Introduction

1The growing phenomenon of globalization, helped by ICT (Information and Communication Technologies) and the Internet, have made travel research process easier and more convenient. Modern tourists travel more, seeking authentic and co-creative experiences through the immersion into local cultures (Cayeman, 2014; Richards, 2010), wanting to actively participate in communities’ traditions. Enotourism (wine tourism) and Olivotourism (olive oil tourism) are emerging segments in the tourism industry. These niche markets offer unique opportunities to escape reality and experience a range of emotions. They blend culture, nature, traditions, heritage, and gastronomy into a comprehensive travel experience. In this work, we have chosen to use the term Olive Oil Tourism.

2The literature review showed Wine & Olive Oil Tourism as a complex ecosystem, with the former being anchored “around the culture of wine and vineyards, starting a form of cultural dissemination with a combination of culture, traditions and territories” (Costa, 2020, p. 23), revealing a huge potential for cross-selling together with Olive Oil Tourism, as a subcategory of gastronomic tourism (Alonso, 2010). Olive Oil Tourism is defined as “a form of tourism which includes experiences such as: visiting to olive oil production sites and staying at local accommodations, attending culinary courses on olive oil-based, buying olive oil, trekking on olive oil routes” (Manisa et al., 2013, p. 12).

3In order to define the research goals, it was necessary to establish the current Olive Oil Tourism state of art. According to Murgado (2013), Spain is the largest producer of olive oil in the world, giving this country a privileged position to exploit this product in the tourism field, being an excellent benchmark for our study. The same author considered that on a scientific level, very few studies have highlighted this tourist activity since it is still in the early stages of development. Considering the Douro Demarcated Region (a recognized wine landscape), we have been witnessing (in recent decades) a landscape in modification, with old olive groves being reconverted for producing Extra Virgin Olive Oils, which has had a positive impact on tourism and territories’ sustainable development. Nunes (2014) advocates that the union of different types of tourism activities increases synergies and allows the development of rural spaces in an innovative way.

4The methodology section describes the methods and techniques chosen to accomplish the objectives. We aim to explore how Douro’s Wine & Olive Oil food heritage can be transformed into creative tourism experiences within Enotourism companies. In this interactive context, websites can generate symbiotic opportunities between the tourists’ experiential needs and the socio-economic aspirations of local communities (Dias et al., 2020). A digital environment can provide a competitive atmosphere for tourism business improvement and create a vast range of chances to strengthen destinations image. Websites with advanced functionalities are able to offer personalized experiences to visitors. Digital platforms allow for continuous innovation and adaptation of creative tourism offerings. By analysing website analytics and visitor behaviour, tourism providers can identify trends, preferences, and areas for improvement, ensuring that their creative experiences remain relevant and appealing.

5The results showed that 95% of the 290 wine tourism farms, are on the Internet, but only 12.6% make reference to olive oil production (24 companies). On the 24 wine tourism websites the information revealed more attention to olive oils production (87.5%) followed by wines: Porto DOC wine (58.3%), still wines (62.5%) and sparkling wines (4.2%)]. As for tourism experiences, only 33.3% carry out Eno-Olive Oil Tourism activities, mirrored by a fragile and not very interactive web presence.

6One limitation of this study is its confinement to a particular wine region, the Douro, not being transferrable to other territories, and also the fact it only addresses the supply side’s perspective. Future research should include a wider range of olive oil territories and the demand side optics. This approach would permit a more systematic identification of regional food heritage (wine, olive oil, cheese, fruits, and others) endogenous resources and find synergies between them and tourism offerings.

I. Literature review

A. The Creative Tourism Experience ecosystem

7The recurrent search for emotional experiences (involving the five senses) and strong interactions between hosts and guests currently play a key role in tourism development. We witness a shift from traditional cultural tourism (based on passively observing or contemplating objects or places), to an immersive and creative experience, seeking out the opportunity to experiment (Pine and Gilmore, 1998) and participate (for example wine and olive tastings, workshops and courses in painting, dance, cooking, etc.) in order to awaken their senses, while having the experience. From this perspective, these tourism consumers are seen as active participants in their experience and co-creators of value in the tourist ecosystem (Vargo and Lusch, 2008). The concept of creative tourism emerged in response to dissatisfaction with the experiences provided by cultural tourism and a lack of creative and exciting touristic options with the potential to enrich visitors and connect them to local communities (Smith, 2005).

8Richards and Raymond (2000) defined creative tourism as an opportunity for visitors to unlock their creative potential by actively participating in experiences and learning new things, being considered an extension of “cultural tourism” (Richards, 2005; Richards and Wilson, 2006a, 2006b), and a key element of the creative ecosystem (Harrington, 1999). Within this framework of thought, UNESCO (2006) considered creative tourism as an engaged and authentic experience, providing an active education in the arts, heritage or specific aspect of a place enabling a connection with local hosts and bringing a culture to life.

9Blapp (2015) shows creative tourism as offering visitors the opportunity to participate in a wide range of activities linked to the destination in areas such as music, visual arts, theatre, sport, gastronomy, spiritual activities, languages, art workshops and writing. So, according to Salvado et al. (2020, p. 64), “creative tourism depends on endogenous resources of places to attract visitors to the destination, while also providing a way to encourage creative community development, supporting creative industries, and improving the local economy. Within the concept, active verbs such as “participate”, “learn”, “involve”, “do” and “learn” stand out, placing creative tourism as the next generation of cultural tourism. It raises customer satisfaction levels and satisfies the visitor’s need for self-fulfilment, while focusing on the development of skills with a practical use.”

10To achieve success all stakeholders must consider tourism as a creative ecosystem (Figure 1), where a complex set of organisational networks exists, extending across different products/scales/industries/spatial activities, connected by various types of players. This creative ecosystem incorporates various elements and can be seamlessly adapted to Eno-Olive Oil Tourism, as both are integrated into the same cultural and regional development policies with regulatory and control functions. The territories of Wine Tourism and Olive Oil Tourism overlap, allowing for the empowerment of local know-how and creative abilities. By exploring the attitudes, expectations, and motivations of visitors, destinations can reinvent their strategies for tourist products based on heritage and identify emerging trends in the regional tourist market. This environment leverages ICT as a catalyst for innovation, brainstorming, creation, development, implementation, dissemination, communication, distribution, and feedback. Štefko and Mudrík (2016) advocate using ICT and social networks as tools for creating and sharing creative tourism experiences. In the context of Eno-Olive Oil Tourism, companies’ websites play a crucial role, often reflecting their business strategies online.

11Four strategies could be a source of wine and Olive Oil Tourism regional growth and sustainable development leverage (identity icons, events, theme areas and heritage (re)valorization). Chang et al. (2014) suggested a territorial reinvention in a creative way. If related to supply is vital co-participation amongst all stakeholders as enablers of sustainable development and a mode to design co-creative experiences. Bruin and Jelinčić (2016) highlight the active role of tourists in the creative tourism experience and Tan et al. (2016) identified three groups of this kind of tourists: relaxers, sensation-seekers, and existential-type.

12Combining demand and supply of wine and Olive Oil Tourism factors, give rise to a new competitive market environment for creative tourism products and services. According to Salvado et al. (2014), the rationale behind the creation of value is no longer centred solely on the “value chain” (within the company and one product) but it also absorbs inputs from the outside the company “constellations of value”. Integrating the concept of "constellation of value" in wine and olive oil tourism, as perceived by Prahalad and Ramaswamy (2004) is possible turning more attractive the visitors’ experiences, providing a variety of interconnected experiences, instead of offering isolated products or services. This can lead to higher levels of satisfaction and repeat visits, as visitors perceive greater value from the integrated experiences. On the other hand, this approach allows providers to create unique and memorable experiences that stand out in a crowded market, attracting more discerning travellers. Building a constellation of value often involves collaboration with local stakeholders, which can foster sustainable tourism development. By integrating local cultural elements, environmental sustainability practices, and community engagement, tourism providers contribute positively to the local economy and environment. For wine and olive oil tourism, this could mean combining vineyard tours with olive grove visits, tastings, cultural experiences, and accommodation options that enhance the overall trip.

13In essence, integrating the concept of "constellation of value" aligns wine and olive oil tourism with contemporary consumer expectations for holistic, meaningful, and memorable travel experiences, thereby enhancing competitiveness and sustainability in the tourism industry. However, as we can observe in the following sections, the development of the wine and olive oil sectors has diverged significantly regarding the design and integration of experiences. In our understanding, it is through the concept of creative experiences that a robust convergence of interests can be achieved. All these combinations of interests can be leveraged through the companies' websites. That's why it's so important to look at the functionality and interactivity of websites.

B. The Wine Tourism Experience evolution

14Wine is defined by the glossary of the Instituto da Vinha e do Vinho [IVV] as “the product obtained by the vinification/alcoholic fermentation, in whole or in part, of fresh grapes, from various types of grape varieties (Vitis Vinifera), whose berries are crushed, pressed or transformed by other technological processes permitted by law”.

15The date of the first cultivation of Vitis vinifera is uncertain. Agriculture and the domestication of the vine took place between 10,000-8,000 BC in the transition from a nomadic lifestyle to a sedentary lifestyle. Fermenting grapes became easier after the development of pottery in the Neolithic period (11,000 BC). Archaeological evidence was found in Georgia (6000 BC), Iran (5000 BC), Greece (4500 BC), Armenia (4100 BC), Sicily (4000 BC) and China (7000-5500 BC). Historically, wine appropriates a set of legends and myths that gives it an undeniable magnetism with humanity, rooted in beliefs, customs and social practices. Holland et al. (2014), consider wine as being perfectly interconnected with art, culture, history, commerce, industry, and therefore also with tourism. In recent decades, the vineyard and wine, as a landscape, cultural and sustainable product, has become one of the main themes of tourism development. Hall (1996) defined wine tourism as an emergent form of contemporary tourism, with ancestral links, associated with the use of wine resources in a given region, developing, and promoting it. The concept of wine tourism is, therefore, evolving, with many authors having contributed to a complementary definition (Table 1).

Table 1 – Evolution of the concept of wine tourism

Boniface (2017)	The infrastructure, the environment and all the socio-cultural components of the wine region that contribute to enhance the visitor’s experience in the region are part of the wine tourism offer.
Nunes (2014)	Wine tourism is a recent reality and over time its definition has been developed leading to new applications.
Pina (2010, p. 23)	Wine tourism is both a "form of consumer behaviour, a strategy of developing a destination, a set of attractions and performances related to the production of wines and, finally, a marketing opportunity for producers to promote and sell their products directly to consumers.
Simões (2008, p. 270)	Wine tourism is "the set of associated activities (visit to wine enterprises, visit to museums and other establishments linked to the sector), participation in events or centers of wine interests having as main objective, and more frequent, knowledge and tasting of wines from the regions visited".
Costa (2007)	Wine tourism is an important and innovative tourism product, which makes it possible to disseminate the potential of certain wine regions and their tourist use both in terms of services and in terms of heritage.
European Charter on Oenotourism (2006, p. 6)	In the European Wine Tourism Charter, the concept is presented as "all activities and resources of tourism, leisure and leisure, related to the cultures, materials and immaterial, wine and indigenous gastronomy of its territories".
Getz and Brown (2006)	The wine tourist´s motivations can include factors such as culture, landscape, among others, in addition to work.
Carmichael (2005, p. 186)	Wine tourism is "experiential tourism that takes place in wine regions and that offers a unique experience that includes wine, gastronomy, culture, arts, education and travel".
Falcade (2001, pp. 39-53)	"Wine tourism can be defined as the movement of people, whose motivation is related to the world of grapes and wine".
Williams and Kelly (2001)	Wine tourism involves more than visiting wineries and buying wine. It is the culmination of a number of unique experiences: the surrounding environment, regional culture and cuisine, the styles and varieties of local wines.
Getz (2000, p. 2)	Wine tourism "are work landscapes, but for many they seem to offer much more at their best, they can be synonymous with civilized pleasure, food, wine, conversation, which often meet together harmoniously", "the visit can be motivated by the grape variety, the attributes of the wine region, "winescape" or the terroir."
Johnson (1998)	Wine tourism includes visits to vineyards, wineries, festivals and events for the purpose of leisure.
Hall (1996)	Wine Tourism is one of the new forms of contemporary emerging tourism, with ancestral links, associated with the use of wine resources, in a given region, developing and promoting it.

Source: Own production based on the cited authors

16The trinomial “eat, drink, stay” and “play” leads to an integrated vision that wine tourism assumes, encompassing a set of sensory and creative experiences that provide tourists with contact with the landscape, and historical and cultural heritage. Portugal is no exception in its 14 wine regions. In addition to the long journey towards the professionalization of this sector, it is possible to identify a good number of examples of global excellence in wine tourism in the national market (López and Szolnoki, 2021).

17Carvalho et al. (2020) pointed out an integrated vision of “multiple experiences” linking architecture, with the culture of authenticity and sustainability. On the other hand, Inácio (2007, pp. 4-5) considered the relationship between tourism stakeholders and producers. For visitors the experience represents “the journey related to the attractiveness of the wineries and the agricultural field”, constituting a form of consumer behaviour; for tourism entities, it represents “a form of niche market” that offers a business opportunity and job creation, contributing to the development of destinations; for destinations, it is a commercial strategy to develop an image and as a way of marketing their attractions related to wine and vineyards; finally, for the wine industry: wineries and producers is a “commercial opportunity to carry out direct sales, advertise and educate their customers about their product”.

C. The Olive Oil Tourism Experience evolution

18Olive oil is derived from the fruit of the evergreen tree Olea europaea, which grows in temperate climates with warm and dry summers. Around 5,000 or 6,000 years ago, at the eastern end of the Mediterranean, the tough, spiny, wild olive trees dominating the country sides of Palestine, Syria, and other areas of the Middle East were first brought under cultivation. The trees became gnarled with domestication, and less bushy, and their fruit (green that ripens to brown or to blue-purple-black) was laden with oil. That oil – technically a fruit oil rather than a vegetable oil, as it is classified – doubtless was used to fuel lamps, and it found its way into medicines and cosmetics as well as cooking. The many uses for oil created much demand in the ancient world, which was satisfied by oils made from walnuts, almonds, and the seeds of sesame, flax, and radishes, as well as from olives (Tannahill, 1988).

19The latter, however, were the most productive source of oil from the Bronze Age onward, and their cultivation spread throughout the Mediterranean region, so that the waning centuries of that age found the people of the island of Crete cultivating great numbers of olive trees and growing rich on the export of oil (Trager, 1995). The olive tree, Olea europaea L., is originated in the eastern Mediterranean basin, in the Neo-Chalcolithic period, and the extraction of oil from the olive tree in the Bronze Age (Aydin and Şahi̇n, 2017). Caldas (1998) made reference to the oldest book on the planting, harvesting and pressing of olives in Hispania "De Agri Cultura" by Catos de Elder, from 2nd century BC. However, the olive tree and olive oil are elements often associated with Greek mythology, art, religion, health and well-being and food, and are at the origin of commercial and cultural exchanges between Mediterranean civilizations since antiquity.

20In the Iberian Peninsula, the olive tree was introduced by the Phoenicians around 900 BC (Paquete, 2013) motivated by the flourishing of the metals industry in the Mediterranean. To promote trade, the Phoenicians “gave the necessary technological impetus, teaching the art of cultivating indigenous plants such as the vine, the olive tree and the carob tree. Also, the first improved cereal mills, as well as the wine and olive oil extraction presses would have been of Phoenician inspiration” (Caldas, 1998, p. 31).

21In Portugal, olive groves are scattered and concentrated on the right bank of the Tagus River, towards the south of the country. These groves sprang up around villages, and mills were installed close to water courses (Caldas, 1998). In the Portuguese territory olive oil was deeply rooted to the bases of food and associated with health benefits, and it was also used for purposes of lighting and lubrication of machines (Paquete, 2013). Today, 90% of the world’s olives go into oil, and only 2% of the acreage given over to olive production is outside of the Mediterranean region (McGee, 1984). In terms of volume, Spain, Italy, Greece, and Portugal are the largest producers, although much of their olive oil is not reflected in production figures because there are many people with just a few trees who pick their own olives and take them to local cooperatives to be pressed. Olives are sometimes picked by hand because they, and the twigs they grow upon, are fragile. However, because the fruit should all be of the same size and degree of ripeness, the same tree might be picked several times, all of which significantly increases the price of oil (Toussaint-Samat, 1992).

22According to the International Olive Oil Council (IOC), olive oil is the product obtained from the fruit of the olive tree extracted solely by physical processes. In addition to its unique sensory properties, it adds value to the final product and contributes to conferring new nutritional qualities, due to its lipid profile rich in essential fatty acids and bioactive compounds (Beraldo et al., 2020). As a result of the evolution of tourism over time, new types of tourism and stakeholders emerge, integrating olive farming and olive oil production in this business (Alonso, 2010). In Portugal we call Olive Oil Tourism, or Olivotourism, but in Spain is Oleotourism, following the Latin prefix of the olive tree Olea Europaea L. (Fernandez et al., 2019)

23Olive Oil Tourism is defined as a form of tourism based on activities linked to olive groves and olive oil, combining culture, nature, heritage, and gastronomy. This form of tourism stands out as an alternative to traditional tourism, considered as “a form of tourism that includes activities such as visits to olive oil production sites and accommodation in these places, cooking courses on olive oil-based dishes, purchase of olive oil, trekking and rest on olive oil routes, and information visits that provide information about olive oil culture and production techniques from the past to the present” (Manisa et al., 2013, pp. 12-16). The concept of Olivotourism is very recent, and several authors have contributed to its evolution (Table 2).

Table 2 - Olive Oil Tourism conceptual evolution

Hwang Y. H., Quadri-Felitti D. (2021, pp. 3-13)	“Olive oil tourism can be considered sustainable tourism due to its contribution to the local economy by synchronizing the interests of visitors, the environment, and the local community.” p. 3; “Since vineyards and olive groves share geographical areas (…) olive oil and wine tourism may create a synergistic effect in the local economy” p.11; “olive oil tourism and wine tourism managers may need to work closely together.”
Parrilla-González et al., (2020, p. 3)	“Olive Oil Tourism is an intangible, sustainable element, insofar as tourism linked to agricultural activities is based on sustainability, respect for the environment and awareness about a society with certain values linked to the land”
Bezerra and Correia (2019, p. 69)	“To extend olive oil-related experiences to creative tourism, visitors need to have the opportunity to interact more with the local host community, to have more active participation in these activities, while developing their creative potential offering them memorable and engaging experiences.”
Pulido-Fernandez et al. (2019, p. 5)	“Olive Oil Tourism is part of gastronomic tourism.”
Campón-Cerro et al. (2014, p. 70)	“(…) olive oil can be considered a fundamental resource and an effective tool for new initiatives of local development.” (…) The link between olive oil culture and tourism seems to reveal an interesting proposal for the tourism development of the olive grove zones.”
Millán et al. (2014, pp. 181-184)	“One way to develop oleotourism is to market it, protected by a designation of origin that creates a tourist route that informs about the quality of the oil and its production process, and provides oil tastings” p181; "There are differences and similarities between the profile of enotourists and oleoturists. Their demographic profiles, their way of organizing the trip, their behaviour in the destination and the determinants of their satisfaction are similar, but not their economic profiles and the expenditure they make in the destination." "Both in wine tourism and in oleoturism tourists complain of the lack of complementary activities.”
Murgado (2013, p. 100)	“Oleotourism is a set of activities that revolve around oil. (…) olive oil tourism also includes cultural activities related to nature, which immerse the visitor in local culture of the environment and territory”; “In the case of olive oil, it is necessary to design tourist products based on experiences to enrich the act of product consumption.”

Source: Own production based on the cited authors

24Olive groves are vital for regional development and contribute to territorial cohesion, with implications for the local economy, generating employment and playing an important role in cultural landscape safeguard and identity (Fleskens et al., 2009). Olive Oil tourism as Wine Tourism has huge potential to involve communities, develop territories, and build co-creative experiences, fighting against seasonality. In Table 3 several authors related Olivotourism with other leisure experiences.

Table 3 - Olive Oil Tourism and other tourism products

	Gastronomy	Rural Tourism	Cultural	Agri-tourism	Industrial	Enotourism
Aydin and Şahin (2017)
Millán et al. (2014)
Hwang and Quadri-Felitti (2021)
Campón-Cerro et al. (2014)
de Salvo et al. (2013)
Murgado (2013)

Source: Oliveira et al., 2022

25Oliveira et al. (2022) apud Murgado et al. (2011) suggested a wide range of experiences in rural areas, since the most traditional ones until more creative and immersive (Figure 2)

D. The Olive Oil Territories and Experiences

26Portugal currently ranks as the fourth largest Europeans producer, with 6 Regions of Protected Designation of Origin (PDO): Trás-os-Montes, Beira Baixa, Ribatejo, Moura, Alentejo Interior and Norte Alentejo (Figure 3). The PDO classification comes from the olive varieties, picking conditions, transport to the mill, working conditions and characteristics of the final product. Bezerra and Correia (2018) mention the existence of some references to Olivotourism in Portugal, with a special focus on the Alentejo region, perhaps because it was the pioneer region in promoting tourism related to olive groves and olive oil. The Tourism of Portugal Strategy 2027 [ET27], defines Gastronomy and Wines as one of the qualifying assets for Portugal to become a sustainable and competitive destination.

27Wine tourism is already strategic for national tourism development (Programa de Ação para o Enoturismo 2019-2021, TdP, 2019). Despite the Strategic Plan [ET27] emphasizing the authenticity of Portuguese products like olive oil, wine, cork, and footwear as key attractions, olive groves and olive oil (Olivotourism) are notably absent from its list of tourist products.

II. Methodology and Tools

28A lack of existing research on creative experiences in Eno-Olive Oil Tourism justify this approach. The literature review was carried out with the ambition of detailing the concepts of wine tourism and olive oil tourism and the integration with creative experiences.

29Focusing on the geographical context of the Douro region in northern Portugal, this study intends to answer the following question: “How can we transform Wine and Olive Oil Food Heritage, in Douro’s Enotourism companies, into Creative Tourism Experiences?” Based on above considerations three goals were defined:

1. To list the Douro Enotourism companies and understand which ones communicate Olive Oil Tourism activities on their websites;

2. To use a eEno-Olivotur Model (based on eMICA construct) for evaluating the development and complexity level of wine tourism websites;

3. To measure the Douro Enotourism websites functionality, based on web pages content analysis.

30The fieldwork was carried out in two stages. The first one was collecting data from 290 wine tourism estates (February 2022). The list of companies was obtained by consulting several sources: TPNP (Turismo do Porto e Norte de Portugal wine tourism list of companies), wine routes list of players, wine associations, Guia Vinhos de Portugal, Wine Books, Wine tourism websites. Following this task, a double selection was done: searching the number companies with web presence (95%). From this companies, only 12,6% (n=24) organizations with olive oil production. In the second stage, a qualitative data collection was carried out within the 24 wine tourism companies’ websites. In addition to the content analysis, researchers developed an online questionnaire (using Google forms) consisting of 33 questions.

31In order to measure the 24 companies’ website functionality, we proposed a eEno-Olivotur Model inspired by eMICA (extended Model of Internet Commerce Adoption) and the work of Correia and Dias (2003), Nielsen (2000), Richmond (1996), Tognazzini (1998) e W3C (1999) contributions. For the websites’ quality valuation, the eMICA introduces three broad stages (Promotion, Provision and Processing), being an excellent starting benchmark for the wine tourism sector, as shown by Burgess and Cooper (2000), Burgess, Cooper and Alcock (2001) and Doolin, Burgess and Cooper (2002) who have used it to study 3 websites of regional tourism organizations.

32The reason to use this construct was based on the internet importance as a source of information for tourists.

“Nowadays, the internet is the most widely used and more effective tool for firms/organizations to reach their customers. Hence, effective design of websites helps firms/organizations reach their aim. There are many different design parameters that play an effective role on website design” (Cebi, 2013, p.1030).

33The rapid growth of the internet presents a new perspective to business and organizations. This important tool can easily connect managers and customers providing not only general information about its products or services, but also an opportunity for performing interactive business transactions (Hasan and Abuelrub, 2011; Aladwani and Palvia, 2002).

34According to Bernal Jurado et al. (2018) a website is an essential tool for a firm to establish a strong online presence, as it combines informative, relational, and transactional functionalities with online commercial transactions. Nielsen and Thair (2002) advocate that a website, also known as a site, is a structured collection of web pages, representing an entity (company, organization, group) or someone (a person). A page is accessible to the user through a web browser (browser), consisting of pages, various files and hyperlinks, which can be internal (on the site) and external (to other sites). Within this scope, Ting et al. (2013, p. 54) define the following categories as being important for the travel industry:

1. Interactivity - Online availability, offline reservation, worldwide reservation phone number, special request forms, general description/history, map, transport information, travel guides, awards, the latest news, address, fax, phone, e-mail, conduct or feedback form, guest book, tips, chat or discussion forum, newsletter, press releases, facility for interactive brokering, RSS, FAQ, privacy policy.

2. Navigation - Important organization e-mail hyperlink, sitemap, e-mail hyperlink, tourism search engine, keyword search.

3. Functionality - Important organization contacts, currency converter, flash animation, membership system, download facilities.

4. Marketing - Prices or cost of products and services, packages and promotions, dining, bars, photos or photo album, video, itineraries information, awards, special offers, e-brochure.

5. Service - Check-in and check-out time, hotel rooms and suites, activities and entertainment, dining, bars, conference and meeting facilities, online purchase or gift store, map, itineraries information, e-brochure.

6. Innovation - Digital signature and encryption, view or cancel reservation, virtual tours, travel schedules and plans, Web 2.0 tools.

7. Online processing - Online availability, online reservation, currency converter, view or cancel reservation, payment options, special request forms, online purchase or gift store, weather, local time, Multilanguage support, travel schedules and plans, membership system, chat or discussion forum, press releases, facility for interactive brokering, RSS, Web 2.0 tools, share this page.

III. The eEno-Olivotur Model

35The proposed eEno-Olivotur Model focuses on 8 domains (Table 4) such as: organization profile (Stage 0) informational (Stage 1), Promotional (Stage 2), Relational (Stage 3), Transactional (Stage 4), Interactivity (Stage 5), Multimedia and Design (Stage 6) and social media (Stage 7).

36As an information display, the site is seen as an album, an exhibition or a portfolio that allows a more or less organized “reading” in an interest area. Special attention was given to some of the web pages elements. The home page of the site (home) should have some elements that do not raise doubts about the distinction and content of the site. It is the most accessed page and should never be just a welcome page (Nielsen and Thair, 2002, p. 52). Name of the highlighted site; the logo preferably placed in the upper left corner of the screen (Nielsen and Thair, 2002, p. 52).

37Presentation of the purpose of the website or a hyperlink to a text where the content, objectives and recipients of the website are presented; menu with essential links to access the rest of the information on the site (it may not appear on the homepage, but it facilitates the user's interaction with the site); e-mail presented explicitly or implicitly; indication of those responsible for the site, distinguishing, where appropriate, between the promoter (or funder), the webmaster (manages the information) and the web designer (produces the graphics and interaction); website creation and update dates; Site optimization for a given monitor resolution and for a given browser version or browsers; News section ordered by dates and/or subjects (small summaries of recent or changed information); Trusted accountant (cumulative number of daily users); Internal search engine, if the site is large, for the user to write words he wants to find on the site, preferably placed at the top, right or left (Nielsen and Thair, 2002, p. 52). A score table summarized the number of references found inside each stage, assigning 1 point (if the category exists) or 0 points (when the category does not exist). The region with the highest score is considered to be the most developed.

IV. Results & Discussion

38A strong internet presence and a well-designed website are crucial for the promotion, personalization, and enhancement of creative tourism experiences, leading to greater visitor engagement, satisfaction, and loyalty. Website quality models are important to rank a company’s web presence to identify best practices or locate poor implementations. The study of wine tourism websites in the Douro region claimed for more investment in several domains, considering a multi-stakeholder point of view: identity, content, services, interactivity, usability, functionality, navigation, reliability, innovativeness and efficiency. The 0-8 stages of Douro’s eEno-Olivotur Model were studied in detailed according to their characteristics, and the results are as following.

A. Stage 0: A - Characterization of the Wine Tourism Farms

39The municipalities with the highest number of wine tourism estates are Alijó (25%), Peso da Régua (21% and Lamego (17%) developing production activities of Port wine (20%), still wines (22%) and olive oils (30%) and Wine-Olive Oil Tourism (12%) (Table 5). They have brick–and–mortar stores (8%) and online stores (58%) for selling their own services (experiences) and products (wines, olive oils, jams, cheeses and others).

B. Stage 1: B- Informational Area

40The home page of a website generally contains relevant information and links that allow the user to access other information on the website. The web, due to the diversity of formats it integrates, is currently very close to the unimedia concept (Lévy, 2000) and differs from other types of information records in that it can be updated at any time by its webmaster.

41Table 6 outlines the websites’ elements related with company logo (44%), Team (26%), company history (30%) and also location information on Google (65%), Georeferencing (31%) and Farm address (4%). The analysed websites do not use 360º Vision.

42In terms of static communication, we found messages from the CEO (42%), company mission and values (both 8%), Business Partners and Links (25%) and Team Information (17%).

43With regard to advertising campaigns, wine tourism farms publish articles in the press (10%), advocates Causes (social, ecological, environmental) (17%), announce their Trademarks (17%), diffuses Newsletters (21%), but a large number (34%) do not explore this potential on their websites. Companies are very proud of their achievements, disclosing on their web pages events communication (15%), Customer Testimonials (19%), Awards or distinctions (27%), Certifications [Quality, Food Safety, Environment, Health and Safety at Work] (23%) and biological certification (15%).

C. Stage 2: C-Promotional Area

44The promotional area (Table 7) involves Personal Information Policy revealing a concern for the issue (26%), or allowing the user to register (22%), and remove the website link (11%). But a huge number of cases showed a no promotional policy (41%).

45The importance given to the web as a showcase for products and services is clear in this case study, particularly as to: Wine Portfolio (14%), Olive Oil Portfolio (13%), Product price list (13%), Information on wine varieties (11%), Technical Product Data Sheet (10%), Products/services availability (8%), Wine conservation (5%), harmonization with products (3%), Regional products promotion (3%), Olives Variety Information (3%), online restaurant menu and wine list (2% and 1%), Regional food heritage promotion (2%), Traditional dishes image (1%), Wine & Olive Oils announcements (1%)

D. Stage 3: D-Relational Area

46This section highlights customer support and community relationships. Importance is given only to conditions for products good use (29%). There is no information regarding regional amenities, accessibility conditions (for customers with special needs), discussion forums and accommodation/restaurant partnership (Table 8).

E. Stage 4: E- Transactional Area

47The development of commercial websites highlights transaction-based characteristics such as online booking (22%), online payment and confirmation (25% and 14%) and voucher printing (6%). 33% informed absence of online transactions (Table 9).

F. Stage 5: F-Interactivity Area

48The interactivity area focuses on close connections with local communities, customers and the possibility of providing information in real time. In our website sample 51% does not mention the local resources, but 15% promote traditional food and 12% cultural heritage (Table 10).

49Sharing ideas with customers is undervalued (13%). In terms of real time interactivity, 40% allow to make online reservations and 20% agree with real time communication with customers.

G. Stage 6: G-Multimedia and Design Area

50There is little maturity regarding the Multimedia and Design Area, in audio, video and augmented reality fields of information (Table 11).

H. Stage 7: H-Co-Creation Area

51With regard to social networks, 51% of websites include references and/or links to designated social media platforms, with emphasis on Facebook, in which is mostly used for advertising (33%) and sharing product information (31%). As for FAQs and online surveys, they are not useful in this sample (Table 12).

52The answers to the question H5- “List the experiences that foster the relationship with visitors/customers” (Table 13) revealed the more traditional experiences like wine/olive oil tasting, or visiting vineyards/ cellars/mills, but integrating the two food heritages experiences in a synergetic way. Guided tours with outdoor activities and playful activities that value local, cultural, natural, material and immaterial heritage, were indicated. Hedonistic and immersive experiences with visitors involving the 5 senses were cited, such as gastronomic events: group meals; private dinners; picnics. Also, co-creation experiences, aiming to involve the visitor in workshops, were referred.

Table 13 – H5- Experiences List

Agro-tourism; Rural tourism; Agricultural activities	Event: SANT'ANA WINE & CULTURE
Mountain trail; mountain biking	Workshops;
Visit century-old olive groves / cork oak groves/ old vineyards	Gastronomic events: Group meals; private dinners; picnics (2)
Guided tours (2)	wine tasting (6)
visit to the olive mills	olive oil tasting (2)
Visit chapel of the farm	Accommodation
outdoor activities, Playful activities	boat trips

Source: Own Production

Conclusions and implications

53According to Bernal Jurado et al. (2018) a website is an essential tool for a firm to establish a strong online presence because it combines informative, relational, and transactional functionalities with online commercial transactions. A comprehensive website provides easy access to all necessary information, including detailed descriptions of creative tourism activities, pricing, schedules, and booking options. This transparency and ease of access facilitate informed decision-making for potential tourists, enhancing their planning experience.

54A company robust online presence increases visibility and accessibility to a global audience. This is particularly important in creative tourism, where potential visitors often seek unique and engaging experiences through online research. A well-crafted website acts as a gateway, attracting and informing potential tourists about the creative experiences offered.

55An effective online platform enables continuous interaction with visitors through social media integration, blogs, and review sections. Engaging with tourists before, during, and after their visit helps build a community, gather valuable feedback, and adapt creative offerings to meet visitor expectations.

56So, with regard to the eEno-Olivotur Model, the results showed a very powerful Stage A-Characterization of the Wine Tourism Farm with 27%, stage B- Informational Area with 18%, followed by the Stage C-Promotional Area with 14%, a medium website strength in Stage H-social media Area with 13%, and fragile quality related with Stage F-Interactivity Area and Stage D-Relational Area with 8%. The weakest is Stage E- Transactional Area accounting 4% (Figure 4).

57There is clearly a “need to modernize and improve the offer of tourist accommodation, focusing on the design and projects remodelling that incorporate clearly differentiated aspects in terms of contemporary design/architecture; with an emphasis on new hotel concepts, linked to the territory's strategic assets (wine, olive oil, cork); and be adapted to market preferences (families, seniors, multicultural travellers).” (Bezerra and Correia, 2018, p. 64).

58On other hand, a professional and well-maintained website enhances the credibility of tourism providers. High-quality content, secure booking systems, and positive testimonials contribute to building trust with potential visitors, encouraging them to choose creative tourism experiences over more conventional options.

59A well-designed website can host multimedia elements such as videos, virtual tours, and interactive maps that showcase creative activities like wine tastings, olive oil workshops, and cultural events, making the destination more appealing. By integrating tools that allow tourists to customize their itineraries, book unique experiences, and access tailored recommendations, a strong internet presence enhances the overall tourist experience, aligning with the principles of creative tourism. creative tourism relies on storytelling and interactive content to engage potential visitors. In this regard, some municipalities invest on mills recovery, transforming them into museums, experiences promotion spaces (for education and events organization), and reinforcing the gastronomy to olive oil. It is possible to find multiple creative tourist experiences online, which can act as excellent benchmarks for wine & Olive Oil Tourism synergies (Table 14).

60As for the synergies associated with wine and olive oil, there is a significant gap in terms of information and possible experiences. It will be crucial to invest in partnerships with several tourism or cultural or territorial development stakeholders for design, implementation and experience management.