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Creative Mural Landscapes, Building Communities and Resilience in Uruguayan Tourism

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  • Eva-María Martínez-Carazo

    (Department of Conservation and Restoration of Cultural Heritage, Universitat Politècnica de València, 46022 Valencia, Spain)

  • Virginia Santamarina-Campos

    (Department of Conservation and Restoration of Cultural Heritage, Universitat Politècnica de València, 46022 Valencia, Spain)

  • María de-Miguel-Molina

    (Department of Business Organisation, Universitat Politècnica de València, 46022 Valencia, Spain)

Abstract

The purpose of this research was to analyze open-air mural painting museums in Uruguay as a model of tourism resilience, sustainability, and social development, being one of the first Latin American examples to demonstrate the ability to adapt to change and overcome external shocks through the creation of creative community landscapes. To do so, documentary research, photographic documentation, and field research were carried out in order to explore the opportunities of mural tourism in small locations in Uruguay. In the nineties, a new type of artistic production was created in Uruguay, initially characterized by its decentralization. This was somewhat of a revolution in the muralist field as, until this time, Montevideo had been the center of cultural tradition, considered the intellectual focus of the country, and had concentrated the largest number of murals. For this reason, the birth of new muralist nuclei in small rural enclaves, which traditionally had not had much access to culture and no link to muralism, is remarkable. Secondly, this new movement sought to diversify economic activity given the consequences of the severe economic crises and environmental catastrophes that were and are still prevalent in these areas. Therefore, these new creative landscapes were conceived as important examples of the resilience of cultural tourist destinations. The results emphasize that, until now, the idea of giving muralism a new use as a tool for local economic development had not been envisaged with reference to mural art in Uruguay. This new rethinking has given rise to the so-called Regionalization Processes of Uruguayan wall production. The most relevant cases are those developed in the municipalities of San Gregorio de Polanco (1993), Rosario (1994), and Pan de Azúcar (1998).

Suggested Citation

  • Eva-María Martínez-Carazo & Virginia Santamarina-Campos & María de-Miguel-Molina, 2021. "Creative Mural Landscapes, Building Communities and Resilience in Uruguayan Tourism," Sustainability, MDPI, vol. 13(11), pages 1-17, May.
  • Handle: RePEc:gam:jsusta:v:13:y:2021:i:11:p:5953-:d:561741
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    References listed on IDEAS

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    1. Vicky Katsoni & Amitabh Upadhya & Anastasia Stratigea (ed.), 2017. "Tourism, Culture and Heritage in a Smart Economy," Springer Proceedings in Business and Economics, Springer, number 978-3-319-47732-9, September.
    2. Virginia Santamarina-Campos & Blanca de-Miguel-Molina & María de-Miguel-Molina & Marival Segarra-Oña, 2017. "Digital Integration of the European Street Art: Tourism, Identity and Scientific Opportunities," Springer Proceedings in Business and Economics, in: Vicky Katsoni & Amitabh Upadhya & Anastasia Stratigea (ed.), Tourism, Culture and Heritage in a Smart Economy, pages 35-47, Springer.
    3. María de-Miguel-Molina, 2020. "Visiting Dark Murals: An Ethnographic Approach to the Sustainability of Heritage," Sustainability, MDPI, vol. 12(2), pages 1-16, January.
    4. Hwayoon Seok & Yeajin Joo & Yoonjae Nam, 2020. "An Analysis of the Sustainable Tourism Value of Graffiti Tours through Social Media: Focusing on TripAdvisor Reviews of Graffiti Tours in Bogota, Colombia," Sustainability, MDPI, vol. 12(11), pages 1-19, May.
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    1. Oumaima Lamhour & Larbi Safaa & Dalia Perkumienė, 2023. "What Does the Concept of Resilience in Tourism Mean in the Time of COVID-19? Results of a Bibliometric Analysis," Sustainability, MDPI, vol. 15(12), pages 1-23, June.

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