" (Pardo Abad, 2011, p. 19), and tourists can choose according to their interest (Pardo Abad, 2011) from isolated visits to circuits already planned. Pardo Abad, in his 2004 study, conceptualises industrial heritage by stating that it "refers to material remains from past eras and its study is an approximation to the economic, social and technological characteristics of other moments in history". Similarly, also Edwards and Lurdes (1996) report the industrial archaeology as the tourism development activities and industries in places built by man, such as buildings and landscapes arising from past industrial processes (Pardo Abad, 2004), there is no clear reference to industrial tourism Capítulo II | Industrial tourism and industrial heritage 101 as operational, however, the author adds that this heritage comprises several tourist potentialities, so it started to arouse the interest of society (Pardo Abad, 2004). In fact, industrial tourism that is identified only with past industry has been giving rise to an increasingly comprehensive and organized tourism concept (Szromek et al., 2021), playing an important role in urban landscape planning and heritage protection (Zhang et al., 2021). Pardo Abad in 2011 extended the conceptualisation by demonstrating two different types of tourism from industry. The first refers to industrial tourism based on visiting factories in operation "industrial tourism of factory or production type" (Pardo Abad, 2011, p. 18) and the second consolidated on industrial heritage, "industrial tourism of heritage or historical type." (Pardo Abad, 2011, p. 19). The author contributes to knowledge with these typologies and refers to what each one encompasses at the level of visits in a scheme illustrated in Figure 9. Figure 9 Types and forms of industrial tourism. Source: Adapted from Pardo Abad (2011) Other authors consolidate this same division of, on the one hand, industrial heritage, and company visits on the other (Bregman, 2011; Zárate-Martín, 2011) which, despite the specificities of each of the typologies, cannot be dissociated and are linked to industry as a Industry Active Factory or Productive Tourism Open days Company visits Industrial tourism circuits Industrial Tourism Abandoned Heritage or Historical Tourism Visits to industrial museums Visits to ecomuseums Visits to interpretation centres Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 102 common element. It should be noted that the meaning is not considered the same in all countries, including the Anglo-Saxon, in which the definition of industrial tourism is limited, according to some authors (Otgaar, 2010; Frew, 2000), to visiting active companies or to industrial heritage. France, as mentioned above, put forward another conceptual approach by categorising industrial tourism in three sections, favouring the name "economic discovery tourism" (Tourisme de Découverte Économique), instead of the simplified term "Industrial Tourism" (Tourisme industrielle). In this context, the proposed division is into visits to companies that are in operation, visits to industrial heritage such as museums or other heritage spaces, and a third axis that refers to visits to scientific and technological spaces, in other words., it brings together the component of science, technology and research, the socalled scientific tourism. This conceptualization arising from the French approach is stated in the Datar Report (Rapport pour la DATAR, 1998, in Pierre, 2005) and, as represented in Figure 10, divides industrial tourism into three axes. Figure 10 Types and forms of industrial tourism according to the Datar Report. Source: Adapted from Pierre (2005) It is worth highlighting the different names adopted by various countries when referring to visits to companies in operation, in France it is called "Tourisme de la découverte économique"; in Italy it is called "Turismo d'impresa"; and in the USA "Living industry" (Savoja, 2011). Edwards and Llurdés (1996), when studying mining attractions and quarries, propose the classification of industrial heritage tourist attractions into four categories, these are: (1) manufacturing attractions: these are sources of raw materials that have visible marks on the Industrial Tourism (Tourism of economic discovery) Scientific Tourism Industrial Heritage Tourism Visit to Companies in Activity Capítulo II | Industrial tourism and industrial heritage 103 landscapes; (2) process attractions: these represent traditional techniques in "site service" spaces, such as smelting works, crushing areas, etc.; (3) transport attractions: represent the distribution of raw materials and processed materials, such as railways; and (4) socio-cultural attractions: these are housing districts, resource towns and villages, and shops related to industry and community life. Also Falser (2001, cited in Xie, 2015), categorises industrial assets into 10 items: “(1) extractive industries; (2) bulk products industries; (3) manufacturing industries; (4) utilities; (5) power sources and prime movers; (6) transportation; (7) communication; (8) bridges, trestles, aqueducts; (9) building technology; and (10) specialized structures/objects.” (p. 44). Lane et al. (2013, cited in Xie, 2015) added three complementary categorisations: “(1) industrial heritage complexes that include a factory or factories complete with worker accommodation and related buildings and infrastructure; […] (2) industrial museums; […] and (3) a special category of industrial museums that attempt to replicate industrial heritage complexes rather than being conventional museums.” (p. 44) For Timothy (2011), all items related to the industrial process are part of industrial heritage tourism and catalogue industrial sites typologies with examples (Table 5). Table 5 Types and examples of industrial sites. Source: Timothy (2011, p. 369) All these typologies, included in industrial tourism serve to preserve the identity of a territory and promote local development. Considering this broad scope of industrial sites, Prat Forga (2012) highlights the growing interest in industrial tourism as a development option for socially and economically weakened industrial regions (by the closure and abandonment of productive activity) or also enabling a complementary offer to other more Type of industrial sites Examples Manufacturing and processing Factories, assembly plants, foundries, mills, glass-blowing factories, textile mills, leather factories, breweries, wineries, mints, printing presses, potteries and kilns, diamond workshops, fish and animal processing plants Resource extraction Open-cast mines, underground mines, quarries, timber yards and sawmills Navigation and transport Railways, canals, aqueducts, bridges, shipyards, docks, warehouses, transport museums Engineering Bridges, dams, aerospace installations Energy production Hydroelectric power plants, nuclear power stations, dams, windmills Disposal systems Sewage systems, landfills, incinerators Other related attractions Waterfronts, industrial areas, industrial museums Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 104 traditional and massified sectors, such as sun and beach tourism (Prat Forga, 2012). On the other hand, Hospers (2002) divides the resources or vestiges around which industrial tourism is developed into three categories: 1. Industrial traces of the sphere of production and work processes: mines, work installations, quays, etc. 2. Remains related to transport: roads, railways, bridges, canals, etc. 3. Socio-cultural attractions related to the industrial past of a particular region: workers' housing, leisure areas, etc. Assuming that, currently, the term industrial tourism is often used as a reference, either to companies in activity, or to industrial facilities or spaces that have fallen into disuse and were reconverted to serve as a resource for tourism, or to science and technology, based on innovation and scientific research, In the scope of this research, the study will focus on these three aspects and will consider the definition provided by Otgaar (2010) for being more comprehensive in places that can be visited, such as factories still in activity, museums, industrial sites in ruins, or other places that allow visitors to learn about the activities developed at the site. In this respect, it is important to highlight that this thesis underpinned by the conceptualization of industrial tourism which also encompasses the industrial heritage, which is constituted by all the industrial resources of the past and the present. In short, the concept of industrial tourism, from a holistic perspective, can be defined as a segment, within cultural tourism, based on industrial heritage, industry in operation and Technological Centres, the latter two complementary to industrial activities, being a culture assumed as representative of all tangible or intangible assets that, in an interconnected way, structure the industrial activity and enable, through isolated or organized visits, a visitor experience based on the archaeological and industrial history and/or knowledge of production processes and know-how of the place visited. 2.3. Typology of tourists and motivations Industrial tourism is based on the formative and heritage interest of technological culture and aims to convey not only to tourists, but also to society the production processes developed in the region (Moral-Moral & Fernández-Alles, 2019). Pardo Abad (2004), suggests that it is a journey of curiosity, thus allowing different contexts and varied motivations for one to visit a company, midst them leisure, education, knowledge exchange, among others (Otgaar et al., 2008). The same author, Otgaar (2010), highlights the Capítulo II | Industrial tourism and industrial heritage 105 importance of learning about the products, the production process, the applications and the history itself, that is, an educational aspect. At the same time, Pardo Abad (2008) stresses that many museums have been opened in former industrial spaces, with a primary objective, in addition to conservation, of focusing on the educational dissemination of the vestiges and industrial processes, capable of transmitting knowledge about the economic and industrial activities of other times. Although initially industrial tourism was more related to educational projects, nowadays industrial tourism programmes are able to meet the need for authentic and real experiences (Otgaar, 2010). As for the type of tourists that can be attracted by industrial tourism, Hoppers (2002), distinguishes two types. The first relates to people who seek out their former workplaces, which after reconversion become home to museums or interpretation centres, or because they have worked in that company they are interested in learning about its evolution. The second type refers to generations interested in the history and knowledge of the business world and are attracted by curiosity about the production process as well as knowledge about the past and their ancestors. Also Frew (2000), in relation to the main motivations of visits to industries states that these are related to the intention of acquiring knowledge of production processes as well as the acquisition of the products produced. Similarly, Garai and Saratxaga (2012, pp. 70-71) refer that "tourists want to develop new skills, put into practice their artistic potential, perform crafts and interact with the different actors of the destination" that lead them to distinctive, authentic and more interactive experiences with the local culture and population (Garai & Saratxaga, 2012; Moral & Martín, 2017; Richards, 2003). For Soyez (1986), the classification of visitors is represented in three ways: educational visitors, business visitors and other visitors. This last category comprises tourists and excursionist visitors, including participants in tours related to business motives. In any case, and according to Lee (2015), the offer and the different types of industrial tourism should be characterized by offering a real physical experience that allows the visitor to learn how a product is made or what is the history and tradition behind that company and its industrial heritage, allowing, whenever possible, the interaction with employees or staff. Thus, and given that the choice of a destination by tourists can arise from different motivations, it is possible to combine visits to current industrial sites with other traditional ones in order to acquire knowledge of the industrial route of a place (Pardo Abad, 2011), not forgetting that the tourist’s behaviour in the host community does not always reflect the initial motivations of travel (Wall & Mathieson, 2006). Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 112 individuals who stimulate cultural activity in the destination (Richards, 2007; Timothy & Boyd, 2003), and the ideas and experiences of a production industry can be applied to the development of industrial tourism, meeting the needs of tourists and territories, while protecting and increasing opportunities for the future enabling a sustainable tourism development (WTO, 2008). 2.5. Industry and tourism as a strategy to territory development The increase in cultural supply and the emergence of new technologies encourage the search for enriching experiences, which makes tourism a privileged vehicle for the enrichment of knowledge. Also, culture-based tourism is a tourist trend that fights mass tourism such as sun and beach (Pardo Abad, 2004). This fact legitimises and demonstrates Europe's unanimity with regard to taking advantage of the industrial past from areas in industrial decline (Hospers, 2002). Deindustrialisation in post-industrial cities in Europe and North America has considerably reduced the workforce and in turn contributed to stagnating economic growth due to socio-economic problems (Kollmeyer, 2009). Since the 1970s, abandoned industrial landscapes have become one of the most powerful resources available for urban development, as modernisation discourses have encouraged the conversion of industrial heritage sites into consumer spaces (Severcan & Barlas, 2007, cited in Xie, 2015), so many regions have recognised industrial tourism as a development strategy in their tourism and/or industrial policies (Otgaar & Klijs, 2010). In the current post-modern society, tourists' demands are increasingly more noticeable, they have greater experience, more purchasing power and free time, making them great consumers of goods and services, so there have been considerable changes in the tourism paradigm (Garay & Cànoves, 2009). The existence of ancestral traditions grounded in industrial architectural and archaeological heritage represents a potential for tourism exploitation for territories poorly endowed with tourism resources by facilitating the renovation of old industries, promoting culture and the conservation of abandoned industrial remains by "transforming old abandoned industrial areas into centres of tourism consumption" (Richards, 1996, p. 18). Despite the importance of industrial heritage, the tourism development poses a challenge to urban conservation and planning. Considering that industrial tourism emerged from the need to restructure degraded historical industrial areas in order to combat deindustrialisation, this tourism typology is increasingly seen as an advantageous tool for regional rehabilitation (Edwards & Llurdés, 1996; Goodall, 1994; Capítulo II | Industrial tourism and industrial heritage 113 Harris, 1989; Mansfeld, 1992; Zhang et al., 2021) based on the social and natural characteristics of regional resources (Zhang et al., 2021). Being subject to reuse, this type of tourism is seen as being sustainable by enabling greater speed in the exploitation of existing attractions, helping to reduce urban pressure (Cardoso, 2012; Garai & Saratxaga, 2012). However it is highlighted that industrial heritage is a complex issue to be interpreted and understood in a broad social context (Xie, 2015). Structuring a city through the industrial landscape or transforming an industrial site can be an asset for any declining industrial territory (Pardo Abad, 2017), however, a revitalisation is a complex process that consumes a lot of resources (Szromek et al., 2021) and is not a guarantee of success, so a thorough assessment of the city's potential to attract tourists becomes necessary (Mansfeld, 1992). It should therefore not be forgotten that the interpretation of industrial heritage is subject to several challenges, including (1) the lack of public awareness; (2) the lack of economic measures; and (3) the spatial and regional complexities, challenges highlighted by Xie (2015). The author, Xie (2015), adds that it will be perhaps the most obvious challenge, to adapt the product to an industrial experience that meets the preferences of tourists, based on social change, facilitating an 'authentic' historical experience alongside commodification. Depending on the level of visitor involvement in the production of goods and services (Frew, 2008) this tourism segment provides an excellent opportunity for tourists to learn about the company's basic manufacturing processes in a detailed approach (Moral-Moral & Fernández-Alles, 2019), while at the same time creating a special and interesting experience to satisfy the sensory and mental needs of consumers (Jing, 2012). Therefore, this rehabilitation, based on the reuse of industrial heritage for tourism, entertainment and educational purposes in line with the use of the industry of yesteryear, increasingly serves to affirm the identity of the local community (Benito del Pozo, 2012), and highlights the different stages of its historical evolution, technological processes, forms of work and socioeconomic changes that have occurred in a space over time (Fernández & Guzmán, 2005). The expressiveness that this phenomenon has acquired has led to the interest of public responsible bodies (Benito del Pozo, 2002), and in 2013 the European Parliament, betting on the importance of differentiation of territories, prepared a study based on the contribution that industrial heritage and agro-tourism can bring to declining territories. This study highlights the sustainability of the destination through tourism as a tool for regeneration and conversation of rural and urban areas, while also highlighting that industrial heritage could Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 114 be a source of direct and indirect revenue, with development opportunities for the territories and avoiding the degradation and deterioration of resources (Pardo Abad, 2017). Otgaar and Klijs (2010) had already mentioned that industrial tourism can lead to direct economic benefits for the region of implementation, taking into consideration, however, that the profitability of this product will hardly be made by the economic value of the visits (Frew, 2000; Otgaar, 2010), and short-term profitability cannot be a priority (Pardo Abad, 2014), but it will bring great indirect benefits, among them the improvement of the image for the region and its industries (Moral-Moral & Fernández-Alles, 2019; Otgaar & Klijs, 2010). Similarly, Otgaar (2010) states that for cities based on industry, industrial tourism represents attractive possibilities to strengthen the economic structure (direct and indirect employment) while increasing the supply of tourism products (Otgaar, 2010) and, consequently, offers opportunities for the participant companies, for the territories and also for the local community, however, considering the factory visits, the integration in industrial tourism may not be financially advantageous (Otgaar et al .,2008), on the other hand it can be advantageous at the level of business strategy and destination development (Otgaar, 2010). Frew (2000) also highlights the profit generated by the secondary activity through the sale of the goods produced, facilitating the stock outflow as advantages for companies. According to Garai and Saratxaga (2012) the visit to operational companies is evidence of synergies between tourism and business, two worlds apparently opposite, so although the main objective of production companies is not to contribute to the tourist experience, they may provide it when associating a productive activity to tourist visits. Another crucial aspect highlighted by Frew (2000) is the importance of the workers’ recognition favouring their self-esteem due to the interest shown towards the industry, goods or services and towards the workers' own functions, while also favouring the image of the industry. Also Garai and Saratxaga (2012), point out that this union itself can be considered as innovative, and that the company contemplates itself as a place worth visiting by a public increasingly thirsty for knowledge of the cultural and industrial specificities of a place, and it is also an opportunity for communication and dissemination of its productive activity (Moral & Martín, 2017), by representing an occasion of sale without intermediaries, favoured by the exposure of the manufactured products, in generally with advantageous economic conditions, if the nature of the products so allows (Pardo Abad, 2011). Capítulo II | Industrial tourism and industrial heritage 115 As such, many cities started the urban regeneration to counteract the deindustrialization and attract new investments that could stimulate their economies (Jones & Evans, 2008). At the same time the society starts to value as heritage an industrial legacy used by the society itself (Casanelles & Fernández 1994). In this context, the industrial city, with the intention of benefiting communities, environments, companies and tourists (Xie, 2015), also adopts a new role by representing a territory capable of creating and promoting new industrial spaces or services due to the potential for urban development and the ability to generate externalities, leading to the creation of new resources such as ecomuseums, museums and routes, for the best use of the existing heritage (Fernández & Ramos, 2004; Pardo Abad, 2011). Thus, past and present industrial resources are used, resulting in a profitable differentiation that fosters the creation of potentially distinctive and memorable experiences (Vargas-Sánchez, 2015), being important that the heritage and history of the site are valued and incorporated into plans that benefit its new function (Xie, 2105). Within industrial tourism, the tourist routes that connect existing resources such as industrial sites, museums, heritage/remains and factories in operation, with considerable acceptance, stand out. These facilitate the knowledge of the industrial and heritage history, either in the same territory, or together with other nearby and complementary territories (Cordeiro, 2012; Pardo Abad, 2011). For Pardo Abad (2011) the creation of new resources such as eco-museums, museums and routes and the better use of the heritage set lead to urban progress. For Mota and Costa (2013), the work environments may consist of material cultural references, such as buildings, materials, machinery, tools, means of transport, among others, and of immaterial cultural references, represented by the interpretation that is made of these materials in a particular environment characterized by the social and cultural environment. It is from the "surrounding territory that proceed the primary elements to the economic and social characterization of industrialization" (Pardo Abad, 2011, p. 20), having the industrial heritage some unique characteristics that distinguish it, with the most evident difference in its deployment and impact in a particular place (Casanelles, 2003). Regarding the reuse of spaces, they can change their function from an industrial space to a tourist attraction, or even have a different purpose than their original use (Szromek et al., 2021; Xie, 2015). This has been a bid to differentiate many territories by taking advantage of local industrial resources. However, the evaluation of industrial heritage is often contested when adapted to the political, economic and cultural needs of other periods (Xie, 2015). Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 116 Still, the development of industrial heritage, from urban and architectural planning perspectives, is a reality (Xie, 2015), so this type of tourism is commonly seen as a sustainable tourism, reusing already existing spaces, allowing the reduction of urban tension (Cardoso, 2012; Garai & Saratxaga, 2012; Moral-Moral & Fernández-Alles, 2019) and, taking into account that many industrial cities convey a negative image to both tourists and the resident population (Franco, 2011), thus this development promotes a new image of the place, keeping the local culture and identity alive (Xie, 2015). Edwards and Llurdés (1996) refer that workplaces are not only that, they are also places of communication towards the concentration and sharing of beliefs and cultures, considered by many as a differentiated and original offer, promoting the strengthening and creation of relationships between different stakeholders (Otgaar, 2010; Pardo Abad, 2008). In view of these potentialities, it is pertinent to list, according to Frew (2000), the benefits of companies investing in an industrial product. 1 - An effective form of public relations. It is suggested that through the visit there is a link between the visitor and the product and the industry, favouring the dissemination and recruitment of new clients, also reinforcing brand loyalty to existing clients. 2 - A cost-effective means, if appropriate, of selling, in addition to standard products, surpluses or products with slight imperfections that occurred during manufacture, helping to solve stock problems. 3 - To reinforce the morale and motivation of the workers, considering that the interest in the industry and the goods and or services they produce underlines the importance of their activity and consequently reinforcing the feeling of pride towards the company. 4 - Possible job opportunities arising from increased demand and interest in the product, and also the need for tour guides, as well as shop assistants if it is possible to sell the product to visitors. 5 - Improving the company's image by publicising its facilities and the way it works. 6 - Introduce new products that are not yet known in the market and thus incite their subsequent purchase, causing a greater number of sales and therefore a greater number of revenues. Overall this bet can offer benefits to a company and there is no doubt that economic, social and territorial advantages can arise from this typology of projects (Frew, 2000; Garai & Saratxaga, 2012; Moral-Moral & Fernández-Alles, 2019; Otgaar et al, 2008; Pardo Abad, Capítulo II | Industrial tourism and industrial heritage 117 2014), however, for a correct planning it is necessary to consider also the possible disadvantages, still, all companies have the latent potential to become industrial tourism attraction, as the potential is available by simply undertaking efforts in the development of infrastructures capable of receiving visitors (Frew, 2000), serving as a resource for a business strategy for the company itself and as an element of development for the destination (Otgaar, 2010; Zhang et al, 2021), focusing on the industries and heritage valuing while suppressing the negative image of industrial territories betting on the reaffirmation of the territory's industrial identity and culture, which not only attest the local history, but also contribute significantly to the place identity (Kisiel, 2020). In this context, Ballesteros and Ramírez (2007) recommend two considerations in the planning of this type of tourism when identity is considered, the first being the use of participative methodologies in management and planning that lead to knowledge of the tourism context, and the second is related to the need to know beforehand the collective identity based on a community's heritage, a heritage to be converted into a tourism resource. Taking into account the potential of industry, and as Otgaar (2010), and even the European Union itself, point out, industrial tourism not only benefits the companies but also the city where the activity takes place, also serving as an important tool to raise people's awareness of the heritage and industrial resources value, while promoting knowledge and conservation (Capel, 1996), and combating seasonality by being a product sought throughout the year (Richards, 1996). In fact, industrial tourism visits can serve as a business strategy for the company itself, but will always serve as an element of development and cultural dissemination of a destination, contributing to a general economic development and a diversification of the existing offer (Xie, 2015; Frew, 2000; Mota & Costa, 2013; Xie, 2015). In short, Otgaar (2010) highlights that the demand for industrial tourism has been growing mainly in visitors who seek to combine leisure with knowledge, hence arises the need to increase services such as hotel, restaurant and local trade, along with the implementation of museums or related space that will create economic value with the need to increase human resources, contributing to the overall development of the territory. Concluding, the development of industrial heritage has become an economic means for the community, using the authenticity of a former industrial site to educate or best fulfil its mission (Prentice, 1993b), focused on the revitalization of urban areas through renovation or replacement of dilapidated buildings with new public infrastructure (Birdsall et al, 2021), being clear that the tourism development activities is a concern of owners or managers of companies or industrial heritage spaces when they decide to open their doors to the public Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 118 (Mota & Costa, 2013), nevertheless it stands out as a tourism typology with potential for gradual and global growth (Jing, 2012; Moral-Moral & Fernández-Alles, 2019). CHAPTER III AUTHENTICITY IN HERITAGE AND TOURISM Capítulo III | Authenticity in heritage and tourism 121 Chapter III Authenticity in heritage and tourism The issue of authenticity has been discussed in different contexts, dimensions and perspectives, so the aim of this chapter is to systematize the development of the concept of authenticity and perceived authenticity by referring to the various conceptualizations. We first propose a holistic approach to the concept by exploring the different perspectives as well as the studies that show its evolution in the context of heritage tourism. This section develops an analysis of the different approaches to the term authenticity carried out by several authors in order to deepen the concept as an object of study, so, to understand the authenticity, we will look at the concept from different perspectives. Considering the main theme of the research, an association will be made, whenever justified, to heritage, industrial heritage and industrial tourism when addressing the relationship between heritage and authenticity. In this chapter, and considering that this research is about the interpretations of the local community, the state of the art concerning the perception of authenticity by the residents or hosts is also approached. 3.1. Authenticity Authenticity is an interdisciplinary concept, so its interpretation and meaning have generated numerous discussions and, consequently, it has occupied a central position in tourism studies in recent decades (Belhassen et al., 2008; Buchmann et al., 2010; Chhabra, 2005; Cohen & Cohen, 2012; Garau-Vadell et al, 2021; Kontogeorgopoulos, 2017; MacCannell, 1973, 1976, 1999; Olsen, 2002; Reisinger & Steiner, 2006; Rickly-Boyd, 2009, 2012; Robinson & Clifford, 2012; Taylor, 2001; Tung & Ritchie, 2011; Wang, 1999), so it has been analysed from various perspectives (Chhabra, 2005; MacCannell, 1976, 1999; Kolar & Zabkar, 2010) and has commonly been viewed as a universal value that motivates tourist demand (Cohen, 1988; Kolar & Zabkar, 2010; Rickly-Boyd, 2012; Steiner & Reisinger, 2006; Wang, 1999). According to MacCannell (1973), after the introduction of the term authenticity into the heart of the tourism industry, it eventually became a motivating concept of research for Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 128 measures that are necessary to maintain their value should be put in place." (TICCIH, 2003, p. 2). The same document also stresses that heritage sites "should be fully protected" and that “no interventions allowed that compromise their historical integrity or the authenticity of their fabric." (TICCIH, 2003, p. 3), also making mention of the loss of authenticity by cautioning that "the value and authenticity of an industrial site can be greatly reduced if machinery or components are removed, or if subsidiary elements which form part of the whole site are destroyed" (TICCIH, 2003, p. 3). Xie (2015) refers to a case of successful industrial heritage based on the experiential authenticity of heritage. At the Ford Rouge Center in Dearborn, Michigan, sponsored by Ford Motor Company, visitors can be part of the assembly line by standing on the floor while watching trucks being built. According to Xie, "the Ford Rouge Center challenges the conventional boundaries between museum and the built environment by integrating industrial production and visual interpretation." (Xie, 2015, pp. 91-92), and is ideal for eliciting values of belonging, in addition to conveying valid and authentic experiences. As Mathisen (2013) advocates, emotions and cognition are influenced by active participation in the experience, and this typology of participation unites existential authenticity and the perception of personal value. Consequently, existential authenticity stands out as a determining factor of the experiences associated with industrial heritage (Xie, 2006). When referring to a heritage property, its authenticity exist in history and reflects the different important stages of its construction, so “another debate about authenticity in tourism centres on whether to conserve heritage in situ or to create ex situ attractions" (Xie, 2015, p. 91), Likewise, Zwart (2007) warns that interventions to rehabilitate, convert, adapt or reuse industrial buildings can create a clash between preservation practice and authenticity criteria. Authenticity is not equivalent to antiquity, it is equivalent to living in the present without renouncing the past or past roots, so at a deeper level, the authenticity of industrial heritage is a matter of “aesthetic appreciation, as industrial ruins are increasingly seen as retrochic” (Xie, 2015, p. 92). Although it may seem paradoxical, it is all too important to strike a harmonious balance between the traditional and the modern, something that is permanently displayed in industrial cities, and, as Chhabra et al. (2003) point out, authenticity is perhaps the key principle in aesthetic decision-making by stakeholders of industrial heritage tourism sites. Deindustrialisation has bestowed the condition of authenticity, so generally authenticity is no longer objective, but a process of social construction (Edwards & Llurdés, 1996). Capítulo III | Authenticity in heritage and tourism 129 Industrial cities go through various stages of gentrification and generally reshape the landscape and social fabric of a city. This process poses a challenge for projects that aim to preserve the originality of a place (Xie, 2015). When redeveloping cultural and industrial heritage, authenticity should be considered as an essential component to preserve the places of that heritage in the collective memory (Berg, 2011). Moreover, authenticity is supported in preserving an absolute standard of urbanity or cosmopolitanism by individuals belonging to a destination, these encouraged to judge the individual's characters separately, regardless of personal history or social relations (Zukin, 2008). In this context, it is assumed in the development process that authenticity is not unintentionally constructed, rather it undergoes the intervention of various mediators through the negotiation of different actors (Xie, 2011). 3.1.3. Approaches to authenticity The dictionary definition of authenticity in Portuguese lists four meanings: i) character of the act or document that conforms to the law; ii) quality of a work that is proven to belong to the author to whom it is attributed; iii) quality of what conforms to the truth; veracity; iv) manifestation of sincerity or naturalness (Porto Editora, 2021). This definition is in agreement with the idea that authenticity is seen as the quality of being 'authentic' and 'real' or 'real and genuine' (Chhabra, 2005; Frisvoll, 2013), refers to the qualities of genuineness, truthfulness and reality (Grayson & Martinec, 2004; Rose & Wood, 2005), and can be used as a qualifier of tourism objects, places and experiences (Kolar & Zabkar, 2010), so it is not a concept arising from tourism activity, but was imported by it, a posteriori, to conceptualize the notion of genuine tourism experiences and products. Daniel Boorstin (1964) was one of the pioneering researchers to carry the significance of authenticity into tourism. His work mainly focused on the changing motivation and role of pre-modern travellers as they became modern tourists (Cohen, 1995, p. 12). This concept of authenticity was first coined in economic environments related to a product being a 'genuine copy' (Boyle, 2003), and was initially positioned in the context of museology (MacCannell, 1973; Wang et al., 2015), from which it was adapted to other tourism areas (Wang, 1999) and was introduced into tourism after MacCannell (1973) studied tourists' motivations and experiences. Therefore, the first mediated concept in tourism research is "staged authenticity" (MacCannell, 1973). The author, MacCannell (1973, 1976), developed this concept to illustrate that tourists often receive experiences or Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 130 performances that are purposefully simulated or orchestrated in order to meet their expectations, and theorised the concept of tourism based on the idea that tourists seek authentic experiences in times and places outside their everyday lives, introducing this notion as a response to increasingly popular cases of commodification of local culture. However, what tourists experience are not authentic places, but manufactured realities for the purpose; this is the 'staged authenticity' of tourist places as a product of the social relations built around visitors who want to visually consume 'authentic' places and people (Dai et al., 2021; Urry & Crawshow, 1995). Reisinger and Steiner (2006) state that authenticity is too unstable to be defined and so we must use other words, which are "more explicit and less pretentious" (p. 67), but these words are no more stable than any others, and a word cannot in itself be pretentious. Types of authenticity can be diverse due to an individual's ability to respond to triggering pressures, thus finding their individuality, spirit or character. Authenticity requires an individual to be true and genuine to his or her personality, despite external obstacles. This interpretation of authenticity is further aligned with perspectives on the connection between the person and society as a whole. Authors who have prominently provided the most potential basis for authenticity studies, along with several debates over a century, include Kierkegaard, Sartre and Heidegger. MacCannell's view has been proclaimed as relevant in conceptualising the concept of authenticity in tourism by highlighting the crucial developments in authenticity approaches. In this concern, MacCannell used Goffman's Stage Approach to describe the emerging concept of authenticity, stating that every tourist has the propensity and ability to perceive authenticity. In terms of determining the impacts of authenticity, as well as clarifying the emergence of authenticity in tourists' experiences, the essentiality of the existential approach along with the objectivist and constructivist approaches is revealed. Wang (1999) summarises the approaches into three perspectives: objectivist or modernist, constructivist or symbolic, and the third perspective is the existential. The first two (objectivist and constructivist) are more related to objects and the third is more aligned with the activity of tourism. For Wang, the existential has more explanatory power when we refer to the experiences of tourists, however the author states that these approaches can coexist. Reisinger and Steiner (2006), in addition to the three types of authenticity already listed by Wang, include a fourth approach which is a postmodernist. This approach looks authenticity as totally irrelevant to tourists in that it has no value and they see it as an artificial Capítulo III | Authenticity in heritage and tourism 131 concept, constructed only for commercial purposes. However, Wang, when referring to the postmodernist approach, states that it tends towards abandonment and paves the way for existential consideration. The objectivist approach assumes that authenticity comes from the originality of what is visited, be it a place, an attraction or an object (Belhassen & Caton, 2006; Reisinger & Steiner, 2006). The constructivist perspective highlights the different ways tourists perceive authenticity, which may sometimes be related to their personal interpretations (Wang, 1999). The existential approach has a link with the constructivist, to move away from the idea of the object and focus on the individual, here we refer to the authenticity of the tourist experience supported by Wang (1999) (see also: Belhassen, Caton & Stewart, 2008; Kim & Jamal, 2007; MacCannell, 1973; Rickly-Boyd, 2012; Steiner & Reisinger, 2006). Figure 16 Authenticity in Tourism. Source: adapted from Wang (1999) Authenticity in Tourism Object related Objective Authenticity Constructive Authenticity Experience related Existencial Authenticity Intrapersonal Interpersonal Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 132 The concept of objective, existential and constructive authenticity discussed by Wang (1999) is widely employed and cited by other authors in their publications (Chhabra et al., 2003; Kim & Jamal, 2007), and remains an important and complementary trilogy in understanding the concept. The characteristics of these three typologies of authenticity, illustrated in Figure 16, can be judged by physical objects, relying on the object, or by the environment, relying on the experience. Let us then move on to highlight each of these approaches. 3.1.3.1. Objective authenticity The authenticity of the objects visited has been addressed in the literature as materialization of the original, real and genuine (Hampp & Schwan, 2014; McGhie, 2009; Timothy & Prideaux, 2004; Wang, 1999). This specifies that the objects or the location to which they belong are genuine or real (Trilling, 1972), and authenticity can be found or perceived by the tourist (MacCannell, 1973), so objective authenticity lies in the objects that are considered authentic because they were created and built from the cultural beliefs of the destination (Steiner & Reisinger, 2006; Wang, 1999), along with events that are also considered real and genuine (Steiner & Reisinger, 2006). In this perspective, we recognize the more practical use of the concept of authenticity adopted by UNESCO and ICOMOS, considering the tangible aspects are displayed in much of the heritage as well as in its conservation. In the demonstrated context, objective authenticity assumes that there is an undistorted pattern for determining what is or is not genuine (authentic), a search for "originals" or the "truths" underlying the logic of modernity (Kim & Jamal, 2007, p. 183). This type of authenticity is united with the first interpretation of authenticity based on museums and the original objects visited (MacCannell, 1973), this being an absolute and objective criterion for measuring authenticity (Wang, 1999). Reisinger and Steiner (2006) also analyse the concept of "object authenticity" which is applied to things in terms of establishing the "genuineness of artefacts and events". This approach refers to the authenticity of original objects that provide tourists with authentic experiences grounded on knowledge, which is compared to an epistemological experience of the authenticity of the originals (Wang, 1999). Cohen (2012) also contributed to qualify the essence of objective authenticity by explaining the concept of polysemy. According to this concept, tourism authenticity is based Capítulo III | Authenticity in heritage and tourism 133 on judgments about the objective characteristics of the industry, including production methods or use of traditional or usual methods, and existing or new forms modernized by entities certification. According to Cohen (2012), the application of innovations and tacit ways of demonstrating characteristics and attracting customers can help in the fulfilment of tourists' demands. However, at a later stage, many researchers started to consider authenticity not as the property of an object (as something immovable and attached to an object or a situation), but as a negotiated attribute with multiple dimensions whose status is estimated by evaluators (Xie, 2003). Reisinger and Steiner (2006) argue that object-based authenticity should be set aside, claiming in their defence that there are several contradictory definitions, so it should be replaced by meanings based on the genuine, real, accurate and truth; however, object-based authenticity continues to persist whether viewed by tourists, residents or professionals (Belhassen & Caton, 2006). In industrial tourism, objective authenticity can be found in industrial and archaeological heritage or in something that corresponds to the true representation and judicious notion of the character of the product. 3.1.3.2. Constructive authenticity Authenticity being a difficult concept to interpret, it should be considered that different people will have different interpretations of authenticity, so authenticity from a constructivist approach states that it cannot be defined objectively (Ebster & Guist, 2004), rather it confers legitimacy on how tourists perceive it, so it refers to personal interpretations, from a set of elements based on social understandings. The study by Tian et al. (2020) further elaborated on the idea that whenever tourism objects are constructed by society, they can be identified as a case of constructive authenticity where the focus is remarkably on the tourist destinations rather than the tourist. In terms of assessing tourists' satisfaction, constructive authenticity values the attractions of destinations constructed by residents. Thus, for constructivists, authenticity cannot be defined on the basis of a single object, but as being objectively determined and perceived by a series of rationales, and is not an interpretation of the authentic with an absolute character, since it is dependent on the context itself (Cohen, 1995). The tourist may assume as authentic Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 134 what is constructed to be so, namely, what MacCannel (1997) refers to as "staged" or represented authenticity. The constructive authenticity refers, therefore, to the authenticity projected by tourists in the visited objects or tourism products and is supported by the images, expectations, preferences, beliefs and culture of the visitor, which result from a social construction and demonstrates that the objects seem authentic, not because they are real or true, but because they are constructed according to the culture and beliefs of the destination, hence there are several versions of authenticity relating to the same objects (Wang, 1999). In this context, objective authenticity is symbolic authenticity, in contrast to constructive authenticity which results from a social construction, and the quality of what is visited is not measurable in an objective way (Wang, 1999). For tourism, constructive authenticity aligns with the concepts of the objective one, as these are not intrinsically authentic, but can be "Tradition Invention" as stated by Zhu (2012). In other words, constructive authenticity was simply generated by the negotiation of interpretation between the host and visitors. Within this framework, Zhu (2012) stated that "the constructive approach to authenticity is not an ontological condition, but a label or perceived status determined according to socially constructed criteria" (p. 1497). In fact, constructive authenticity is the attractive outcome of combining the symbols and signs normally envisaged by society, so it is relative and negotiable (Cohen, 1988) and constructed by society through time (Cohen, 1988; Hughes, 1995; Waitt, 2000). In short, the concept of constructive authenticity results from social construction, so objects are considered authentic not because they are genuine, but because they are designed to conform to the cultural beliefs that are to be conveyed. This approach too is grounded in objects, but privileges the visitor's interpretation. Cultural representations in relation to a single product may differ and, from a constructivist point of view, contexts may be accepted as authentic in their own way. This reality is quite present when referring to industrial heritage, as many of the heritage buildings or spaces have been altered as a result of the evolution and contemporaneity, so that it is difficult to establish a clear demarcation between what is and what is not authentic. 3.1.3.3. Existential authenticity According to Wang (1999, p. 352), there are several approaches to authenticity concerning the same objects, existential being one of them. The existential approach is about Capítulo III | Authenticity in heritage and tourism 135 the subject rather than the object visited (Belhassen et al. 2008; Brown, 2013; Kim & Jamal, 2007; MacCannell, 1973; Rickly-Boyd, 2012; Steiner & Reisinger, 2006; Wang, 1999), therefore each person feels authenticity in an individual way, as a result of his/her value system, falling, the interpretation, on the subject and not on the object. Having this in mind, it is possible to find in this appreciation of the subject a parallel with constructivist authenticity. Authenticity of tourism experience relates to how emotional responses provoke 'authentic experiences' in audiences according to the tourism environment (Jones, 2009; Wang 1999; Chronis & Hampton, 2008), thus existential authenticity refers to a potential state of existence that is intensified by the tourism activities. Consequently, authentic experiences in tourism serve to achieve this existential state when one is within the basic process of tourism. Therefore, existential authenticity may not be at all related to the authenticity of the objects visited and, as Wang (1999) suggests, rather than assessing whether or not something is authentic, it will be more appropriate to question tourists about what they value as authentic and whether inauthenticity will be a problem. This debate is then extended by Wang's (1999) study, that discusses the concept of existential authenticity, in which authenticity in terms of experience is defined from within the individual (see also: Brown, 2013; Hughes, 1995; McIntosh & Prentice, 1999; 1999; Shepherd, 2015; Steiner & Reisinger, 2006; Taylor, 2001; Wang, 1997). This perspective suggests that there is nothing inherently authentic, that authenticity is an individual understanding, and that a visitor may see a heritage site as authentic, but this does not mean that everyone will have the same interpretation. Wang (1999) suggests that many visitors look for their 'authentic self' rather than an authentic place. Also Hsu (2017), while categorising authenticity, mentions that there are two main interrelated concepts which are the authentic self and the authentic object. The authentic self is a perception in which human existence relates to the ontological programme that can be analysed considering national, individual and group perspectives. On the other hand, the authentic object implies an epistemological elaboration that finds its characteristics in historical origins (Hsu, 2017). Similarly, authentic experiences in tourism and the authenticity of the objects visited are essential to each other. Thus, existential authenticity is in fact a symbolic authenticity, understood as temporary enjoyment of an "authentic good time" associated with the activity and not influenced by the object (Brown, 1996). Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 136 Besides stating that existential authenticity is cantered on the existential state of mind within a touristic process, Wang (1999) also classifies the concept of existential authenticity through two subcategories: interpersonal and intrapersonal. The author believes that this concept may facilitate the explanation of tourist experiences more than the concept of objective authenticity, the latter with limitations, because, for the author, the objects or places visited do not need to be catalogued as authentic (Wang, 1999). The existential experience involves personal or subjective feelings activated by tourism, in which individuals feel more authentic and express themselves more freely than in their daily lives, not because they consider the objects visited as authentic, but because they are involved in a different activity, without the daily constraints (Wang, 1999). In this context, Steiner and Reisinger (2006) especially highlight the impact of existential authenticity in tourism which explores the relationship between human nature and the essence of human individuality. Existential authenticity includes a wide diversity of tourism experiences and ultimately explains the descriptive strength of the authenticityoriented model in tourism, especially due to the limitations of the objectivist approach. Steiner and Reisinger (2006) also highlight the fact that the industry creates opportunities for alignment with the authentic self, which leads to the emergence of the modernised conceptual frameworks for existential authenticity or inauthenticity, originating from the philosopher Martin Heidegger. In line with the concept Heidegger et al. (2006) explain existential authenticity with the idea that it "is not a product of tourism research" (p. 300), but is part of a long philosophical tradition concerned with what it means to be human, what it means to be happy, and what it means to be oneself. From the point of view of tourism, existential authenticity is related to the activities that are relevant for tourists and for the host, considering that it will be, in the first instance, the community to evidence its own authenticity by assuming its identity (Malheiros et al., 2016) that persists existentially through its intensity (Heidegger et al., 2006) and through the very intensification of the experience (Almeida, 2018). As mentioned above, Wang (1999) divides existential authenticity into two types: intrapersonal and interpersonal. The intrapersonal dimension of existential authenticity is related to bodily sensations, such as relaxation, fun, excitement, pleasures, and entertainment - aspects existing in the tourism context. Tourist experiences of intrapersonal authenticity are related to self-realisation or one's own identity. Many individuals seek self-realisation as an escape from their work and daily obligations. Jamal and Hill (2002) share this Capítulo III | Authenticity in heritage and tourism 137 classification of personal authenticity which they refer to as emotional, psychological, personal meaning and identity aspects. Interpersonal authenticity corresponds to family ties. According to Wang (1999), family tourism is a typical example of an experience where interpersonal authenticity can be found. For many tourists, travelling is an opportunity to reinforce the feeling of group unity and togetherness and to strengthen the relationship that unites them. Thus, tourism also offers an opportunity to experience authenticity as a group. Both perspectives can be achieved through tourism. This dual dimension of existential authenticity, intra- and interpersonal, is also considered in the work of Kim and Jamal (2007). It should be noted that these typologies of authenticity do not exclude each other and when different types of authenticity are combined, there will be a greater propensity for sustainable development of cultural heritage tourism (Zhang & Yin, 2020). Objective authenticity and existential authenticity can both be sought by the same tourists on their holidays, it depends solely on the tourist himself and what he is looking for as a tourism experience, so the idea that authentic experiences in tourism and the authenticity of the objects visited are essential and complementary is reinforced. Authenticity is not a monolithic and unquestionable concept, on the contrary, it can be interpreted and perceived instinctively by different people (Xie, 2015). However, both the objective and existential strands of authenticity in tourism focus on tourists as the unit of analysis, neglecting residents as important actors in the appreciation of authenticity. 3.2. Authenticity and tourism It has already been mentioned that authenticity has been one of the central themes in tourism research (Belhassen et al., 2008; Balaskas, 2021; Dai et al., 2021; Cohen & Cohen, 2012; Kontogeorgopoulos, 2017; Olsen, 2002; Rickly-Boyd, 2012; Robinson & Clifford, 2012; Taylor, 2001; Tung & Ritchie, 2011; Xiao et al. , 2013), and, as stated above, since MacCannell (1973) the term authenticity is generally associated with the sense of genuine, true or real aspects, and has been, as a characteristic of tourism consumption, considered a prominent attribute (Richards, 2003). Some authors, such as MacCannell (1992), approach existentialism by stating that authenticity is seen as an agreed and objectively defined entity that can be obtained but hardly demonstrated in its purest sense. Other authors, such as Chhabra (2005), have placed authenticity in the context of the ideologies of constructivism and existentialism, already Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 144 however, the concept of authenticity, as mentioned earlier, does not come from tourism. "Authenticity is important but it is significant for all modern peoples, not just the category of tourists. The search for authenticity may lead people to travel but it may be found just as easily at home. Authenticity lies in connections, not in separation and distance" (Hall, 2007, p. 1140). Zhou et al. (2015) argues that the experience of authenticity is not only a privilege of the tourist and that simultaneously the host also actively maintains its own perception of authenticity. Also the author, Zhu (2012), in a study on community rituals, specifically a wedding ceremony in China, found that the rituals perceived and performed by the host community of a tourist site have a great impact and implications for the perception of authenticity of a tourist destination. To this end, the significance of host authenticity has to be aligned with the strength preserved by the host community, and following this Hsu (2018) demonstrates three levels of authenticity analysis from the host's perspective, levels that most of the time cannot be dissociated, so they are represented in concentric ellipses, illustrated through Figure 17. Figure 17 Host authenticity exposed to the three levels of analysis. Source: Hsu (2018) This perspective starts with the first level of analysis revealing the authentic self which forms identity and gives it meaning. At this level, individuals are constantly positioning their own identity (authentic self) while tackling changes. At the second level, the encounter of the host community with the visitor is implied, with hosts identifying and displaying their authentic selves within what is touristically marketed. In this context, there is an adjustment to the main object of tourism which is economic income from tourists by Cultural tourism setting Host-guest encounter Authentic self Capítulo III | Authenticity in heritage and tourism 145 fulfilling their demands. This will ultimately also facilitate the demands of the industry and foster the economy. The third level represents the setting of cultural tourism, this being the projection of authenticity onto the physical settings. Regarding the nature of physical objects or scenarios (authentic objects), the authenticity or inauthenticity of tourism scenarios can be divided, according to Hsu (2018), into three practices that confer different typologies of authenticity. The first is referred to as the co-location of work, in which traditional work is privileged as authentic over that performed only for tourism purposes, valuing intangible practices over tangible ones. The second practice refers to a valuation of traditional work in relation to that which is structured with the aim of demonstrating to tourists. And the last one lies in what the hosts (as workers and tourist receivers) prepare only with the intention of showing the tourist (Hsu, 2018). All these practices can be performed together and come from the authenticity that the host gives them. Considering these three levels, the authentic self will influence both the host community encounters and the tourist settings (Hsu, 2018). The main factors that need to be considered to structure host authenticity may include the distinct characteristics of demographics, along with host attitudes towards culture. Depending on the personal interests of the local community, residents' attitudes towards authenticity change, and these will be an integral part of tourism (Hsu, 2018). Given that the practice of industrial tourism involves workers and hosts, we can assume that these three levels will be present in the community of an industrial territory as a tourism destination. The benefits are extremely in agreement with the preferences of all stakeholders and with the benefits to the community, and as Hsu (2018) emphasises, these approaches of considering host authenticity will also be a way of ensuring the sustainability of a tourism destination (Hsu, 2018). Therefore, it can be said that tourism is deliberately exploring the ways of being dependent on authenticity as one of the crucial perspectives of cultural change. Reclaiming authenticity through tourism is the movement of human interaction that is driven from front to back and largely reflects the desires of tourists and consumers (Zhu, 2012). Based on the existence of authenticity cultivated by the local community of a destination, the tourism authenticity of that place can be preserved. Compared to other catalysts leading to personal benefits, the role of attitudes has been considered as a more prominent and effective concept. Several areas of experimental study have already explored the idea that attitude is an essential characteristic for analysing and interpreting perception and behaviour. Moreover, tourism-related behaviour has proved Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 146 that attitudes towards traditional culture have a positive impact on authentic perception (Zhou et al., 2015). The industrial culture and the traditions around the industry that translate the wealth of industrialized regions, through the perception of these traditions as authentic by the local community, may contain a high degree of authenticity and also be assumed by the tourist as authentic. In this assumption it is considered that the concept of authenticity from the perspectives of both tourists and residents can be transversal and even complementary. Analysing the aforementioned contexts, it can be summarised that since the tourism industry is largely dependent on relevance, accuracy and veracity, authenticity is essential for all modern individuals and industries, especially for the tourism and hospitality sectors. Furthermore, residents' attitudes towards the authenticity of a specific tourist destination have a significant philosophical basis in a commercialised atmosphere that entirely structures the tourism characteristics of a region. Therefore, this topic serves as an exemplary instance to measure the extent of authenticity in tourism, which is further related to the reliability of economic development. It was also found that being a major player in the tourism industry, the host can individually make his interpretation of authenticity. Ultimately, the main intention is to strengthen economic and emotional interests through the social structure of authenticity. CHAPTER IV COMMUNITY AND IDENTITY Capítulo IV | Community and identity 149 Chapter IV Community and identity Chapter IV aims to analyse the role of the local community and the importance of its identity in the context of industrial tourism, so firstly we focused on the literature review from the numerous academic works of several authors regarding identity and place identity. The role of place identity in tourism, heritage and culture was highlighted when considering the local community as the holder of identity, comparing and contrasting the purposes of various authors on the subject. Next in this chapter, is an attempt to describe how the autochthonous community may be affected by tourism development in their region. This analysis was carried out through the literature review of the concepts of community tourism development perception, community support for tourism and community intention to participate or engage in tourism. 4.1. Identity, place identity and tourism From the concept of identity endless connotations emerge, however a common denominator is to refer the concept to the distinctive characteristics of an individual or groups in a society (Bauman, 2005; Castells, 1999; Geertz, 1988; Hogg & Abrams 1988; Jenkins, 1996; Liu & Cheng, 2016), consequently, the research perspectives will also be numerous, including through areas such as philosophy, psychology, sociology, anthropology, among others. Liu and Cheng (2016) address the concept of identity related to contexts of integration of people in a social space and the way they seek to differentiate themselves in a defined space, considering that identity is strongly linked to the relationship between the self and the community, and consequently lies in the relationship between people and the group to which they belong. In academia the subjectivity of the concept of identity is widely discussed, however, there is a common perception that it is associated with beliefs and values that distinguish a person or a group. Through social categorization there is a division of the world into "us" Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 150 and "them", and the feeling of belonging to a group happens when individuals feel identical to other members of the same group, behaving identically (Cuhadar & Dayton, 2011), thus fostering their self-esteem (Korpela, 1989). Based on categorization, people tend to view their group favourably, discriminating the outside group (Akbaş, 2010), and this classification, as members of a group, allows, among other things, to establish self-identity and social identity (Brewer, 1991; Liu & Cheng, 2016). However, the essence of identity is in continuous evolution and therefore it is also a concept that is constantly changing (Bauman, 2010; Dubet, 1989). For Castells (1999), identity cannot be dissociated from the meaning and experience of a people, so, in an attempt to conceptualise the term, the author states that identity is "the process of constructing meaning on the basis of a cultural attribute or a set of related attributes, or a set of interrelated cultural attributes, which prevails over other sources of meaning" (p. 22). The same author (Castells, 1999) stands out from other approaches by highlighting three processes through which identity can be constructed. The (i) legitimating identity, introduced by dominant institutions, which seeks to expand and rationalise their dominance in social actors. The (ii) resistance identity, related to actors who may be in undervalued positions, and associated with the survival instinct, based on principles different from those governing the institutions of society. Finally, the (iii) project identity which is constructed when the social actors seek a new identity, this one enabling the redefinition of their position in society, through cultural material within reach and having as its object the transformation of the social structure. If on the one hand Castells' (1999) approach to the concept of identity is based on the experience and meaning originating from a people, on the other hand Bauman (2005) privileges the concept as evolutionary by stating that identity is the fruit of society's evolution, therefore in continuous development. For Bauman (2005) an identity emerges from the concept of community, the author highlights two typologies, the first refers to life and destiny, assuming that the members of this community "live together in an absolute connection", the second typology of community refers that these are "merged only by ideas or by a variety of principles" (Bauman, 2005, p. 17). The author argues that the concept of identity arises when "communities of individuals who believe" in ideals, which emerge in a social or cultural context, take them on and develop them from their own choices (Bauman, 2005, p. 17). Thus, identity can be described as a process of social construction of meanings which relies on cultural attributes (Richards, Capítulo IV | Community and identity 151 2006). Similarly, Berger and Luckmann (2004) had also stated that what underlies the constitution and preservation of identities are social processes determined by social structures. However, considering that the essence of identity is constantly evolving, its concept is also changeable (Bauman, 2010; Dubet, 1989). Overall the essence of identity lies in the evolution of a society in which both groups and individuals of a place can influence each other, evolving, changing and adapting their own identity and consequently also the place identity. The identity process theory (originating in social psychology), which has been used as the basis for several research studies of identity and place attachment, proposes four guiding principles that can be applied to different contexts. These are i) self-esteem, ii) continuity, iii) distinctiveness and iv) self-efficacy (Breakwell, 1986, 1993; D. Rogers, 2013; Twigger-Ross & Uzzell, 1996). Breakwell (1993) points out that the first principle of identity is self-esteem, which concerns a person's feelings of personal and social worth. The author (Breakwell, 1986) suggests that the first principle of identity is grounded in a sense of personal uniqueness. Similarly Garret (1998) uses the term self as associated with the construction of a social identity anchored in the individual. The second principle, continuity, relates to the need for continuity in time and context, where an individual aims for what Erikson refers to as "persistent similarity with oneself" (Breakwell, 1993, p. 8). Continuity allows for evolution and change as part of the developmental process, with the assumption that change is subjectively congruent within the same identity (Breakwell, 1993). The third identity principle is distinctiveness, in which an individual strives for uniqueness and personal differentiation. The principle suggests an urge for difference, but not for total distinctiveness (Breakwell, 1993). The fourth principle of identity is self-efficacy, which concerns the individual's perceived competencies, where the individual believes in his/her abilities to meet situational demands. This one can be related to Bandura's social learning theory (1977). As noted in identity process theory, individuals will seek to achieve and maintain positive self-esteem and self-efficacy, and this desire is a basic tenet of all identity theories (Myers, 2010; Oyserman et al., 2012; Twigger-Ross & Uzzell, 1996). These four principles are directly associated with place identity, considering that selfesteem is essential to feel the place as one's own and belonging to one’s identity, continuity is associated with place as a consistent reference point, namely a specific setting and location with emotional meaning coming from past experiences and actions, in such a way that one Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 152 maintains a sense of "coherence and continuity in one's own conceptions" (Korpela, 1989, p. 251; Twigger-Ross & Uzzell, 1996, p. 207). Distinctiveness manifests itself as identification with a particular neighbourhood or place, suggesting that individuals consider specific attributes associated with place identification or as a means of conveying social status (Twigger-Ross & Uzzell, 1996). In relation to self-efficacy place identity refers to an individual's ability to carry out and direct their daily activities effectively by "judging whether an environment supports their goals and purposes" (Winkel, cited in Twigger-Ross & Uzzell, 1996, p. 208) in a particular place. According to Liu and Cheng (2016), people can also unite through the desire to preserve the architectural and ecological characteristics of a place, promoting local pride and identity. From this perspective, destinations with an industrial dimension build place identity around industry and work, so the place identity cannot be dissociated from the identity of the group. It is important, then, to underline that identity, besides referring to a singular feeling, also brings together a mutual feeling associated with the social group where the "I" belongs. In other words, if on the one hand there is the feeling of the individual "I", on the other hand there is the feeling of belonging to a group that lives and feels the same. In Proshansky's (1978) theory of place identity, which pioneered the explanation of the relationship between place and identity, the aspects of identity linked to place can be described as place identity. It is in this context that the industrial heritage, tangible and intangible, constitutes a valuable element for the identity of an industrialized region anchoring its regeneration in memory and narratives. 4.1.1. Place identity The aspects of identity that are specifically linked to place are referred to as place identity, which refers to the identification of a person with a place being this based on affective ties and feelings towards that place (Fabian & Kaminoff, 1983; Kyle et al., 2004; Proshansky et al., 2013), and serves as a characteriser of spaces as sources of identification and origin of individuals, associating them with certain spaces. In the productivist perspective the notion of "space" has replaced the notion of "place" through the dissolution of the elements that make up territorial complexity and identity (Choay, 2000), and so, in the context of tourism, it is this identification that adds value to the tourist visit (Proshansky, 1978; Williams & Kaltenborn, 1999). Capítulo IV | Community and identity 153 Recent studies of social identity theory highlight the role of place in identity (Haslam et al., 2010), however, in many studies, place identity is seen as a subset of the social identity theory, a substructure of social identity (Twigger-Ross & Uzzel, 1996). In the light of this theory, social identity factors can be underpinned by certain denominators, among them nationality or place of residence, as it is assumed to be a branch of individuals' personal and social identity that is grounded in the social, cultural and physical characteristics that are bestowed upon places. However, Proshansky et al. (1983) argue that "the subjective sense of self is defined and expressed not merely by one's relationship with other people, but also by one's relationship with the several physical environments that define and structure people's everyday lives" (p. 58). There is a broad assent among scholars that place identity is related to group size, race, history, place and ownership, among other factors, so that when people share custom, minority group membership, or history, place identity will be easily established (Xiang et al. , 2015). Having a strong place identity, an individual can get what they need from the group relationship and develop their self-identity, which will make the bond between the individual and the group stronger. Since place identity is a kind of group identity, it cannot exist without the existence of an outside group. Indeed, according to Simon et al. (1995), in-group homogeneity is particularly strong in the absence of forces that motivate the individual to distinguish himself from others within his group. From another point of view, several authors associate place identity with an emotional link (Giuliani & Feldman, 1993; Hidalgo & Hernández, 2001; Shamai, 1991; Williams & Vaske, 2003) arising from the symbolic importance of the place and that serves as an archive of emotions and significant relationships (Giuliani & Feldman, 1993; Shamai, 1991) where psychological involvement with the place prevails, and tends to increase (Giuliani & Feldman 1993). Likewise, Baloglu and Mccleary (1999), in their study of destination image, refer that the image of a place is observed from the perceptual/cognitive and affective perspectives. The first is related to beliefs or knowledge about the attributes of a destination and the second to feelings and attachment to the place. In this regard, place can be seen as a criterion to identify a group with individuals from a given space, individuals who will tend to feel a stronger connection to places they can identify with or are proud to be part of (Scannell & Gifford, 2010) and that will shape their behaviour in a place (Pretty et al. , 2003). With this approach we follow into the field of place attachment, broadly understood as the attachment that individuals share with specific places (Scannell & Gifford, 2010). This concept is identified and distinguished in the literature in different dimensions Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 256 In sum, several of the aforementioned statements leads to the belief that heritage, not formally recognised as tangible, plays a major role in place identity and sense of place, while also demonstrating the affective and cognitive links with tangible heritage. 6.1.4.2. Identity elements Within the scope of the appreciation of local resources, in areas such as handicrafts, culture, local products, tangible and intangible heritage assets, elements were found that could be representative of the identity of the municipality analysed. People who tend to support and help cultural heritage sites usually do so for sentimental reasons, so they do not think of it as a tangible, marketable asset, but they are interested in preserving the heritage that gives them their identity. From this assumption the identity elements that were most highlighted were selected, and the results inevitably favour factories and workers as the main elements. Table 30 shows the most significant identity elements. Table 30 Interview quotes coded as: Identity elements Respondent code References CT_1 "We have the house of creativity, we have the Oliva Creative Factory nucleus, we have the. art nucleus, you can see that it is a city that bets on culture, it has industry, people live essentially from industry" CT_1 "We have two museums, the Shoe Museum and the Hat Museum" CT_1 "Some factories in the industrial tourism and that are unique at national level and that it is important to visit, we have the Footwear Technological Centre that is unique at national level" CT_1 "I would highlight the industrial topic, the hats, the shoes and the pencils too, we have the pencil factory which is also unique" MUN_4 "Our museums are dedicated to this theme or are located in buildings with an industrial character, such as the Industrial Hat Company (Hat Museum), the Oliva Tower (Shoe Museum) and the Oliva (Oliva Art Centre)." MUN_4 "The architectural profile is also defined by industrial buildings, by tall chimneys... and we cannot fail to mention the much-famed roundabouts" MUN_4 "The Hat Museum, the fact of being installed in what was one of the most important hat factories of S. João da Madeira and even of Portugal, the Empresa Industrial de Chapelaria, Lda., allowed this building to be rehabilitated and perpetuate the memory of the community, both hat makers and Sanjoanenses". MUN_4 "Old Hatters" MUN_4 "The museological centre", "Comendador António José de Oliveira Júnior. The visionary entrepreneur" and "Vieira Araújo. The man and the entrepreneur which demonstrates the life stories of two great city benefactors of our land". Chapter VI | Analysis and results discussion 257 Respondent code References MUN_4 "Black Nails" CT_2 "...as in the case of FEPSA, linked to the hat and felt industry, as in more technological industries, as in the case of Flymaster, a leader in navigation instruments and electronics for free flight" MUN_5 "I would also highlight its gardens and the hubs of technological development and creativity" MUN_5 "The chimneys, which have been preserved, surprise visitors and give the city a stamp of uniqueness to the city" MUN_5 "The Shoe Museum is located in the complex of the old Oliva factory, a bastion of the Portuguese metallurgical industry" MUN_5 "The importance of the Oliva factory" MUN_3 "The Hat Museum, the Shoe Museum, industrial tourism, the Oliva Art Centre and then obviously also the Oliva Creative Factory, which is not exactly in this context of culture and tourism, but is obviously also associated" MUN_3 "Obviously design and creativity are also essential elements in the role of Museums" FAB_2 "We are world leaders in the production of fur for hats" FAB_3 "Origin of hand made as it was 50 years ago mixing technology to be more adaptable to new times also the physical space has kept what was the old olive looking old and old with some modern touches" MUN_2 "Former Oliva factory, the so-called Zone 2" "Torre da Oliva" and, therefore, the museum dedicated to the history of Oliva now operates there" MUN_2 "Oliva Creative Factory" MUN_2 "Complex of creative and cultural industries" MUN_2 "Businesses and designers and creatives" MUN_2 "Exhibitions either temporary from private collections" MUN_2 "Iron circuit" MUN_2 "The House of Creativity, which was the recovery of the former Emperor theatre, has the Paços da Cultura" MUN_2 "The furnace room itself" FAB_1 "Mattresses (textiles)" MUN_1 "Parks with the gardens" MUN_1 "Felt hat production" MUN_1 "Industrial building that is Oliva an art centre, the Oliva Art Centre which houses two private collections" MUN_1 "Viarco is preponderant, I only talk about Viarco when we already have the circuits implemented" MUN_1 "ADS, the city's sports group" As pointed out by McKercher and du Cros (2002), greater importance is attributed to elements related to cultural aspects. In this study, in particular, this importance is attributed to the heritage aspect, together with the constitution of a differentiated tourist offer. There Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 258 are numerous references to the old Oliva Factory and the buildings belonging to it that were rehabilitated, to companies of historical nature and with heritage elements and industrial archaeology, as it is the case of Viarco. However, other cultural elements relevant to the identity were also evidenced, among them the leisure spaces for the population's enjoyment, such as parks, gardens, cinema theatre, among others: "I would also highlight its gardens and the hubs of technological development and creativity." (MUN_5) Considering that the identity of a tourist destination is understood as the set of traits and characteristics that distinguish it from its peers (Boullón, 2009), the identity of São João da Madeira is essentially based on the past industrial values and its historical buildings (Kisiel, 2020): "The museological centre", "Comendador António José de Oliveira Júnior. The visionary entrepreneur" and "Vieira Araújo. The man and the entrepreneur" (MUN_4), These demonstrate the "life story of two great benefactors of our land" (MUN_4), and also exhibit in statements such as: "I would highlight the industrial topic, the hats, the shoes and the pencils too, we have the pencil factory which is also unique" (CT_1) "Obviously design and creativity are also essential elements in the role of Museums." (MUN_3) Culture is represented, in a more holistic way, through references to cultural, sporting and leisure venues in quotes such as: "The Casa da Criatividade which was the rehabilitation of the former Imperador cinema theatre, it has the Paços da Cultura" (MUN_2) "Exhibitions either temporary from private collections". (MUN_2) "ADS, the city's sports group". (MUN_1) "Parks with the gardens". (MUN_1) Identity is giving the territorial space, the expression of the cultural dimension that is accredited by heritage and witnessed through memory: Chapter VI | Analysis and results discussion 259 "The chimneys, which have been preserved, surprise visitors and give a stamp of uniqueness to the city". (MUN_5) "The Hat Museum, the fact of being installed in what was one of the most important hat factories of S. João da Madeira and even of Portugal, the Empresa Industrial de Chapelaria, Lda., allowed this building to be rehabilitated and perpetuate the memory of the community, both hat makers and Sanjoanenses". (MUN_4) These references come from the endogenous resources par excellence, promote and generate a sustainable development, and attract the desirable affluence through the local landscape and the corresponding activities (Mantero, 2010; Zhang et al., 2021). These identity elements arise based, as Bauman (2005, pp. 17-18) postulates, on a "symbolic tool present in the material or immaterial culture of this community", which provide visitors with authentic products (Shannon & Mitchell, 2012). 6.1.4.3. Heritage and heritage values According to the interviewees, cultural heritage values were, and are, implicit in the decision to implement the industrial tourism circuits’ project. The interviewees, when asked about heritage requalification and enhancement, categorised heritage values based on heritage (present and past) alluding to industry and some of the industrial elements referred to above. Table 31 exhibits a selection of the most relevant extracts taken from the speeches of the interviewees that refer to an appreciation of tangible heritage, based on physical resources intrinsic, mostly, to industry, but also a recognition of the importance of intangible heritage embodied through tradition and memory, so in accordance with the Nizhny Tagil - TICCIH Charter (2003). Table 31 Interview quotes coded as: Heritage and heritage values. Respondent code References MUN_4 "Material goods, which tell the story of the hat making industry in the region, but also immaterial goods, such as the recording of oral testimonies of former hat makers, in order to preserve the memory of a know-how" MUN_4 "As well as preserving material goods, the Hat Museum is dedicated to researching local history, and presents temporary exhibitions on the subject" MUN_5 "This bet on the preservation of industrial heritage and its memory" MUN_5 "The Museum gathers in its estate important pieces (machinery, tools, furniture, commemorative pieces, products, etc.), documents (business and personal documentation Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 260 Respondent code References of footwear agents, local press, etc.) and immaterial registers (interviews to actors of the footwear area) of the tradition and local know-how". MUN_5 "The contact with companies that are currently in production and the collection of parts and testimonies of their history, allow to create a living record and archive of a knowledge that could be lost" FAB_1 "Unique machinery unknown to the general population" FAB_1 "People become more aware of the material industrial heritage and the immaterial through the way it is worked and of the production process, in this way they value it more" CT_1 "I would highlight the industrial part, the hats, the shoes and the pencils too, we have the pencil factory which is also unique" MUN_1 "When we are talking on a tourist level, we are talking about a city that turned to industry as well, safeguarding in the heritage, in its first action, safeguarding a hat making company, which was the basis of the identity and also of this territory and safeguarding an important building and its estate to create the first museum this in 2005" MUN_1 "Over the years buildings that were housing projects linked to the industry, both the Shoe Museum, the Welcome Center project of the industrial tourism that is, let's say also a project linked to the industry, the Oliva Creative Factory itself that was created within the industrial building" MUN_1 "A spot we launched two years ago was "tourism with people inside" because we talk about factories, but we are talking about people and we are talking about life stories, so we are talking about the know-how of a profession and all this, this type of tourism project, also provides the visitor with these notions that sometimes go completely unnoticed" MUN_1 "And we looked at our territory and in looking at the territory, what was our added value? It was industry, we went back to the same thing, industry, factories, products. So what can we do with this? Can we make some tourism?” MUN_1 "We are proud to know that our Shoemakers, which for a long time had a negative connotation, people were ashamed to say that they were shoemakers, today they already feel proud to say that they are artisan Shoemakers, because of industrial tourism, the fact that it is promoted, publicised, valued, will give a new meaning to the word, a new meaning to the profession and, therefore, studying the past of these professions, these people, this life story" MUN_1 "There is an awareness of what industrial heritage is, that is, people realised that industry reconverted into cultural or business spaces has its importance" MUN_1 "it maintained the characteristics of this same architectural heritage, preserved, safeguarded, and gave it a new function, and from there arose the museums, the Hat Museum, the Shoe Museum, the industrial tourism, the Oliva Art centre and then obviously also the Oliva Creative Factory, which is not exactly implanted in this context of culture and tourism, but is obviously also associated". FAB_3 "The city is full of many, many artisans in this industry and with a workforce rich in experience" MUN_3 "This is one of the main missions of museums. It is precisely to preserve the cultural collections of the themes that are connected to it, in the case of hat making, obviously, it is not only the industry, but also the whole universe surrounding the industry and here we are talking for example about trade, accessories, in the case of footwear the same thing". MUN_3 "Safeguarding the memory of that company by its elements, by collecting its elements that are essential" FAB_2 "Cortadoria is a historic company, already 75 years old" Chapter VI | Analysis and results discussion 261 Respondent code References CT_2 "The city "of work", as it is known, still assumes itself as a national reference in Footwear, and has been increasingly robusting its ecosystem with highly innovative and technological companies, through SANJOTEC dynamization " MUN_2 "Basically, what we want to transmit to visitors is that we safeguard this heritage, we requalify this heritage with the intention of giving it a new life, different from what it was" MUN_2 "We always explore the two sides, both the material and the immaterial. For us it is very important, really, to safeguard both versions." MUN_2 "Therefore, any movement may interfere with people’s work who are installed in the Cowork. So, obviously, these people are very pleased to be here in Oliva, but they want to develop their work to be able to pay their bills, obviously, and therefore, we have to try not to interfere with their work..." References to heritage and idea of cultural and heritage value are demonstrated in the discourse of several interviewees and assume the understanding of a common identity for a community. With regard to heritage values, the industry of yesteryear is perceived as a fundamental element of culture, so the term heritage was employed as something whose importance is derived from social, cultural and industrial value: "There is an awareness of what industrial heritage is, that is, people realised that industry reconverted into cultural or business spaces has its importance." (MUN_1). The participants highlighted the heritage values intrinsic to the industrial identity itself, materialized in hats, shoes, pencils, buildings, traditional industries and technological innovation and machinery. In addition, the preservation of cultural and traditional habits of the community's daily life is catalogued as crucial to the enhancement of heritage, with references to the importance of the community role in expressions such as: "the shoemakers", "the know-how", "people's life stories", "tourism with people inside", "craftsperson", "meaning to the profession", "the city of work", among others. The safeguarding and preservation of history and the reconversion and requalification of heritage and industry are primary premises in the execution of the industrial tourism circuits’ project in São João da Madeira. This has industry as a structural pillar and emerges from identity elements, from the industrial heritage value and from a place identity. In fact, all respondents agreed that the choice to participate in the circuits, or establish the local industrial tourism programme was influenced by the intrinsic aesthetics, historical or architectural value of the site along with the importance of demonstrating traditional productive processes or those based on technological evolution and creative industry: Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 262 "And we looked at our territory and in looking at the territory, what was our added value? It was industry, we went back to the same thing, industry, factories, products. So what can we do with this? Can we make some tourism? (MUN_1). In general, industrial heritage was defined by interviewees as something based on material and immaterial characteristics, which are maintained for different purposes, including historical, socio-cultural or economic, the latter associated with heritage values, referenced in relation to the past, present or as relevant for future generations. Within this scope, there were constant allusions to the importance of attracting young people to the industry and its preponderance as a territory enhancer, also through references to scientific research and technological innovation. Tangible heritage was referred to as visible and built or constructed environments, such as museums and factories, with references to the existing machinery, both in museums and in operating companies, while intangible heritage was addressed as non-constructed environments based on characteristics that result from human activities, such as the knowledge of productive processes, or the "know-how" of industry working class of yesteryear, knowledge passed on to the visitor as narratives and memory discourses, but which is neither visible nor tangible, still, the "elements are representative of local industry and valued due to the degree of cognitive representation of an individual" (Schultz, 2001, p. 336). This result shows how adaptive reuse can give new meaning to heritage and become a meaningful social medium for people working within these projects (Loulanski, 2006), while preserving testimonies of productive activities with technological, scientific, historical or aesthetic value for a community, and promoting identity towards a community (Muehlebach, 2017). It was assessed that the industry heritage values transmission, as well as other cultural values, is fulfilled through the project, mainly through educational methods, in six out of ten interviews there is reference to education and educational visits in school context. This result is in line with the idea that heritage has educational values (Frey, 1997, Xie, 2015), and that there should be a pedagogical role in relation to the execution of heritage values (Klamer, 2013; Xie, 2015). As for the accessibility of companies and institutions to the general public, this is referred to as a way to raise awareness of heritage values and to strengthen the identity of place, enhance the industry and the image of an industrial destination, and is the result of its residents’ values. Similarly, it is found that place identity is the individual identity representation and can also be reflected in the physical environment where heritage values are represented. This means that different groups, within the same community, can develop Chapter VI | Analysis and results discussion 263 distinct individual and/or collective narratives regarding their understanding of what heritage is and what is its value for society, so meanings need to be assessed, considering that coherence and commitment should prevail in heritage evaluation for collective decisionmaking (Bessiere, 2013). The uniqueness of the destination, from the interviewee's point of view, originates from the heritage capital and, specifically, the historical importance of traditional industries, such as, the hat making, the Oliva Factory and also the footwear industries, industrial buildings and industrial archaeological heritage related, above all, to the hat making and Oliva. In fact, heritage capital has been one of the most benefited by tourism activity considering that, according to MUN_1, if: "it maintained the characteristics of this same architectural heritage, preserved, safeguarded, and gave it a new function, and from there arose the museums, the Hat Museum, the Shoe Museum, the industrial tourism, the Oliva Art centre and then obviously also the Oliva Creative Factory, which is not exactly implanted in this context of culture and tourism, but is obviously also associated". (MUN_1) And, in addition, it has been possible to preserve craft activities such as the pencils and shoes manufacturing. Heritage has been the resource that benefits most from tourism activity, as it has allowed actions to enhance the industrial heritage, as well as the conservation of traditional activities. Another important social value that bonds all interviewees’ discourses relates to the reference of creating an important experience for both heritage visitors and companies operating visitors. Regarding the latter, it can be referred that in São João da Madeira case, the industrial sphere makes impossible some experiences that could have better repercussion in a place with a different cultural domain, and confirms the variability of heritage values and the appreciation of values according to different cultural contexts (Klamer, 2016): "Therefore, any movement may interfere with people’s work who are installed in the Cowork. So, obviously, these people are very pleased to be here in Oliva, but they want to develop their work to be able to pay their bills, obviously, and therefore, we have to try not to interfere with their work...". (MUN_2) In summary, based on references from the interviews, it can be seen that heritage management in São João da Madeira is predominantly based on industry and local customs, both with emphasis on material (facilities, machinery, old technology) and non-material Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 264 values (ideas, tradition, history, habits) (Szromek et al, 2021), not only with an emphasis on the conservation of buildings and adaptive reuse, but also on the preservation of traditions and production processes associated with industry, so the values, positively contribute to the creation of a community culture that favours the protection of its heritage with a view to sustainable development (Szromek et al., 2021), and that can play a central role in participatory policy choices (Ostrom, 1990; Dragouni & Fouseki, 2018). 6.1.4.4. Authenticity and authentic experience This category started from the assumption that authenticity and tourism experience cannot be dissociated (Tussyadiah & Zach, 2012), authenticity being considered as a preponderant antecedent of human activities and experiences (MacCannell, 1973) and is at the centre of the debate of industrial heritage tourism development (Ounanian, 2018). The academics of tourism science assume that the intrapersonal valuation of the tourism experience occurs from existential authenticity (Wang, 1999), considering that it is authentic to the extent that it is felt as such. Regarding authentic characteristics, the interviewees' speeches (Table 32) allude to three notions of authenticity. These are: 1) objective authenticity; 2) constructive authenticity; and 3) existential authenticity. These three types of authenticity constitute and confirm the main concepts of authenticity and contribute to the experience materialization from the industrial space, being this "fundamental in the appreciation of the experience, as a tool for the tourists’ personal development and in the appropriation of local resources as a basis for community development" (Almeida, 2018, pp. 417-418). Table 32 Interview quotes coded as: Authenticity and authentic experience Respondent code References CT_1 "a workshop where we teach how to produce footwear" CT_1 "In the Fablab we sometimes do an experiment with visitors to produce a small sample of a shoe" CT_1 "The tests that are done on the footwear. If it's an experiment that lasts a little longer, we have the possibility, in addition to the actual visit to the laboratory, to go to the Fablab and experiment and make a... of getting your hands dirty and making a leather piece". CT_1 "They are already advertised as a unique experience. Come and make your shoe!" CT_1 "If it's a visit just to get to know the space and what we do, they have the opportunity to see some physical and chemical tests. The tests that are done on footwear". Chapter VI | Analysis and results discussion 265 Respondent code References MUN_4 "The museum plans visits with live demonstrations by Ex hat workers" MUN_4 "The guided tours we do on a daily basis, we don't just present the felt hat production process. We are much more than a museum of machines. We are also a museum of stories. Of life stories of people who passed through here. And visitors like to associate these stories with the many faces we have on display throughout the museum". MUN_4 "A museum where it is possible to "see with the tip of your fingers". Feeling the raw materials, the textures and finishes make the visits to this museum a unique experience. It is also possible to try on hats during the course of the visit and take fun photographs, making this a "hats off to you!" experience." MUN_4 "We end up taking them on a journey back in time, putting the machines to work in their imagination and having an interesting experience" MUN_5 "In addition to the originality of the collections and museography, which sought from the outset to be interactive using new technologies, an option for which the institution was awarded, the Museum regularly organises guided tours with shoemakers. They share their life story and sometimes demonstrate the work to which they dedicated themselves. These special visits with shoemakers, who collaborate on a recurrent basis with the museum team, allow visitors a unique experience, having the feeling of participating in a "living history"". MUN_3 "What is an authentic visit here at the museum? Is it the fact that a visitor can enter and immediately experience that he/she is in an industrial environment and have that feeling? Is it the fact where a visitor can come in and realise that being with people who have worked 10, 20, 30, 40 years on the same machine and hear from their mouths the stories of that machine and their connection to that machine? It's walking into the museum and smelling it?" MUN_3 "The museum in the case of hat making, and ending a visit, many of them have the desire to try on a hat and even eventually buy a hat and they have that possibility. It ends up being another type of authenticity, after talking so much about a hat, in fact they have a symbolic element that they understand... "Ok, now I know how you're made, I know what you're worth, I understand why you cost what you cost and I want to have you because it's worth it, because it actually makes sense". MUN_3 "The case of the Hat and Shoe Museums, the fact that we have the agents who worked here who tell their life stories first hand, who take visitors along a whole history, a whole operating chain of machines that don't speak, but end up speaking in their voices and in their hands." MUN_3 "Here, we tell the story of São João da Madeira municipality, here we tell the story of the social fabric of São João da Madeira, the life stories of those who worked here, of those who dated here, of those who married here, of those who saw their children also work here and those who passed on their apprenticeship to their children here, of those who suffered here" FAB_3 "It portrays the industry as it was a few years ago and so a normal visitor is more enlightened and most importantly, capturing young people to come back to love this industry" MUN_2 "We make this connection with the stories that the former employees tell us and that enrich the visit, therefore, in the end, the visitors themselves, especially, of course, the adults, the older people, who already have a memory of what the factory was or eventually someone who worked here, a relative, or even someone who has nothing to do with the factory, but who has an Oliva sewing machine at home". MUN_2 "To make the connection between what existed before and what exists now. What was the Oliva Creative Factory in spatial terms, what used to work here, what is now working" FAB_1 "The visitor is subject to an authentic experience because everything happens naturally in order to be received" MUN_1 "Well the programme is authentic, it is pure and hard. For our part we try to make the visit as authentic as possible, our intervention in the companies is as small as possible to implement some security measures and quality of the visit, but we try to make it real" Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 272 Several references refer to this affective bond of individuals associated with the significance of place (Giuliani & Feldman, 1993; Hidalgo & Hernández, 2001; Milligan, 1998; Xie et al., 2020), among them: "All this make Sanjoanenses proud to live in this city, and this feeling of pride is inevitably reflected in their quality of life." (MUN_4) "People are passionate about what they do and I think they take pride in this work." (FAB_3) "the community is proud of its roots and finds in the museum and in industrial tourism, spaces for preservation, protection and dissemination of the traditions of its community". (MUN_5) It is also worth mentioning that tourism can drastically affect the life of communities (Andereck et al., 2007), leading from negative behavioural changes: "So, there is a part of the social fabric of this community that doesn’t connect so much with museums or eventually even with industrial tourism itself for these reasons, for the emotional reason, for the psychic trauma, the psychological trauma of feeling pain when you look at a building where you have worked for years on end and suddenly everything shuts down" (MUN_3), to positive: "On the other hand, we have people who were in that phase and with the work that has been developed within the museum, they managed to, let's say, in some way heal emotionally and participate actively with the museum and industrial tourism activities." (MUN_3), Leading also to socio-cultural, environmental and economic changes (Pizam, 1978). Dogan (1989) suggested that traditions are often weakened under the influence of tourism, with a sense of loss of authenticity and cultural identity, contrary to what was detected in the discourse of the interviewees who experience the opposite situation: "They feel a great connection to these spaces that tell these stories. And there is above all a great pride, a connection. The bonds are visible, in my opinion. (...) it was with the creation of the museums and industrial tourism itself that the connection continues, and as far as Oliva Creative Factory is concerned, I would say that there is above all an interest and curiosity in understanding what this new life is". (MUN_2) Chapter VI | Analysis and results discussion 273 This discourse is in line with Milligan (1998) who described place attachment as "the emotional bond formed by an individual to a physical site to which meaning has been given through interaction" (p. 2) and, considering that, industrial heritage tourism is related to the semiotic approach of place attachment (Xie et al., 2020), it is plausible to assume that the more values are recognised by a community, the greater the propensity for support in conserving that heritage: "The Hatters' meeting that involves the whole hatter community (former hatters, active hatters and families) that reinforces this sentimental bond and belonging to the institution." (MUN_4) However, literature suggests that place attachment alone does not increase social participation (Hays & Kogl, 2007; Wu, 2012) and that residents of a community must be willing to participate in the development process (Xie et al., 2020). However, this last quote denotes not only place attachment as a representation for the emotions people hold towards a place, but also association with cognitive meanings and dependent behavioural patterns (Low & Altman, 1992). From the analysis of this category, a remarkable relevance between place attachment, structures of involvement and attitudes towards participation emerged: "All this makes Sanjoanenses proud to live in this city, and this feeling of pride is inevitably reflected in their quality of life." (MUN_4) Perhaps it is thanks to this sentimental component of a deeper connection to the place that it has been possible to promote and enhance the industrial structures of the past and the present. One explanation would be the fact that the resident has a more comprehensive understanding of the destination, based on his direct experiences (Jones, Patterson & Hammitt, 2000). This perspective, coupled with a sense of place, highlights an understanding of the subjective emotional and symbolic meanings associated with natural places and people's connection to these places (Williams & Vaske, 2003; Xie et al., 2020). This may explain that when supporting tourism are not only considered the costs and benefits, as postulated by Social Exchange Theory (Nunkoo et al., 2013), but the sense of place attachment, sense of place and associated emotions are also condition of the support a resident may or may not give to tourism. These results are aligned with Oviedo-Garcia et al. (2008), who state that the greater the connection to the destination, the greater the residents' evaluation of the benefits of Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 274 tourism, thus leading to the protection and enhancement of the identity and sustainability of the territory and its population. 6.1.5.2. Community participation and involvement The interviewees, when asked about community participation and involvement, mostly mentioned that residents were not part of the planning, but in many contexts they were involved and called to give their testimonies and input. This cooperation can fit into the induced community participation typology of Tosun's (2006) model, where the resident has an active role only as consultant and participant in the programming, and their participation in the planning is only symbolic. The product structuring and planning is the responsibility of the municipality in collaboration with other entities that receive visitors. It is common to have various stages of involvement that can range from passive involvement to active involvement, and even reach full participation in tourism development policies, with community empowerment being a gradual process and these decisions ultimately affecting quality of life (Ashley & Roe, 1998). Table 35 below illustrates a selection of the quotes considered most pertinent in this category. Table 35 Interview quotes coded as: Community participation and involvement Respondent code References CT_1 "I know that the people working in the factories were very motivated towards industrial tourism, they enjoyed receiving visitors and even told their friends about it. I confess I have no idea what the other public thinks" CT_1 "I think that the population and especially the elderly could make a contribution to enriching the routes". MUN_4 "They are proud of this project and the projection it is having at national and international level" MUN_4 "Hatters' Meeting that involves the whole hatter community (former hatters, active hatters and families) that reinforces this sentimental bond and belonging to the institution" MUN_4 "The Hat Museum has been actively working with and for these audiences, with events such as Hat Weekend - Hat Festival, Hatters’ Meeting, O Último Turmo- European Night of Museums show, among others" MUN_4 "The Sanjoanense school community is regularly involved MUN_4 "People who come to us on their own to make donations". MUN_4 "The factories (in the case of Chapelaria, Fepsa and Cortadoria Nacional do Pêlo) collaborate with the museum by lending materials, raw materials, among others.” Chapter VI | Analysis and results discussion 275 Respondent code References MUN_5 "The community has actively participated in the different proposals put forward by the museum, either through interviews, participation in events, inaugurations etc." MUN_5 "Concrete examples are: donors who return several times to the museum and bring other visitors they know; shoemakers and family members who are always available to collaborate in making videos to publicise the institutions; industrialists who bring national and international clients to visit the museum, etc." MUN_5 "The programming is carried out providing for community involvement at various times" MUN_5 "The Shoe Museum feeds on collaborations that involve the human universe of the footwear sector, from the worker to the employer, through the commercials, shopkeepers, consumers and designers" MUN_5 "It is therefore a space in contact with its host community and which aims to make its being and its know-how known" MUN_3 "I'm probably not so sure that they are perfectly aware of what industrial tourism is or what the full potential of Industrial Tourism is, it seems to me that this happens more abroad" MUN_3 "I think more work is somehow needed with the community, I mean, let's see one thing, the work is done, because schools know about the Industrial Tourism project" MUN_3 "So there is a part of the social fabric of this community that doesn't connect as much with museums or eventually even with industrial tourism itself for these reasons, for the emotional reason, for the psychic trauma, the psychological trauma of feeling pain when you look at a building where you have worked for years on end and suddenly everything shuts down" MUN_3 "On the other hand, we have people who were in that time and with the work that has been developed with the museum they managed to, in some way, they healed emotionally and participate actively with the activities of the museum and industrial tourism as well" MUN_3 "We try to make this happen, that this connection can happen not only with these workers, who, in the meantime, have left the Industry, but with the workers who are still linked to the industries, namely those belonging to industrial tourism, from companies that belong to industrial tourism" MUN_3 "Somehow the local and external population can and should be involved in programming and planning the museum's activities, because we want to understand what they want, don't we, what they long for, what they need" MUN_3 "I would really like to think that they would always like to be more involved, because that means they would be much more interested in wanting to be more direct actors, more intervening" FAB_2 " I think that there is, among the population itself, there is a lack of knowledge, especially from the most recent generations" FAB_2 "We get very involved in the one we work on, we get very involved in another one because we know someone. Everything else passes us by" FAB_2 "From the moment we become aware of it and like it and feel that it is part of the history of the municipality and that in some other way it is linked to I don't know who works there or I don't know who is a friend of .... I think that makes it possible to create an affectionate, emotional connection to the industry". FAB_2 "I think the older generations, the ones who are really local, like our administrators who are locals. They know all the industries, they know the people, they know the businessmen who know them from their childhood days, but the other generations that follow, I notice that there is no longer this involvement, this connection, no." FAB_2 "And if there isn't this, this involvement, someone who can involve the people of the city I don't think there will ever really be much of a self-will and spontaneity of wanting to know." Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 276 Respondent code References FAB_3 "Very little interest from both the normal population and businesses" FAB_3 "A part of the population I believe so and I have no doubt they will have much to give to this industrial tourism project both in footwear and hats" MUN_2 "In the adult there are clearly affective bonds that can be created with the stories, storytelling, in a youth audience Oliva's contemporaneity works much better" MUN_2 "It seems to me that there is an awareness, not only of industrial tourism, but of the various institutions built around it" MUN_2 "Throughout this time we have been in contact with former workers, especially from Oliva, and there is always availability, availability to tell stories, what Oliva was, availability to collaborate in projects, availability to give opinions, ideas, they are people who like to have an active role". MUN_2 "I believe that industrial tourism has a preponderant role here in what concerns heritage and history that describes São João da Madeira. Yes, there is unity with regard to the industry and its people" FAB_1 "I think the population likes to be involved and participate both in the planning, as far as possible, and also to be part of the circuits" MUN_1 "We have a project which is the decoration of Christmas roundabouts by associations and schools and sometimes also the theme that is chosen to decorate is industrial tourism or our partners" MUN_1 "In planning, in planning it's like this, there was no planning directly from the community" MUN_1 "We have already thought about even doing a survey, of asking "what would you like to see on the circuits?" MUN_1 "Now, our role as a tourist office in itself is also a tourist office that tries to be close to the community and we often do this because we also have associated with our service the events organisation, and it is in the events organisation that we work more closely with the community" MUN_1 "We have more that kind of approach, the community involvement in these areas of the planning of the circuits themselves is not at all, or it has not been the practise" MUN_1 "We have a very participative population, it gets very involved (...)" MUN_1 "With regard to the circuits planning, this is a very technical issue and I am afraid that by giving voice, "in inverted commas", by giving voice to the population, it may sometimes not be productive, that is, it will be the opposite, it will be counterproductive because perhaps we have sensitivity to certain things that have to be implemented in a strategic manner, we have a strategy, we have a guideline and people don't know what this guideline is, because it is not in their work and I am afraid that sometimes it may generate problems" MUN_1 "There are things that maybe we involve the community a lot, there are so many other things... the question of the quality standard that has a series of restrictions, there, I think, but I don't know, this also awakens me to a greater challenge that is to try to find ways of involving the community more" MUN_1 "So I think it's a bit… that is, when we challenge the population to participate in something, I think we already have to… I think we don't let them down and often we almost give them the turnkey package solution, which is like, we want you to do this, or, we need you in this, but we’ve already told them more or less what we want and we’ve made it a bit easier" MUN_1 "But very often we get former industry employees that come here and talk a little bit" MUN_1 "It is one of our functions, to give importance to the elders for them to pass us on, so that we can follow up on these, these memories" MUN_1 "Maybe this awakens me for a bigger challenge which is to try to find ways to involve the community more". Chapter VI | Analysis and results discussion 277 According to the five interviewees belonging to the municipality, the implementation of tourism activity leads them to establish constant and direct contact with the local community. They perceive the role of intermediaries between the community, the tourist site and the activity/product to be developed. Through the quotes, the intention to involve the community in that community's own tourism product is evident. Therefore, the involvement of the local community extends the social dimension of the industrial tourism programme. Considering that community participation can foster local culture, traditions, skills and stimulate pride in the community heritage (Lacy et al, 2002), the speeches, mainly of the interviewees belonging to the municipality, refer to an active role in community involvement, more evident in what concerns people with direct connection to the industry, highlighting the preponderant and very active role of the community, which fosters pride and safeguard culture and traditions, reinforcing the idea that participatory processes are not always inherent only to minority interests (Bevir, 2013; Irvin & Stansbury, 2004): "I think that the population and especially the elderly could make a contribution to enrich the routes". (CT_1) "Hatters' Meeting that involves the whole hatter community (former hatters, active hatters and families) that reinforces this sentimental bond and belonging to the institution". (MUN_4) "The Sanjoanense school community is regularly involved". (MUN_4) "The factories (in the case of Chapelaria, Fepsa and Cortadoria Nacional do Pêlo) collaborate with the museum, by lending materials, raw materials, among others." (MUN_4) "The community has actively participated in the different proposals put forward by the museum, either through interviews, participation in events, inaugurations etc." (MUN_5) On the other hand, some of the interviewees refer that, not having a clear idea, they believe that there is little involvement and participative intention of the community, even mentioning the idea of some unawareness on the part of the community not intervening in the industrial tourism circuits: "I'm probably not so sure that they are perfectly aware of what industrial tourism is or what the full potential of industrial tourism is, it seems to me that this happens more abroad". (MUN_3) Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 278 "I think that there is, among the population itself, there is a lack of knowledge, especially from the most recent generations." (FAB_2) There are references where it is said that first the product and the activity are structured and then the elements of the community are called to participate according to their relationship with the product or just as spectators. "So I think it's a bit… that is, when we challenge the population to participate in something, I think we already have to… I think we don't let them down and often we almost give them the turnkey package solution, which is like, we want you to do this, or, we need you in this, but we’ve already told them more or less what we want and we’ve made it a bit easier". (MUN_1) It is suggested by some of the interviewees that the community will not always be aware to participation and they will not know how to do it either, which follows Joppe's (1996) evidence in pointing out that often residents themselves do not even know where to start or how to get involved when it comes to participation. "We get very involved in the one we work on, we get very involved in another one because we know someone. Everything else passes us by". (FAB_2) "And if there isn't this, this involvement, someone who can involve the people of the city I don't think there will ever really be much of a self-will and spontaneity of wanting to know". (FAB_2) Consequently, there is an effort need, on the part of those in charge of the circuits, to raise awareness among the entire population, as also evidenced in the quotes. This connection and participation are more visible in residents who are, or were, directly linked to the industry, as for example, when it is referred that former employees are called to talk about their memories. However, it was found that heritage values play a double role, if on the one hand there are residents who are available to participate when called upon, on the other hand there are obstacles to involvement arising from community identity and collective memory, such as the lack of interest of many residents in participating. Here, the feeling or place attachment generates negative emotions associated with the dissolute industry, referring to the heterogeneity of the perception of heritage values as dynamic and subjective as Smith (2009) suggests: "So, there is a part of the social fabric of this community that doesn’t connect so much with museums or eventually even with industrial tourism itself for these reasons, for the emotional reason, for the psychic trauma, the psychological trauma Chapter VI | Analysis and results discussion 279 of feeling pain when you look at a building where you have worked for years on end and suddenly everything shuts down". (MUN_3) It should also be noted that sometimes tourism can be seen as negative for a community when the sharing and preservation of industrial heritage is seen with contradictory goals (Xie et al., 2020). Nevertheless, in addition to these factors related to personal circumstances, interviewees were highlighting the relaxing role of museums as contributers of changing a negative heritage attachment into a positive one: "On the other hand, we have people who were in that time and with the work that has been developed with the museum they managed to, in some way, they healed emotionally and participate actively with the activities of the museum and industrial tourism as well". (MUN_3) On this assumption, it is plausible to assume that the experience of engagement with heritage promotes both the functional and affective ties that individuals feel towards the place and increases support for tourism and attachment to that same place (Gross & Brown, 2006). Indeed, to make people engage in the heritage discourse, heritage sites must become a valuable place for the context and the community (Klamer, 2013). Narratives, based on collective memory, have been the main driver of industrial tourism programmes and what leads to the most active participation of the population: "Very often we get former industry employees coming here and talk a little bit". (MUN_1) "It is one of our functions, to give importance to the elders for them to pass us on, so that we can follow up on these, these memories". (MUN_1) In this context we are facing an involvement based on the attachment to the industry through actions leading to the recovery and reuse of the industrial heritage, in a sociocultural perspective alongside the economic and industrial perspective (Castillo et al., 1999). Moreover, for the respondents, the involvement in the industrial tourism project favours the construction of a commonplace identity and strong community relations: "I believe that industrial tourism has a preponderant role here in what concerns heritage and history that describes São João da Madeira. Yes, there is unity with regard to the industry and its people". (MUN_2) The interviewees indicate that even if many stories can be told, the whole story is always important. Recognising that identity is made up of tangible and intangible aspects, Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 280 the intangible aspects will become more important to preserve, as the people who know these stories are already old, and it is crucial to have a record of these memories and even a passing on to the next generation, so that these stories do not disappear in the coming years. Although the clear examples of involvement are on the basis of collaboration rather than an active role in planning, there is recognition of this position and reference is made to a need to rethink this context: ""We have already thought about even doing a survey, of asking "what would you like to see on the circuits?" (MUN_1) "Maybe this awakens me for a bigger challenge which is to try to find ways to involve the community more". (MUN_1) With industry being so close to the community, there is a consensus that the potential that community participation can represent, through their knowledge and skills, is essential to the long-term success of industrial tourism programmes, and essential to any tourism development process. It was noted in some answers that considering community involvement in planning is seen as difficult to manage, based on the principle that most residents are not always aware of what should be structured and planned in terms of tourism, which may lead to bureaucratic processes and slower decision-making: "With regard to the circuits planning, this is a very technical issue and I am afraid that by giving voice, "in inverted commas", by giving voice to the population, it may sometimes not be productive, that is, it will be the opposite, it will be counterproductive because perhaps we have sensitivity to certain things that have to be implemented in a strategic manner, we have a strategy, we have a guideline and people don't know what this guideline is, because it is not in their work and I am afraid that sometimes it may generate problems". (MUN_1). This notion is in line with Haywood (1988), when the author states that the costs of such a policy will be reflected in "executive burdens, such as the possible dilution of power, the lack of time to interact with citizens, the patience to educate others, the patience to be educated by outsiders, the determination to improve negotiating skills, the courage to risk some loss of control over matters previously internal to the industry, and ultimately the danger of failure and the pain of bad publicity" (p. 107). However, there are already many volunteers involved in participating in tourism, culture and industrial heritage activities, and Chapter VI | Analysis and results discussion 281 there is a clear ambition to continue to rely on the collaboration of residents, especially with regard to young people, considering that there is a need to "call" them into the industry. As a summary, the inhabitants of the municipality, who participate and are involved with the heritage, are mostly as volunteers or have direct involvement because they are workers of the companies that receive tourists, therefore they will have contact with the visitor and will always be involved in the tourist experience. Their main motivations, according to the interviewees, are the interest for the industrial heritage, but mainly for the industry, essentially when they belonged to the industry that originated that industrial heritage. The sense of belonging to the community and social contact are also motivating factors for community involvement with the tourist. The inhabitants involved are not so interested in whether or not tourists participate in activities, considering that these will do so for the benefit of their own community, however, they perceive the importance of receiving people from outside the community and feel proud when this happens. These perceptions confirm the relevance of having the community participating in the planning and tourism development and, highlight, once again, the need for community participation in the construction of strategies based on the resources of the territories (Costa, 2001b; Murphy, 1985; Vasquéz Barquero, 2007). Industrial heritage tourism leads to the regeneration of spaces that is only possible with the residents who play a key role in reshaping the social fabric and in the gentrification process of a place (Xie et al., 2020). In order to provide a greater participation in planning, it would be advisable, as suggested by Pierre (2010), that residents, who are not employees of the companies, can get to know them directly so that they can be involved in the structuring of the product or simply become tourism ambassadors, also aiming at strengthening the relationship between companies and the local community. Although much of the literature on tourism refers to economic benefits as the main stimulus for community participation (Gursoy & Rutherford, 2004; Lankford & Howard, 1994; Vargas-Sánchez et al., 2009; Wang et al, 2010), as a general rule, the interviewees' statements lead to the conclusion that communities are mobilised in favour of heritage safeguarding in order to strengthen their values and community ties, as also highlighted by Mydland and Grahn (2012), however, there is still a long way to go for community members, not specialised in heritage or industry, to be considered in product structuring and planning (Wang & Wall, 2005). For the future, the inhabitants are fundamental in the development of initiatives related to industrial heritage and industrial tourism, since the Municipality wants to involve Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 288 themes, offering visitors a more refined and interesting view of the regional reality, contributing to its development. All this makes Sanjoanense proud to live in this city, and this feeling of pride is reflected, inevitably, in their quality of life". (MUN_4) Heritage has also benefited from tourism, particularly from a cultural point of view, as there was a concern for customs and traditions recovery that were interesting from a tourism point of view. The visions and objectives established were considered so as to be compatible with the nature of the product (Ho & McKercher, 2004). "The various activities that have been developed by this service have enhanced the value of the working class and its know-how". (MUN_4) Following what Cohen (1988) refers to, heritage assets have to respond to market demand and have to be viable. São João da Madeira moved from a society based mainly on the urbanization of factories to services and new technologies (Fernández & Guzmán, 2005). "The Shoe Museum is an institution integrated in a wider plan (local, regional and national) of sorting the cultural, built, archaeological and industrial heritage, inserting itself in a network of institutions with common goals and completing other cultural itineraries that focus on points of interest in the industrial history of the municipality and of the region". (MUN_5) For some interviewees local development can be related to both economic progress and endogenous potentials (Morales, 2006), being recognised that, at present, at economic level this development needs to be worked on. "We still have some difficulty in getting the public to stay for a few days and thereby bring economic value to our hotels, and not only, to our shops, in short". (MUN_2) "It has some impact, I think it still doesn't have the impact that I would like it to have which was namely to be able to bring added value to the population, as far as economic agents are concerned." (MUN_1) "I think there is still this difficulty. I think this is due to the fact that tourism still works very much on the industrial product. Therefore, there is still work to be done to try to attract and capture a public that stays in the city for a few days". (MUN_2) It was verified that the economic development resulting from tourism is still not being visibly reinforced, considering that, due to the short stay of visitors, the expenses made at the destination are low and, therefore, it does not yet translate into employment or other direct benefits. Condition mentioned as relevant for the improvement of the programming. Chapter VI | Analysis and results discussion 289 The evidence of this sustainable development, which takes into consideration the relationship between growth and equity, in order to preserve resources for future generations, is in line with the study by Vargas (2006). It should be noted that, according to the statements, there are economic benefits for the territory, however, these will be noticed mainly in community events with or without the industry theme, and the quality of life is evidenced by the cultural and heritage activities and events that are promoted for the benefit of both the community and the visitor. "The Hat Weekend, the hat festival, which takes place in July, a weekend entirely dedicated to the hat, an urban festival that not only invites the visitor and the tourist to come to São João da Madeira, but much more importantly, integrates the community itself in this celebration of its identity and obviously is a very successful festival". (MUN_3) "As for example the Hat Weekend, this relationship is strengthened, namely in what concerns local commerce, restaurants and accommodation". (MUN_4) In fact, tourism is not seen as a direct generator of improvements in access, transport, and health and/or safety infrastructures, among others, but it is referred to as an inherent attribute that promotes quality of life. "Well done and well defined city infrastructure balanced with urban spaces and green spaces with a good road network, public transport and good pedestrian circulation network." (FAB_3) It is perceived, then, that the local infrastructures are appealing and are prepared to satisfy the tourist, and that there is a continuous improvement of accessibility, of cultural and leisure spaces and of the destination's image. "Now we even have a park that has been renovated with a bread production circuit". (MUN_1) "It is also information that we convey through our guides, that all the plants that people see on the city flowerbeds, and there are quite a few, are produced in-house by our environmental department, by our gardeners." (MUN_1) "We still have some difficulty in getting the public to stay for a few days and thereby bring economic value to our hotels, and not only that, to our shops, in short...” (MUN_2) The promotion of pedagogy and education are also elements mentioned as important for a competitive territory and as a development enhancer. Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 290 "The population quality of life improvement through the promotion of knowledge, in the demonstration of a diversified programme and a constantly updated educational service." (MUN_5) On the other hand, when in reference to the school public visits, the economic return will always be lower and in the long term, associated to the lack of stay of any of the visiting public, the so-called excursionists. Something evidenced as a future improvement. With the quotes selected and exposed in Table 37, and throughout this discussion, clear references are understood, both direct and indirect, to the development of the territory through industrial tourism. For all the reasons given, the interviewees believe that, in addition to heritage improvements, the environment and sustainability are also recognised as elements of development. ""in addition to the cultural heritage, the city is also very environmentally oriented, since from very early on it was the target of applications, of projects within the scope of local agenda 21". (MUN_1) From a different perspective, some interviewees refer to the issue of development as being linked to productive activity, highlighting the percentage of exports and its leadership in the market typology; however, they do not do so directly from industrial tourism. A focus on technology, creativity and innovation as a means of territorial promotion and consequent destination development is also evident. At this point, industrial tourism will play a role as a disseminator of the industries that are positioned in these approaches. "Support to entrepreneurship and acceleration of technology and creative based projects… new product development". (CT_2) "Increase in the competitiveness of the business fabric and in the connection to the S&T System, promoting the dissemination of an innovation culture". (CT_2) "Yes, we have visitors who tell us that they had no idea of the existing potential, and that it should be further promoted, as there are reference business projects in São João da Madeira". (CT_2) As a result of the speeches, it is interpreted that the tourism activity was initially driven and financed by the public sector that, through a series of actions of inventory, enhancement, promotion and communication, managed to create and position the project, being tourism desribed as a source of modernization (Caro-González et al, 2015). Also the industrial tourism offers significant advantages arising from the tourism practice, both for the companies that implement it and for the environment where they are implemented, Chapter VI | Analysis and results discussion 291 helping to promote the products and improve the institution image (Moral-Moral & Fernández-Alles, 2019) while favouring local development and a continuous improvement of the quality of life (Dyer et al., 2007; Salcedo, 2005), the latter coming from the social development of the territory, the symbolic benefits and the infrastructures improvement. Finally, all interviewees were aware and agreed on the importance of social values to establish peer relationships and knowledge exchange with internal colleagues and external partners. All interviewees are in agreement when referring to the future of heritage rehabilitation and revaluation, hinting that tourism will be one of the local forces, through endogenous resources, for the diffusion of a new development culture, based on collective memory and heritage. However, despite its economic importance, tourism will continue to be formally and mainly driven by the public sector and, given the industrial fabric, it is expected that industry, through its core activity, will continue to be the primary driver of the territory's development. 6.1.6.2. Destination image In industrialized territories, as in so many others, culture is a strategic resource for creating products and improving the image of a destination, being tourism integrated into cultural development strategies supported by cultural heritage (Richards, 2009). Recognizing that the image that an individual has of a destination is in a constant process of construction and modification (Álvarez Sousa, 2015), in this particular case study, also tourism was a strategy of change and improvement of the destination image through the requalification of the industrial heritage and the active resources of the territory. Table 38 shows the most representative quotes of the appreciation of the destination image. Table 38 Interview quotes coded as: Destination image Respondent code References CT_1 "They are not those factories of old times, ugly. Although industrial tourism has those two factories that were in fact old factories". MUN_4 "Industrial tourism has demystified the oppressive charge with which the term "factory" is usually associated" MUN_4 "In the case of the Hat Museum, the fact that it is installed in what was one of the most important hat factories of S. João da Madeira and even of Portugal, the Empresa Industrial Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 292 Respondent code References de Chapelaria, Lda, allowed this building to be revitalised and perpetuate the memory of the community, both hat makers and Sanjoanenses". CT_2 "Yes, showing all the existing potential. (referring to the question of image improvement)" MUN_5 "Industrial Tourism in general, and particularly in S. João da Madeira, also has the function of demystifying the industry for the general public and for the communities that although living nearby, don't know it inside out" MUN_5 "The traditional oppressive burden of industry and a devalued working class are revealed in a different light, one that values know-how" MUN_5 "It has a broad tourism offer that extends from industrial tourism to "torna-viagem” architecture (expression associated with architecture of Brazilian emigrants returning to Portugal) " MUN_5 "I would also highlight its gardens and the hubs of technological development and creativity" MUN_5 "The uniqueness of the products, their differentiation and quality are widely publicised and promote the local and national industry" MUN_3 "Precisely because there is that openness, because industrial tourism allows openness, the coming of people who are not associated with that industry to go and get to know them and to understand how they work" MUN_3 "Aesthetically no, industrial areas are ugly by nature or at least they were ugly by nature, industrial tourism also came here to bring another sensibility to industrialists" MUN_3 "Now I think that with the creation of the circuits, the possibility of people coming to know these industrial blocks, these industrial zones that are ugly by nature, because industries were not created to be beautiful, but to be functional" FAB_2 "Above all to show what cities have and realise the importance of that industry in the local economy, in the national economy, for example the Cortadoria itself, we show the landmark it has globally" FAB_2 "I think above all we have to show the reality of the industry" FAB_2 "What I realise is that people have no notion. They have a completely wrong idea and it's very important to explain to people how a felt hat is born and to enlighten them, that's actually very interesting." MUN_2 “People used to look at us just for the industry and the image has been reversed in recent years" MUN_2 "There's an investment in culture, and that's also why the museums are there. It has also contributed to this positive image, since people don't just look at the vision that the municipality had in recovering the building, but are amazed and extremely pleased with what is developed inside. MUN_2 "Not only for the recovery of this space, but also to give an image of dynamism, but also of a vision of the future of not only going through industry" MUN_2 "We had an image of a not so good city, but that has improved in the last 15 years because extraordinary work has been done in the municipality, there is an investment in culture, and that is also why museums have emerged" FAB_1 "Yes, it promotes the territory and industries, it gives some notoriety to companies in the region" MUN_1 "I am sure. This is for the simple fact that, as I was saying, we bring people from outside our territory. From the moment we are a vehicle of communication. and then our city, despite not being a wonderful city on an architectural level it is a very neat city" Chapter VI | Analysis and results discussion 293 Respondent code References MUN_1 "I always thought that São João da Madeira was industrial, I thought it was just factories", but no, we have, despite everything, we have the industrial areas, which are well looked after and then we have our centre, beautiful or ugly, but we have a city centre". MUN_1 "Despite everything, we have the industrial areas, which are fixed, cared for and then we have our centre, beautiful or ugly, but we have a city centre" MUN_1 "I think our image has changed, because we went from being an industrialised city to being a tourist city" MUN_1 "We communicated and we changed that image, I have no doubt that tourism is contributing to that. For all intents and purposes it is what brings more people to São João da Madeira, obviously the industry as well" Most of the interviewees identify that, sometimes, industrialized cities convey a negative image, especially to those who do not know the destination, and this value judgment was also identified by Franco (2011) and Otgaar et al. (2010) when referring that the image of an industrial destination can influence the opinions of both tourists and the resident population, regarding the attractiveness of the destination. Otgaar et al. (2010) added that the past should not be denied, rather it should enable the transformation of a negative image into a strength of the destination. In this assumption, the empirical research reveals the importance of demystifying the industry and the industrial areas as dark and visually unappealing spaces, highlighting the relevance that the industry has for the regional and national territory, and recognizing that the destination image influences the memorability of the visitor experiences (Rasoolimanesh et al., 2021). Considering that the perceived image can be divided into three types: a priori, in situ and a posteriori (Galí-Espelt & Donaire-Benito, 2006), it is evidenced, through references of the interviewees, the passage of a negative image (a priori) to a positive image (a posteriori). "Industrial Tourism in general, and particularly in S. João da Madeira, also has the function of demystifying the industry for the general public and for the communities that although living nearby, don't know it inside out". (MUN_5) "Industrial tourism has demystified the oppressive charge with which the term "factory" is usually associated". (MUN_4) Although the image of industrial areas, through spaces often left to neglect, is not always positive, the rehabilitated industrial heritage, is considered a key element of the identity of industrial areas, to a greater or lesser extent, and is therefore recognised as part Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 294 of the history and culture of industrialised territories and, as such, a driver for changing the image of the place and returning to the starting point with its revitalisation and appreciation. "It has a broad tourism offer that extends from industrial tourism to "torna-viagem” architecture (expression associated with architecture of Brazilian emigrants returning to Portugal) ". (MUN_5) Industrial tourism and the rehabilitation of industrial heritage have helped to improve the destination image and the companies themselves, since it is an active industrial resource that positively affects the territory and its communities (Petruccelli et al., 2021). This positioning is mainly at regional level. The image promotion is carried out, from the public (local and regional) and private spheres, by different groups and/or associations that try to promote the destination and its resources. "Yes, it promotes the territory and the industries, it gives some notoriety to the companies in the region". (FAB_1) In reference to the importance in shaping the destination image the interviewee MUN_1 points out that the image of a tourist city is a key factor in developing the positive destination image. "I think our image has changed, because we went from being an industrialised city to a tourist city". (MUN_1) And, it is also pointed out that, the tourism development in the destination, besides being strongly driven by the preservation of the industrial identity, has incited the improvement of the city's image, creating a positive brand image that identifies the place (Petruccelli et al., 2021). The idea that a city can improve its image through tourism was reinforced. "We communicated and we changed that image, I have no doubt that tourism is contributing to that. For all intents and purposes it is what brings more people to São João da Madeira, obviously the industry as well". (MUN_1). Culture is also perceived as an essential value that has gradually and considerably improved the city's image. "We had an image of a not so good city, but that has improved in the last 15 years because extraordinary work has been done in the municipality, there is an investment in culture, and that is also why museums have emerged". (MUN_2) Chapter VI | Analysis and results discussion 295 It is pertinent to add that tourism, along with activations of industrial heritage for its own benefit, is part of the contemporary construction and reconstruction of the city (Prats, 2008), enhancing a destination through the creation of a distinctive and, attractive image, a key component of the process of positioning a destination that leads to tourist satisfaction (Moreno et al., 2012), influencing the holistic impression of an experience (Zhang et al., 2018). Moreover, if an industrial area can be promoted for tourism, through the enhancement of its heritage, it will contribute to the overall improvement of the image of the area and, of course, of the resource itself, the image of the territory. In fact, these structural changes in the destination reality or the perception of individuals can change the destination image (Anholt, 2009, 2010). The references to image enhancing attributes go through the most common and functional attributes (Echtner & Ritchie, 1993, 2003), but that enable memorable tourism experiences for tourists, such as, technology, environment (Zhang et al., 2018), and are consistent with some quotes such as: "Despite everything, we have the industrial areas, which are fixed, cared for and then we have our centre, beautiful or ugly, but we have a city centre". (MUN_1). "I would also highlight its gardens and the hubs of technological development and creativity". (MUN_5) But they also go undergo characteristics associated with something 'unique' (Echtner & Ritchie, 1993), "The uniqueness of the products, their differentiation and quality are widely publicised and promote the local and national industry". (MUN_5). It is these tangible and intangible characteristics, by converting a place memorable and distinctive, that significantly contribute to that destination image (Jarratt et al., 2018). In this framework, in industrial tourism example, the affective level of the image takes on special relevance because, although the negative image, which society perceives of industrial heritage, has led to an increase in the abandonment of this type of heritage (Benito del Pozo & González, 2012; Pardo, 2004), currently, visiting companies is still considered a new phenomenon capable of arousing visitors' enthusiasm, of helping to change the place image and of positioning the territory as a new tourist destination (Morice, 2010; Otgaar et al., 2010). This reuse has been rethought in conjunction with heritage evolution and regeneration Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 296 and boosted through the improvement of industrial spaces and social cohesion in order to strengthen the place's image and identity, based on the historical and industrial origins of the working class (Petruccelli et al., 2021), while maintaining the authenticity of the place. "In the case of the Hat Museum, the fact that it is installed in what was one of the most important hat factories in S. João da Madeira and even in Portugal, the Empresa Industrial de Chapelaria, Lda., allowed this building to be revitalised and perpetuate the memory of the community, both hat makers and Sanjoanenses". MUN_4 These references highlight the value that heritage represents, that is to say the identity that is described as one of the main differentiating elements of the destination (Almeida, 2018) and will be all the more favourable as the cognitive attachment to the place and the connection to the destination (Prayag & Ryan, 2011). Similarly, also Jarratt et al. (2018) recognize that tangible and intangible characteristics, by converting a place into a memorable and distinctive space, contribute significantly to the image of that destination. 6.1.6.3. Perception of advantages and disadvantages This category emerged divided into two topics, advantages and disadvantages, however, a joint analysis with subtopics will be made as it is considered appropriate to discuss them in the same topic. It should be noted that, when interviewees were asked about what they perceived as advantages and disadvantages, there was a gain in quantity for the references associated with advantages, considering that few disadvantages were highlighted. Even so, during the analysis of the interviews, quotes were used, not directly arising from this question, but due to their content, coded as disadvantages or advantages. 6.1.6.3.1. Advantages Table 39 shows the most representative quotes on the advantages of industrial tourism circuits. Chapter VI | Analysis and results discussion 297 Table 39 Interview quotes coded as: Advantages of industrial tourism circuits Respondent code References CT_1 "The biggest advantage is the one I mentioned earlier, which is to show young people and show children, because children also come here, that footwear, the footwear industry has much to offer, so they may well choose a profession in the footwear area" MUN_4 "As advantages, I point to the increase in general audiences" MUN_4 "Fundamental project to build loyalty among specialist and technical audiences" MUN_4 "Through this project, visitors can programme a full day in S. João da Madeira, with diverse and distinct activities that they won't be able to do anywhere else" CT_2 "Greater visibility and making the existing facilities known to a wider public" MUN_5 "The integration of the Museum into these industrial tourism circuits only brings advantages in that they share knowledge, experiences and of course visitors" MUN_5 "Increase of specialized public in the footwear area" MUN_3 "It also has the advantage of belonging to a larger project, a municipal project that also attracts different types of public, which also forces us to think integration strategies and work with these publics in a different way". MUN_3 "It comes to reinforce more the role of appreciation, of preservation of the heritage, both material and immaterial” MUN_3 "Obviously, not being part of the Tourism circuits reinforces the role of valuing and preserving the heritage, both tangible and intangible, which the museums had already been doing, in this case the Hat Museum had already been doing and would be doing if it were not integrated". FAB_2 "In fact, show people, enlighten people what our industry is like because in fact people are not aware of it" FAB_2 "Then for ourselves too... our employees being here and realising that there are people who are curious to know and that for them it makes them feel good, makes them feel that they work in an industry that is in demand, that people want to know and that makes them also feel motivated and feel that really the Cortadoria is valued and is well viewed by other people" FAB_3 "Advantages of being proud (worker) to represent this industry and the city also giving exposure to an ancient art" MUN_2 "The advantage is, right from the start, that we make the existence of this complex and its various aspects known to as many people as possible. Another advantage is the fact that we have managed to create links with our visitors, who ultimately end up enjoying the space in a leisure and culture context, or even in contact with the companies themselves". MUN_2 "We help to publicise the companies that are based here, the projects that are based here and that also need to broaden their audiences and make themselves known" MUN_2 "As it’s obvious, so it is also available for the community at large, isn't it?... For schools, for associations to be able to develop their activities within this space" FAB_1 "A clear advantage is that it promotes businesses and serves as a uniting factor for local people" MUN_1 "For the positive it’s the one we’ve just talked about, which is the image change. Another positive is the knowledge of our industry, so making our industry known to the outside" MUN_1 "Safeguarding a hat-making company, which was also the basis of the identity of this territory and safeguarding an important building and its estate to create the first Museum this in 2005" Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 304 "Regarding visitors in the context of free visits, the experience could be more enriching if there were: - subtitles in languages other than Portuguese; - brochures with defined route(s); - multimedia equipment (possibly interactive)". (MUN_4) "The Shoe Museum still needs to find other ways to make its collection more interactive, through objects that can be manipulated, transmitting sensations of movement, action and sound". (MUN_5) "The possibility of having touch screens with videos, with quotes of interviews or testimonies of the workers. In other words, there is another way in which we can have the voice of the worker telling the stories, telling how the machine works, and not only the face-to-face element". (MUN_3) "It is to have moments where the visitor can have a truer experience, that is, when I say experience I mean being able to touch things and get hands-on." (MUN_1) Another improvement that was highlighted is related to the need of making a space available to the visitor where the products are sold to the public. This point was also mentioned above as a current disadvantage: "It would be important that all industrial tourism partners could have a shop with their products available to the public". (MUN_4) "Having, for example, a factory that has a shop open to the public can also be a differentiation factor because we understand that, increasingly, the customer likes to have a final product to buy and I know that this is a weakness that we have because we have few companies that have a factory shop." (MUN_1) In any case, a small space for direct sales to the public can and should be created in order to receive an increase in income through guided tours, a secondary activity highlighted by Frew (2000), however, this improvement will not be able to take place in all companies, as many do not have the final product available for sale, considering that first the nature of the product will have to allow it (Pardo Abad, 2011; Xie, 2015). Also worth mentioning is the improvement in the structuring of visits in logical and sequential order, according to the product. The example is given by Cortadoria, which prepares the fur to be used as raw material for Fepsa, the company that produces the hat: "I think that it is very important, in fact, people should start here before going to Fepsa and should always come here, because only then will they understand the continuity of the process that then follows at Fepsa" (...) "it would be important that the visits to Cortadoria were always before those of Fepsa, it should have a sequence, Cortadoria - Fepsa". (FAB_2) Chapter VI | Analysis and results discussion 305 A notable improvement would be to promote strategies that enable visitors to stay, which could generate more economic benefit for the territory and the community: "I think there’s an awareness that we have to attract the public that needs to stay a few days in the city. I think that this is in line with what the municipality wants of broadening the interests of the city, namely in events and also broadening the cultural offer, the enjoyment of nature." (MUN_2) "They are here, they pass through here, they just don't sleep, and they just don't sleep. This part has to be improved because otherwise we are not contemplated and it is not fair because they are tourists, they come, they leave their territory and come to ours, they are tourists, they just don't stay overnight". (MUN_1) This topic for improvement had also been mentioned as a perceived disadvantage in current programming and is not an uncommon challenge in tourism, especially with regard to heritage issues. Simultaneously, highlighting a necessary challenge for the destination to remain competitive in terms of tourism, the interviewee MUN_2 suggests an expansion of the cultural and tourist offer, either locally or in partnership with adjoining municipalities, in order to promote the stay in the place and bring advantages to the municipalities and the community: "And there also has to be a strategy thought out here with our neighbouring municipalities." (MUN_2) It will be pertinent to note that not all interviewees suggested the need for improvement. "...and there is not much we can do to improve this experience, especially with regard to the incubator part, exactly because of this difficulty that exists of trying not to interfere with the activity that is being developed by the companies." (MUN_2) It was also mentioned that the productive activity will continue to be the priority, which is why, for the most part, the presence of tourism is more complementary than indispensable (Morice, 2010). The importance of human capital was also highlighted as a continuous and necessary improvement: "Ideally there should be one person here dealing with just that." (CT_1) Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 306 "We are always improving, namely the monitors, the stabilisation of human resources for me is fundamental". (MUN_1) Otgaar et al. (2010) also highlight the increase in human resources as an element that leads to the overall development of an industrial territory, so this improvement refers to a potential growth of tourism in the municipality. In summary, it can be inferred that these continuous improvements may contribute to a better quality of life for the population, either indirectly, by the need to improve local infrastructures, or by the evolution of tourism infrastructures, or even directly. Overall, all interviewees believe that the destination will be improved and strengthened, mainly because there will be promotion efforts carried out, in particular, by the municipality. 6.1.6.5. Future trends Similarly, in the discourse of all interviewees there is evidence suggesting positive evolution of the potential of industrial tourism in the municipality of São João da Madeira and in Portugal. Table 42 records the most representative quotes about future trends. Table 42 Interview quotes coded as: Future trends Respondent code References CT_1 "We could take staff back within the constraints, smaller groups with the proper precautions" "That's it, in terms of the future I hope to get back to almost normality, that we keep getting visitors, I miss it already" MUN_3 "At a time when there's talk that the economy is going down, and will suffer immensely, we have hat brands, go figure, being launched!" MUN_3 "There was a drastic drop in the number of visitors, so it didn't make any sense, with the reopening of the museums that took place in May, to continue to demand minimum groups, because what was required was that there was no crowding of visitors. So we did the opposite, we started to make guided tours starting from one person". MUN_3 "The opening of a museum, the resumption of culture in some way also refers to a sense of continuity" MUN_3 "It's important that we continue to give, to give culture, to give people art" MUN_3 “Future plans? It's to keep growing, keep working in this direction We have a set of community projects that have been absolutely put on hold because of Covid and it seems to me that now we will be able to get them off the ground." FAB_2 "The environmental issue, we are indeed very concerned about that issue" FAB_2 "We have every interest, we remain open doors, even more so now that we will soon be extending our visit, our new project, so we do that with great pleasure" Chapter VI | Analysis and results discussion 307 Respondent code References FAB_3 "The challenge is to attract new generations to believe in this industry, to bet on it and to be better prepared for the future and also to seduce current entrepreneurs with new physical ideas with more added value and more design" FAB_3 "First the choice of the type of visitor with more potential as an investor or with business interests and with new projects for new brands or to boost business" MUN_2 "At this moment I think it is meeting expectations and I would say that we do not have the capacity at the moment to increase the number of visits because we are entering a working space for companies". MUN_2 "There is still some work to be done to try to attract and capture a public that stays in the city for a few days, but I think that institutions like the Oliva Creative Factory and Industrial Tourism, but now moving on to another side other than industrial, trying to cover another tourist capacity, then we can achieve this goal". MUN_2 "We are waiting for the old buildings that are still dissolved... when we have this block all built up, then São João da Madeira will have its castle". FAB_1 "The industrial tourism circuits already demonstrate in unity. Several companies and institutions participate in this project together and this could lead to other joint actions" MUN_1 "From the statistics we see, from the public's choices, factories are the engine of attractiveness for our territory" MUN_1 "With what we have at the moment we can keep working" MUN_1 "If you ask me, "but are you going to do the same numbers as in previous years? No, obviously, firstly because we won't have people, but even if we did, we couldn't do it because we wouldn't have enough to distribute the public, but this doesn't mean that we can't". MUN_1 "We are already designing a different type of circuit to be able to face this new reality. It's a different reality, but that doesn't preclude the possibility of continuity, which is also different. We have to adapt completely. We will no longer have large groups, we will work with small groups". MUN_1 "This is the fundamental point, for people to visit us they have to feel safe. When I speak about safety I speak for the visitors and obviously for our partners, above all our partners are industrialists, they are workers" MUN_1 "The second step will be to communicate, to communicate the product. To tell the world again that we are open, that we are alive, that we are here and we are ready to welcome you" MUN_1 "Third step, which is not a step that comes third, because we are already working on it, but it is to discover new ways of acting. Smaller circuits, thinking about new partners, new approaches related to industry" It was noted that the impact of the pandemic on tourist circuits, as in all other economic activities, was overwhelming, notwithstanding the fact that interviewees refer to very positive future trends with the reopening of visits (albeit with smaller groups and some restructuring) with a trend for growth and evolution. It is suggested by several interviewees a restructuring of circuits to increase and enhance industrial heritage tourism, and face the new reality, especially in pandemic context, so that safety was mentioned as a key principle for continuity: Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 308 "This is the fundamental point, for people to visit us they have to feel safe. When I speak about safety I speak for the visitors and obviously for our partners...". (MUN_1) The interviewees indicated that the future of tourism and new plans for tourism is determined both by the entrepreneurs of São João da Madeira, and by the municipality, which intends to convene new partners presenting and defining a joint strategy of (re)opening the company to the visitor. The interviewees representing the municipality mentioned that both, public and private entities, have influence in the implementation of tourism plans, but the management of company visits and circuits is limited to the municipality. The industrial transformation and the introduction of new technologies, were, in part, what caused the abandonment of industrial facilities that are currently used as a resource to promote tourism (Bujok et al., 2015; Prat & Cánovas, 2012), so in São João da Madeira, it is perceived, by the statements, a trend for heritage and environmental continuing improvement, as well as the recovery of customs and traditions. The interviewees refer that, while there are still dissolute buildings, as it is the case of some spaces of the old Oliva factory, in the future, urban regeneration programs will continue to be developed, particularly associated with historic spaces, always in a sustainable perspective. Undoubtedly, the continuous restructuring of de-industrialised spaces will be a priority, but it is still a complex process considering that it is a change that affects the social, cultural, environmental and economic structure. Moreover, a large part of the interviewees are confident that in the coming years the local industrial heritage (tangible and intangible) will continue to be recovered and valued. The type of tourist has been mainly students (young people and teenagers), and although this is an important mission of the project, there is a feeling of an improvement need focused on the promotion of the circuits in order to attract new audiences. The starting point is an industrial resource that is part of the place memory, therefore in destinations where industrial heritage is promoted for tourism it is essential to encourage the enhancement of the endogenous character of the product due to the intrinsic characteristics of the resource itself. Evidence is given to industrial tourism as a driver of local development that, even in times of social and economic crisis, will be able to continue to grow. Statements such as: "First the choice of the type of visitor with more potential as an investor or with business interests and with new projects for new brands or to boost business" (FAB_3) and "Future Chapter VI | Analysis and results discussion 309 plans? It's to keep growing, keep working in this direction" (MUN_3), are representative of this. In this follow-up, also the interviewee MUN_1, having a crucial role in tourism planning and development, is quite optimistic referring new partnerships and new products and believes that, despite in a different reality, the next years will bring a sustained and continuous growth with the recognition of industrial tourism as a territorial development engine. As mentioned in the literature review (Otgaar et al., 2010; Xie, 2015), industrial tourism is one of the axes established in local and national development policies aimed at regions either in deindustrialisation processes or with industrial critical mass, in order to sustain the local economy through outsourcing. Although there is consensus in stating that the results are very positive and that growth in recent years has been continuous, the interviewees determine a clear position on the little possibility of tourism becoming the main economic engine of the territory, but it can help to generate employment and improve the quality of life. In any case, and due to the increase in demand, the private sector is beginning to realise the need for training to empower human resources. Naturally, all the interviewees agree in stating that the future of the destination begins with the need of collaboration between the different agents (companies, institutions, associations, among others), as they are aware of the importance of everyone's participation in the tourism planning and management process. 6.1.7. Conclusions In short, the information from the interviewees who participated in the research was very fruitful for this doctoral thesis, since it allowed to understand in a holistic way the repercussion that industrial tourism is having, both for the territory and for the community. São João da Madeira is a municipality in which the development of the industrial tourism sector is relatively recent, dating back to the year 2012, prior to the preparation of a strategic plan for the municipality, so there is a great desire for recognition of the municipality as a unique destination for industrial tourism circuits. Currently, the industrial heritage, present in museums and companies, along with the productive processes demonstrated in factories in activity, technological institutions and the few attractions of cultural heritage (Oliva Art Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 310 Centre and Casa da Creatividade) and natural heritage (parks), are the attractions that shape the destination. Following this analysis, it can be seen that heritage tourism planning is structured on the basis of heritage values and place identity, however the community could play a more relevant role in the future of industrial tourism in the municipality. In particular, it should be pointed to a progressive change of local policy where, although there is community involvement, it is still noted a strategy more directed to the top-down approach. Simultaneously, it could lead to the continuous improvement of community traditions, culture and, by extension, heritage with a view to a community that shares meanings (Hall, 1997). The research has shown that there has been a growing popularity of industrial heritage tourism since its implementation, with a decrease in the last two years for being atypical (2020, 2021), but with a tendency of affirmation and growth in the next years. The municipality is well aware of the increased effort for the continuity and development of the industrial tourism circuits’ project, but is embarking on greater efforts in its recovery, and it is expected that this will maintain the prominent role in national tourism policies leading to continued national and international recognition. Industrial heritage and social processes, which often go hand in hand, have received more attention and people have started to cooperate more with each other, also with companies and other organisations, and also with the municipality. In recent years the municipality has stimulated the inhabitants to get involved with the industrial heritage, however, it recognises that there is still a considerable part of the population that does not have the proper knowledge of this typology of tourism. The focus of the municipality has been the appreciating of local industry, but, above all, the traditional knowledge associated with the workers and the community, so it develops the project based on a social process that involves the places, not considering only the artefacts and spaces, but reconciling people, by promoting the industrial heritage and the involvement of the community, being the improvement of the destination's image, internal and external, a very positive result of this process. Based on the results of the interviews it is argued that a community analysis of heritage narratives is particularly useful for designing participatory strategies. Although the general findings, related to both heritage actors and citizens, indicate that the relations between the two parties are far from ideal, the analysis of the interviews revealed that government experts have a decisive role as the main advocates of cultural and industrial Chapter VI | Analysis and results discussion 311 heritage, essentially the material one. On the other hand, the community has the role of disseminating the immateriality of industrial and industrial heritage through its testimonies, narratives and events where local traditions are manifested, such as the "Hat Weekend" event, which is a good example of this. Finally, it should be noted that all the interviewees, regardless of the sector in which they operate, share a common interest in the importance they attach to participation and collaboration in the planning and management of tourism between all parties, including the community, as well as continuity based on progressive improvement. 6.2. Study 2: Quantitative analysis This topic encompasses the empirical study, which is quantitative in nature, and its primary objective is to empirically test the proposed research model. As previously mentioned, the SPSS 27 software program was used to analyse the data for descriptive statistics and internal consistency of the scales, and AMOS 21 for structural equation analysis. When preparing the analysis of structural equation models, the process described by Hair et al. (2010) was applied. 6.2.1. Sample The results of this study were based on information regarding a sample of 389 individuals who were born or are permanently living in São João da Madeira municipality. Of this total, 27 individuals have been living there for less than 5 years, 30 between 5 and 10 years, 44 between 11 and 20 years. 49 between 21 and 30 years, 33 between 31 and 40 years, 44 for more than 40 years and 162 people (41.6%) said they have always lived in the municipality. Considering that almost half of the respondents have always lived in the municipality, this provides us with a good representation rate of the autochthonous community. The participants have an average age of 40.91 (n=377, with 12 missing answers) and standard deviation 13.108 years. The most representative age group corresponds to those between 34 and 40 years old and the second most representative group is aged between 18 and 33. The participants are mostly female (53.7% with n=382), in other words, women Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 312 proved to be more participative and more expressive. It is also verified that 47.3% have secondary school qualifications, followed by higher education - graduation (31.1%). These data are considered normal for an industrialised territory, given that the city lies in industrial companies and residents may not feel the need for higher education to have occupations in manufacturing, which often, despite being specialised, do not require more than secondary education. This information is in agreement with the employment situation, in which 64.8% of the participants in this sample are dependent employees. With regard to the monthly income of the household it was found that 28.5% of the residents earned between 1501€ and 2000€, 27.7% less than 1000€ and 21.7% from 1000€ to 1500€. The characteristics of the respondents are displayed in Table 43 and the questionnaire is in Appendix II. Table 43 Sample characterisation Frequency Absolute Percentage Accumulated Percentage Gender Female Male 209 54,7% 54.7% 173 45,3% 100% Missing Value 7 Total Answers 389 100% Years of residence in São João da Madeira Less than 5 years ago 27 6,9% 6,9% Between 5 and 10 years 30 7,7% 14,7% Between 11 and 20 years 44 11,3% 26% Between 21 and 30 years 49 12,6% 38,6% Between 31 and 40 years 33 8,5% 47% More than 40 years 44 11,3% 58,4% It has always resided 162 41,6% 100% Total Answers 389 100% Academic Qualifications Basic Education 39 10,2% 10,2% Secondary Education 184 48,3% 58,5% Higher Education: Baccalaureate 14 3,7% 62,2% Higher Education: Graduation 121 31,8% 94% Master's Degree 17 4,5% 98,4% PhD 6 1,6% 100% Missing Value 8 Total Answers 389 100% Employment Situation Retired 18 4,7% 4,7% Domestic worker 5 1,3% 6% Student 25 6,5% 12,5% Chapter VI | Analysis and results discussion 313 Frequency Absolute Percentage Accumulated Percentage Employee 252 65,8% 78,3% Self-employed 59 15,4% 93,7% Unemployed/Without occupation 22 5,7% 99,5% Another 2 0,5% 100% Missing Value 6 Total Answers 389 100% Profession Director and/or manager 43 11,2% 11,2% Specialist in intellectual and scientific activities (teachers; doctors: lawyers; artists) 63 16,4% 27,7% Administrative staff (office workers, secretaries, customer service) 57 14,9% 42,6% Workers in commerce 48 12,5% 55,1% Skilled industrial workers 147 12,3% 67,4% Unskilled industrial workers 31 8,1% 75,5% Worker in the tourism sector 9 2,3% 77,8% Military 1 0,3% 78,1% Another 84 21,9% 100% Missing Value 6 Total Answers 389 100% Net Monthly Household Income Less than €1000 106 27,7% 27,7% From €1000 to €1500 83 21,7% 49,3% From €1501 to €2000 109 28,5% 77,8% From €2001 to €2500 58 15,1% 93% From €2501 to €3000 17 4,4% 97,4% From €3001 to €3500 4 1% 98,4% From €3501 to €4000 3 0,8% 99,2% More than €4000 3 0,8% 100% Missing Value 6 Total Answers 389 100% 6.2.1.1. Participatory profile in tourism Regarding the participatory profile in tourism, according to Table 44, it is highlighted that only 20% of the respondents (Figure 25) is or has been involved in activities that actively promote tourism. This indicator is expected, given that the industrial tourism circuits are a relatively recent activity in the municipality (since 2012) and that the industry is the main activity of the municipality, tourism being only a complementary sector. Tânia Guerra Tourism and Industrial Heritage: Between local authenticity and community appropriation - The case of S. João da Madeira, Portugal 320 Table 49 Industrial heritage identity resources characterisation (n=385) Variables related to the identity resources of industrial heritage Minimum Maximum Average Standard Deviation REP1 - Shoe Museum. 1 7 6,29 1,016 REP2 - Hat Museum. 1 7 6,38 0,961 REP3 - Flexitex. 1 7 5,34 1,375 REP4 - Molaflex. 1 7 5,37 1,348 REP5 - Bulhosas. 1 7 5,38 1,36 REP6 - Heliotextil. 1 7 5,45 1,302 REP7 - Cortadoria Nacional do Pêlo. 1 7 5,78 1,245 REP8 - Fepsa - Feltros de Portugal. 1 7 5,89 1,168 REP9 - Everest. 1 7 5,24 1,528 REP10 - Helsar. 1 7 5,19 1,535 REP11 - Project ID. 1 7 5,11 1,453 REP12 - Viarco. 1 7 6,2 1,057 REP13 – Oliva Tower. 1 7 6,25 1,039 REP14 - Oliva Art Centre. 1 7 5,91 1,208 REP15 - Design and Shoe Academy. 1 7 6,14 1,093 REP16 - Portuguese Footwear Technological Centre. 1 7 6,19 1,086 REP17 - Sanjotec. 1 7 6,01 1,211 REP18 - Oliva Creative Factory. 1 7 6,19 1,128 Overall average= 5.795 The proposed scale shows very good internal consistency regarding the set of items that characterise it, as indicated by the Cronbach's alpha in Table 50. Table 50 Internal consistency of industrial heritage identity resources variable 6.2.2.4. Heritage values As for the variables used to measure heritage values (Table 51), it can be seen that there is considerable dispersion in the valuation given to each of the statements, varying between the averages 6.37 and 2.44, however, this lower value refers to a negative valuation with the statement "It is not important to have educational activities related to industrial archaeology and heritage". That said, this dispersion will not be considered negative, but Groups Cronbach’s Alpha n=385 0,956 [Document text truncated for crawler view.]