Journal of Urban Studies on Space and Place

Explaining the Horizon of Iran's Creative Tourism as Technology-Based Cultural Entrepreneurship

Document Type : Original Article

Authors

Mustafa Nabatinejad 1
Mohammad Mehdi Mazaheri 2
Saeid Sharifi 3

1 Department of Entrepreneurship , SR.C., Islamic Azad University, Tehran, Iran

2 Department of Management, SR.C., Islamic Azad University, Tehran, Iran

3 Department of Cultural Management and Planning, Isf.C., Islamic Azad University, Isfahan, Iran.

https://doi.org/10.22034/jspr.2025.2072517.1170
Abstract
Extended Abstract
Introduction
The integration of advanced technologies such as artificial intelligence (AI), blockchain, augmented/virtual reality (AR/VR), and the Internet of Things (IoT) into entrepreneurship has transformed industries worldwide, particularly tourism. In Iran, the creative tourism sector—encompassing cultural, heritage, and experiential tourism—holds significant potential for economic growth and job creation. Despite Iran's rich cultural heritage and diverse tourism assets, the sector remains underdeveloped due to limited adoption of advanced technologies, inadequate technological infrastructure, restricted access to financial resources, and insufficient entrepreneurial skills among stakeholders. According to the World Economic Forum's Travel and Tourism Competitiveness Report (2019), Iran ranks low in information and communication technology (ICT) readiness and innovation capacity. The COVID-19 pandemic further highlighted the need for digital transformation, as Iran lagged in adopting virtual and hybrid tourism models, leading to significant economic losses (UNWTO, 2021). The creative tourism sector in Iran faces the challenge of preserving cultural authenticity while embracing innovation. Technologies like AI, AR/VR, and blockchain offer opportunities to enhance visitor experiences through immersive storytelling and personalized services, but risk commodifying cultural heritage if not managed carefully (Richards & Wilson, 2007). Key barriers include a weak digital infrastructure (Iran ranks 89/193 in ICT development, ITU, 2021), limited startup ecosystems, and insufficient stakeholder collaboration. Addressing these requires investment in digital infrastructure, fostering entrepreneurial ecosystems, and developing policies that balance innovation with cultural integrity. This study aims to develop a technology-driven model for cultural entrepreneurship in Iran's creative tourism sector to bridge theoretical and practical gaps, enhancing value creation and sustainability.
Methodology
The study employs an exploratory-applied design with a sequential mixed-methods approach, combining qualitative and quantitative phases. The qualitative phase used inductive content analysis and grounded theory, involving semi-structured interviews with 18 cultural tourism experts (academics, entrepreneurs, and policy specialists) selected via purposive sampling until theoretical saturation. Participants had at least five years of experience and verifiable contributions in entrepreneurship, cultural studies, or policy development. Interviews followed a "broadening-converging" pattern: eight for exploration, five for category development, and five for confirmation. Data saturation was assessed through code saturation ( 0.62, Cronbach's α > 0.7), analyzed with SPSS 26 and AMOS 24 to test a structural equation model. The mixed-methods approach ensured qualitative insights informed the quantitative instrument, providing a robust framework for model development and validation.
Findings: Qualitative analysis identified 34 categories across four dimensions:
1.         Entrepreneurial Dynamics: Cultural entrepreneurs exhibit traits like creative perseverance, cultural intelligence, and risk acceptance, with performance driven by financial satisfaction and self-actualization. Cultural action involves empathy and adaptation to cultural needs.
2.         Cultural Entrepreneurship Requirements: These include cultural awareness, intercultural competence, networking, and proficiency in technologies like AI, AR/VR, blockchain, and IoT, emphasizing the need for cultural sensitivity and technological skills.
3.         Cultural Entrepreneurship Challenges: Barriers include economic issues (e.g., financial instability), political constraints (e.g., sanctions), technological limitations (e.g., digital divide), socio-cultural risks (e.g., cultural commodification), and technical obstacles (e.g., bureaucracy).
4.         Cultural Entrepreneurship Outcomes: Outcomes include internationalization (e.g., cultural exports), sustainable development, creative tourism (e.g., innovative products), creative entrepreneurship (e.g., business clusters), and social capital (e.g., community trust).
Quantitative analysis validated the model (CFI = 0.93, RMSEA = 0.06), showing significant relationships between requirements (β = 0.18), challenges (β = 0.48), and outcomes (β = 0.86). Technology adoption was a key driver of success, with challenges significantly influencing the entrepreneurial process.
Discussion and Conclusion
The study provides a framework for advancing cultural entrepreneurship in Iran's creative tourism sector, aligning with global digital transformation trends (UNESCO, 2021). By integrating AI, AR/VR, blockchain, and IoT with cultural entrepreneurship principles, the model enhances value creation while addressing systemic barriers. Cultural entrepreneurs, characterized by creative perseverance and cultural intelligence (Hofstede, 2011), can leverage Iran's heritage for global competitiveness, transforming cultural assets into commercial value (Ratten, 2020) while tolerating ambiguity (Begley & Boyd, 1987). Digital platforms like AI-driven recommendation systems and social media are critical for navigating challenges (Gretzel et al., 2015), but cultural authenticity must be preserved to avoid commodification (Towse, 2010). Operational requirements (e.g., networking, intellectual property protection) align with global best practices (Porter, 1998), while cultural requirements like intercultural competence (Byram, 1997) support international engagement. Outcomes—internationalization, sustainable development, creative tourism, creative entrepreneurship, and social capital—offer economic and social benefits. Internationalization through cultural exports (Nye, 2004) creates opportunities, while sustainable development aligns with the triple bottom line (Elkington, 1997). Creative tourism fosters innovative products and creative cities (Richards & Raymond, 2000), and social capital strengthens community resilience (Putnam, 2000). Quantitative validation confirms the model's robustness (Hair et al., 2019), with technology adoption as a key predictor of success (Sigala, 2020). Practical implications include policy interventions for digital infrastructure and cultural-commercial training (Bridgstock, 2013). Limitations include the study's Iran-specific focus, limiting generalizability (Tsui, 2007), and the rapid evolution of technologies, requiring ongoing research (Buhalis, 2020). Future studies should explore blockchain for intellectual property protection (Kaminska & Borzemski, 2020), AR/VR's impact on cultural experiences (Guttentag, 2010), and platform economics (Srnicek, 2017). The framework bridges gaps in cultural entrepreneurship literature, justifying investments in technology-driven innovation for economic growth, cultural preservation, and social innovation in Iran's creative tourism sector.
 

Keywords

Creative Tourism
Cultural Entrepreneurship
Entrepreneurship
Tourism Industry

Subjects

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