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THE IMAGE AND IDENTITY OF A
DESTINATION THROUGH NARRATIVES
OF INDUSTRIAL HERITAGE
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THE IMAGE AND IDENTITY OF A DESTINATION THROUGH
NARRATIVES OF INDUSTRIAL HERITAGE
Tânia Ma ina Fe ei a Gue a1 | Ma ia Pila Mo eno Pacheco2
An ónio Sé gio A aújo de Almeida3
Recei ed: 04/09/2024
Accep ed: 10/31/2024
¹ PhD in Tou ism (US).
Adjun P o esso a School o Tou ism
and Ma i ime Technology.
Lei ia Poly echnic Ins i u e, School o Tou ism
and Ma i ime Technology; CiTUR (Cen e o
Tou ism Resea ch, De elopmen and Inno a ion).
Peniche, Po ugal.
E-mail: ania.gue [email p o ec ed]
2 PhD in Economics (US).
Assis an P o esso a Uni e si y o Se ille.
Se ilha, Espanha.
E-mail: pila mo [email p o ec ed]
ABSTRACT
Conside ing ha e i o ial iden i y plays an impo an ole, his s udy explo es indus ial iden i y
con ibu ions o he image p ojec ion o a des ina ion using local es imonies and na a i es as
a di e en ia ing p ac ice. The me hodology consis s o a case s udy using explo a o y esea ch
h ough a di ec obse a ion app oach. The indings in his s udy acknowledge he ad an ages o
showing his o y h ough pe sonal na a i es as an essen ial pa o communi y engagemen and
a sense o belonging; u he mo e, his echnique may a ouse cu iosi y and isi o s’ in ol emen ,
enhancing hei in e es in he pas o a pa icula place. This s udy en iches ou unde s anding o
he ole o indus ial iden i y in shaping des ina ion images and p o ides managemen insigh s in o
e ec i e communi y engagemen p ac ices and echniques. Policymake s can use hese indings o
de elop s a egies o p omo e des ina ions ha e eal indus ial iden i y
Keywo ds: Iden i y. Image. Indus ial Landscape. Na a i es. Collec i e Memo y.
3 PhD in Tou ism Sciences (UPVD).
Agg ega e Associa e P o esso .
Lei ia Poly echnic Ins i u e, School o Tou ism and
Ma i ime Technology; CiTUR (Cen e o Tou ism
Resea ch, De elopmen and Inno a ion),
Peniche, Po ugal.
E-mail: an[email p o ec ed]
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RESUMO
Conside ando que a iden idade e i o ial desempenha um papel impo an e, es e a igo i á explo a
os con ibu os da iden idade indus ial pa a a p ojeção da imagem de um des ino que u iliza
es emunhos e na a i as locais como p á ica di e enciado a. A me odologia consis e num es udo
de caso com ecu so a uma in es igação explo a ó ia a a és da obse ação di e a. Os esul ados
des e es udo econhecem as an agens de mos a a his ó ia a a és de na a i as pessoais como
pa e essencial do en ol imen o da comunidade e do sen imen o de pe ença, além de que es a
écnica pode despe a a cu iosidade e o en ol imen o dos isi an es, aumen ando o seu in e esse
pelo passado de um de e minado local. O es udo en iquece a comp eensão do papel da iden idade
indus ial na o mação das imagens dos des inos e o nece in o mações de ges ão sob e p á icas e
écnicas e icazes de en ol imen o da comunidade. Os deciso es polí icos podem u iliza os esul ados
pa a desen ol e es a égias de p omoção de des inos que e elam a iden idade indus ial.
Pala as-cha e: Iden idade. Imagem. Paisagem Indus ial. Na a i as. Memó ia Colec i a.
INTRODUCTION
The aim o his s udy is o es ablish a clea link be ween iden i y and place image o a ou is
des ina ion, and i seeks o highligh he use o wo indus ial museums ha documen an indus ial
landscape using na a i es o local people. The museums a e in São João da Madei a, Po ugal.
Se e al ac o s shape he image o a ou is des ina ion, mos o which a e s ongly ela ed
o local cul u e and iden i y, and museums eme ge as a way o depic ing a e i o y’s his o y based
on i s iden i y. Fu he mo e, he g owing signi icance o na a i e use in museums has made i an
in e es ing esea ch opic.
Acco ding o Wang (2000), he concep o ou is des ina ion image is complex and subjec i e.
Howe e , no one can deny ha in he las decades, we ha e wi nessed he p oli e a ion o ou is
des ina ions ha seek o de elop di e en ia ing and appealing a ac ions ha ga he iden i y wi h
dis inc i eness, in which collec i e memo y is decisi e o des ina ion p ojec ion. Based on his
p emise, he dis inc i e elemen s o a e i o y e lec bo h ma e ial and imma e ial unique asse s
ha a e in eg a ed in o cul u al and ou is sys ems.
Based on he abo e, he cu en s udy in ends o highligh some ele an aspec s o a new
managemen app oach using collec i e memo y and na a i es o o me indus ial wo ke s o
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unde s and he indus ial p ac ices ha link iden i y and des ina ion image.
A e a b ie e iew o p e ious esea ch on he link be ween image and e i o ial iden i y
o indus ial des ina ions, he case o San Joao da Madei a (Po ugal) is analysed. The esea che s
o mula ed wo esea ch ques ions o de e mine whe he he use o na a i es and es imonies o
o me wo ke s was a way o keeping collec i e memo y ali e (1) and o unde s and whe he he
same s o y could be alida ed h ough di e en in e p e a ions (2).
The s a ing poin was he old Ha ac o y, his o ically musealized, and housing nowadays
he Ha Museum. Wi h a isi o his old ac o y, he esea che s a emp ed o unde s and how an
indus ial museum uses he collec i e memo y and na a i es o o me ac o y wo ke s o ein o ce
he adi ional and handmade indus y, and how hey p omo e indus ial memo y and alue he ci y
image as an indus ial he i age des ina ion. The second indus ial museum is he Shoe Museum.
This accoun s o he shoe indus y’s e olu ion. Bo h indus ial museums ha e a unique indus ial
collec ion accompanied by w i en e e ences om o me wo ke s who, when sha ing indi idual
memo ies, e lec collec i e memo y.
Fieldwo k was conduc ed h ough isi s o he wo museums, pho og aphs we e aken, and
an explo a o y induc i e analysis was ca ied ou . Bo h museums include an indus ial documen a y
collec ion based on he his o ical e olu ion o he shoe and ha indus ies and use collec i e memo y,
which jus i ies his s udy.
The a icle concludes by compiling he main conclusions o he esea ch, along wi h a se ies
o in e es ing implica ions o academics, businesses, and policymake s.
LITERATURE REVIEW
THE CONCEPT OF IDENTITY
Iden i y is a undamen al a ibu e o a e i o y and a opic ha has been equen ly add essed by
esea che s in se e al disciplines, including ou ism. As a esul , iden i y can ha e innume able accep able
concep s and can be app oached om di e en esea ch a eas, such as philosophy, psychology, sociology,
and an h opology. Al hough i seems easy o de ine, no hing could be u he om he u h. Despi e
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all de ini ions, one common iden i y a ibu e is ha mos signi icance elies on he impo ance o he
dis inc i e cha ac e is ics o a pe son o o a g oup (Almeida, 2018; Bauman, 2005; Cas ells, 1999; Hogg;
Ab ams, 1988; Jenkins, 1996; Ka zens ein,1996; Kowe ; Leg o, 1996; Liu; Cheng, 2016; Wend , 1994);
howe e , he essence o iden i y is a cons an ly e ol ing concep , and he e o e, i is con inuously changing
(Dube , 1989; Bauman, 2008).
A numbe o au ho s allude o iden i y as a subjec i e concep , ye wi h common meanings ha
ela e o belie s and alues ha make a pe son o g oup di e en om o he s. Faced wi h his eali y,
B eakwell (1986) sugges ed ha he i s p inciple o iden i y is he es ablishmen o a sense o pe sonal
uniqueness. Likewise, S e s and Bu ke (2000) uses he e m “sel ” o e e o he cons uc ion o a social
iden i y cen ed on he indi idual, also based on concep ualiza ions ha conside he iden i y o he “sel ”.
On he o he hand, Cas ells links iden i y wi h he meaning and expe ience o a people and
unde line ha iden i y is “ he p ocess o cons uc ion o meaning based on a cul u al a ibu e o on a se
o a ibu es ha a e ela ed o e en, wi h a se o in e ela ed cul u al a ibu es, which p e ails o e o he
sou ces o meaning”. (1999, p. 22). This au ho also s ands ou om o he app oaches by highligh ing h ee
p ocesses h ough which iden i y can be cons uc ed. Mo eo e , he s esses ha , om he pe spec i e o
sociology, he en i e iden i y is cons uc ed, and ha , depending on he p ocess o iden i y cons uc ion,
he esul s ega ding he cons i u ion o socie y will be di e en . O e all, iden i y is ega ded as a
cons uc in which bo h g oups and indi iduals o a place can in luence one ano he , cons an ly changing
and e ol ing hei own iden i ies. Addi ionally, Be ge and Luckmann (2004) s a e ha he basis o he
cons i u ion and p ese a ion o iden i ies a e social p ocesses de e mined by social s uc u es. Likewise,
Liu and Cheng (2016) linked he iden i y o a place wi h he iden i y o a g oup, highligh ing a logical
associa ion be ween he people o a place and he g oup in which hey a e loca ed. He e, he iden i y o
a place undoub edly uses indi idual iden i y, bu , abo e all, he social and collec i e iden i y ha is being
buil . Bauman (2005) also suppo s his app oach by emphasizing ha he con inuous e olu ion o socie y
is a he o igin o he con inuous cons uc ion o iden i y. Thus, conside ing he concep o iden i y ca ied
ou by a ious au ho s, he idea ha he en i e ajec o y an indi idual ollows as a single and collec i e
being, in in e ac ion wi h o he s and wi h socie y, p e ails. In addi ion, iden i y is a ounda ion ha may o
may no be changeable, depending on wha is happening in he place whe e he subjec li es.

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THE LINK BETWEEN DESTINATION IMAGE AND IDENTITY
In ecen yea s, iden i y and des ina ion image ha e held leading posi ions in ou ism esea ch.
Se e al esea che s (Bee li; Ma in, 2004; Bigné e al., 2001; Chen, 2001; Fakeye; C omp on, 1991;
Kim; Richa dson, 2003; Tapachai; Wa yszak, 2000; Walmsley; Young, 1998) ha e con ibu ed o
he esea ch on ou is des ina ion images. O he s (Aze edo, e al., 2014; Banducci; Ba e o 2001;
Ech ne ; Ri chie 1991; Galla za e al., 2002; S e s; Biga, 2003; Wang; Chen, 2015; Williams e al.,1995)
in oduce an app oach ha ies o ela e he iden i y o a des ina ion wi h i s image.
Ech ne and Ri chie (1991, 1993, 2003) ha e con ibu ed signi ican ly o he concep ualiza ion
o he des ina ion image and, acco ding o he au ho s, he des ina ion image is di ided in o six
g oups s uc u ed in h ee in e sec ional axes (Figu e 1): (1) he axis o unc ional and psychological
cha ac e is ics, (2) he axis o common and unique componen s and (3) he axis o holis ic componen s
(imagina y) which a e based on he a ibu es indi idually pe cei ed. Howe e , acco ding o he
au ho s, i is no possible o es ablish a bo de be ween g oups because hey clea ly o e lap. In
sho , holis ic eelings a e based on he combina ion and in e ac ion o a ibu es, and pe cep ions
o indi idual a ibu es can be in luenced by imp essions and eelings, making he unc ional and
psychological cha ac e is ics o he image ambiguous.
Figu e 1 | Componen s o he des ina ion image
Sou ce: Ech ne and Ri chie (2003, p. 40)
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Ech ne and Ri chie (1993) s a e ha he image o he des ina ion is composed o unc ional
and holis ic a ibu es and emphasize ha he pe cep ion ha emains om he des ina ions’ images
can a y om he mos “common” cha ac e is ics o he cha ac e is ics associa ed wi h some hing
“unique”. The e o e, each des ina ion has common ou is elemen s, bu i is he unique a ibu e
ha di e en ia es i om o he des ina ions.
F om ano he app oach, Anhol (2009) e e s o he ‘sense o place’ o highligh he aspec s
ha make a place dis inc i e and memo able. This au ho s a es ha his “sense o place” comes
om h ee essen ial elemen s, he (1) place (physical and cul u al en i onmen ) he (2) p oduc s and
he (3) people, hese elemen s a e conside ed as he “DNA o a place” and i is h ough hese ac o s
ha one manages o c ea e an emo ional bond wi h a des ina ion conside ing he s o ies and he
people, hose being he “ac o s” ac o s o he s o ies. Likewise, Ja a e al. (2018) ecognize ha
angible and in angible cha ac e is ics, when con e ing a place in o a memo able and dis inc i e
one, con ibu e signi ican ly o he image o ha des ina ion. These cha ac e is ics will be he same
as hose o place iden i y, so he e is no way o dissocia e des ina ion iden i y om des ina ion
image, gi en ha he “quali y and in ensi y o he ou is expe ience a e he g ea appealing ac o
o he des ina ions, assuming he di e en ia ion o he in angible as a de e mining ac o o he
ou is ma ke ing”. (Almeida, 2018, p. 429).
I is also impo an o unde line ha , as s a ed by Baloglu and Mcclea y (1999), esea che s
om he mos di e se a eas ag ee when e e ing ha he “image” cons uc is analyzed om he
pe cep ual/cogni i e o a ec i e pe spec i es. Pe cep i e/cogni i e assessmen s e e o belie s o
knowledge abou he a ibu es o a des ina ion, whe eas a ec i e assessmen e e s o eelings o
a achmen o he des ina ion. These wo pe cep ions shape iden i y and, as a esul , he iden i y
o a des ina ion. Tha image des ina ion is hus ep esen ed by he locals and is based on hei
engagemen wi h and a achmen o he place. E iden ly, no all elemen s o esou ces o a place
can ep esen iden i y and consequen ly will no b ing alue as a ou is image; howe e , he gene al
eeling abou he des ina ion ha esul s om he p e iously men ioned elemen s, belie s, alues,
and a ibu es o he des ina ion, along wi h a achmen , emo ions, and sensa ions, p e ail. Tha
eeling is unin en ionally sp ead by local ac o s, wi h he communi y playing a ele an ole.
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FROM INDUSTRIAL PRODUCTION TO TOURISM CONSUMPTION
Con empo a y acknowledgmen o indus ial he i age unde sco es he in es iga ion o
a communi y’s indus ial pas o p ese e i in collec i e memo y. This conce n aims o sa egua d
indus ial emnan s, and he associa ed iden i y in a ious sec o s, such as me allu gy, ex iles, glass,
and mines, ha e expe ienced closu es in ecen yea s. Addi ionally, ac i e p oduc i e and echnological
cen es spa k educa ional in e es , combining o c ea e a p oduc based on he “know-how” ha
enhances a e i o y. In his amewo k, Hospe s (2002) a gues ha in an inc easingly globalized wo ld,
he alue o he local indus ial pas and he change o ou ism can also enhance he iden i y o he
inhabi an s and p omo e he place.
In he ace o accele a ed in e na ional compe i i eness, dissolu e indus ies and un-
down buildings a e iewed no as h ea s, bu as oppo uni ies o main ain communi y space and
memo y. Tidd (2001) emphasizes he dynamic na u e o ou ism, necessi a ing inno a ion o
sus ainabili y. Co dei o (2007) no es posi i e e olu ion wi h he c ea ion o museums showcasing he
deindus ializa ion p ocess, con ibu ing o cul u al ou ism and he de elopmen o unique egional
a ibu es. Holloway (2002) also highligh s, albei in a b oade con ex , he conside able inc ease in
cul u al ou ism, wi h he i age being an impo an cul u al ehicle o de eloping unique a ibu es
o a egion; consequen ly, he ans o ma ion o he dissolu e indus y and undown buildings in o
oppo uni ies, a he han h ea s, is essen ial o main aining communi y space and memo y.
Museology using indus ial legacy becomes essen ial o a ac isi o s o indus ial loca ions,
as museums mus mee eme ging demands (Vacas Gue e o,2000). Cul u al he i age, comp ising
angible and in angible elemen s (Ri chie e al., 2003), demands in es men o a ac isi o in e es s.
The economic po en ial o his o ical he i age lies in he euse o indus ial s uc u es and a chaeology,
wi h he in en ion o e i ing and enewing indus ial s uc u es, es o ing hei o iginal look, o
ehabili a ing hem o al e na i e uses, con ibu ing o he sus ainabili y o e i o ies (Aguila , 2007).
Choosing di e en des ina ions os e s new ou is p oduc s based on local communi y
au hen ici y, wi h local a ac ions being a i al ep esen a ion o he main ac i i y a ha des ina ion
(Law, 2002). C i e ia o he eco e y and euse o indus ial he i age should conside no only an
economic and indus ial pe spec i e bu also socio-cul u al pe spec i es (Cas illo e al., 1999). The
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e olu ion and egene a ion o he i age, coupled wi h imp o ed indus ial spaces and social cohesion,
s eng hen he image, iden i y, and au hen ici y o a place.
The ou is use o indus ial places ex ends beyond buil he i age o encompass adi ions,
in angibili y, and communi y knowledge. Ac i e indus y plays a i al ole in a ious segmen s,
o e ing oppo uni ies o isi o s o explo e indus ial his o ies and p oduc ion p ocesses. Communi y
in ol emen in indus ial p ocesses wi h na a i es o cul u al he i age c ea es alue and p ese es
collec i e memo ies. He i age, whe he cul u al o indus ial, e lec s cul u al alues and adi ions
and emains au hen ic by adap ing o he dynamic e olu ion o concep s o e ime. Ne e heless,
acco ding o McCannell (1973, p. 590), he sea ch o au hen ici y in Cul u al He i age a ac ions a ises
om he ac ha “ he ou is consciousness is mo i a ed by his/he desi e o au hen ic expe ience”,
ha is, by he desi e o unde s and he pas h ough some hing eal ha mani es s i sel by he local
communi y in ol emen .
As pe Co dei o (2007), indus ial ou ism con ibu es o p ese ing collec i e memo y by
con e ing spaces in o museums. Museums such as he Ha and Shoe Museums u ilize na a i es and
w i en explana ions o showcase olde echniques. He i age, whe he cul u al o indus ial, e lec s
alues, adi ions, and cus oms ha e ol e o e ime as he conse a ion o cul u al he i age is oo ed
in alues a ibu ed o he he i age i sel (ICOMOS, 1994, p. 3), and he au hen ici y and iden i y o
indus ial buildings esul om he in eg a ion o dynamic and e olu iona y concep s adap ing o
his o y and he wo ld hey a e pa o .
METHODOLOGY
CASE STUDY: SÃO JOÃO DA MADEIRA
São João da Madei a is a small municipali y loca ed in no he n Po ugal, and i s municipal
au onomy a ose om he ac ha i is one o he mos indus ialized municipali ies in he egion. In
he beginning o he 20 h cen u y, he ha was he ancho p oduc o São João da Madei a, he ci y was
conside ed as he “Capi al o he Ha ”, bu in a pos -Wo ld Wa II pe iod, when his p oduc ell in o
disuse, he e was a la ge-scale indus ial c isis. None heless, he municipali y was able o o e come he
c isis in he ha indus y by con e ing he old acili ies o Emp esa Indus ial de Chapela ia (EICHAP),
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In some cases, he s o ies a e old in he i s pe son, using he “I”, bu in he majo i y o
he na a i es, he use o “we” p e ails oge he wi h ac ion e bs, se ing as p oo o communi y
in ol emen , as well as collec i e and social memo ies. This con ibu ion may ein o ce isi o
engagemen wi h he e en .
Ha e s, we used o, (…) he e was some hing abou inge s, magic inge s, (…) we can see i he
el was good o weak (…) he e is he ha e ’s science, o assess quali y. Adalcino Salaza , o me
wo ke a Viei a A aújo company. ( aken om he ex in exhibi ion a he Ha Museum, 2019).
As i is commonly he case o nos algic na a i es, ac o y wo ke s end o idealize sociabili y,
communi y and pas union, impo an elemen s o ac o y wo k (Be dahl,1999). Conside ing hese o me
wo ke s e ain in hei memo y elemen s ha anspo hem o he heyday o he labou ing indus y.
“They (a Sanjo) did a lo o hings o England, o he police, (…) police ha s, o men
and women. Adalcino Salaza , o me wo ke a Viei a A aújo company”. (Taken om he ex in
exhibi ion a he Ha Museum, 2019).
I s opped wo king in 1982, because o my eyesigh , bu look, I would s ill gladly pick up my
sample case and I would go ou selling oday. I I could see p ope ly, I wouldn’ mind a all
d agging hese old legs jus o he pleasu e I el in a elling, being wi h o he people and
selling... A u Gomes Bas os, in an in e iew o he newspape “O Regional” (1985). (Taken
om he exhibi ion a he shoe Museum, 2019)
The na a i e h ough es imony is he choice o con ey and o ganize he ep esen a ions o
demons a ions o a speci ic s o y (Figu e 6). They desc ibe he memo y o an indi idual s o y.
“I had o be he e be o e 8 o’clock and I only le when I was allowed”. (Taken om he
exhibi ion a he Shoe Museum, 2019).
Figu e 6 | Ad e ising ma e ial o Shoemake companies.
Sou ce: Pho o by he au ho collec ed a he Ha Museum (2019).

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Howe e , he e is a cons an e e ence o he collec i e, and i is de e minan in his
communi y a i ude a co po a e sense o local agen s in a ou o he ou is imagina y ha hey
wan o p ojec acco ding o expe ience (Almeida, 2018). This is subs an ia ed by he way in which
he emo ions appeal and exis ing in ol emen is p ojec ed, bo h among employe s and employees
and among he wo ke s hemsel es.
The e we e abou 12 pai s a day ... boo ies, u shoes (...). Then we sewed hem. I sewed he
bu ons by hand (...) and o e locked he shoes’ bu onholes by hand oo (...) I would lose
he awls and M A lindo would ell me ha he would sub ac hem om my wages, and I
would immedia ely s a c ying...
Oh no, my dea mo he canno p o ide o us... and he would say: “I’m jus kidding wi h
you”. Ma ia Alice da Sil a Cos a, o me employee o he company A. Soa es Dias (Taken
om he exhibi ion a he Shoe Museum, 2019)
By displaying pho og aphs o he p oduc ion in a eal con ex and o he documen s used a
he ime, hey ma e ialize and objec i y he s o y ha is being old (Figu e 7).
Figu e 7 | Pho og aphic documen a ion o machine y in eal con ex
Sou ce: Pho o by he au ho collec ed a he Ha Museum (2019).
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I should be poin ed ou ha , du ing he isi , he guide highligh ed some aspec s o social
wo king condi ions, alluding o o me wo ke s in o de o aise he social impo ance ha he sec o
had, and s ill has, in he municipali y.
The wo ke s’ ision, p omo ed wi hin bo h museums, Shoe and Ha , is basically he ision o
people who wo k ha d and wi h pe se e ance, highligh ing hei quali ies as good wo ke s and wi h
c a skills, commending he p o essional ca ego y and he a isan p o ession.
The shoe was nailed by hand.
This was when we made capelin (…) ha in he old days he ladies used hem a lo , i
was e y shiny (…) o Lisbon o hose hea es. Adalcino Salaza , o me employee o he
company Viei a A aujo.
Pieces o he lea he come o he skilled hands o he closing ope a i es who will join hem
oge he h ough elabo a e p ocedu es such as s i ching he lining, applying he ein o cing
ma e ials, o pu ing eyele s, i e s, o buckles.
Wo k s a s wi h he quali y con ol o he pieces. Each piece hen goes h ough he
equalizing machine, which e ens ou he hickness o he lea he , he c imping machine,
which gi es he necessa y cu ed shape o he lea he and he ski ing machine, which
educes hickness on he edges o he lea he .
Nex , some o he cu pa s a e gi en a e e ence code applied by p essu e and hea on he
e e encing machine, which iden i ies he shoe size, he e e ence o bo h he las and he
model and he manu ac u ing da e.
Finally, he closing ope a i es sew he a ious pa s acco ding o he s ic sequence
indica ed in he p oduc ion plan.
Now i is ime o he shoe las ing. (Taken om he ex in exhibi ion a he Shoe Museum, 2019).
The Ha Museum eme ges as a way o showing he impo ance o he sec o h ough he
e olu ion o a p ocess, cu en ly, s ill handmade and o incalculable human alue, whe e echnological
and c ea i e inno a ion go hand in hand wi h knowledge and adi ional p oduc ion p ocesses.
This is an op ion shaped by he his o ical impo ance o S. João da Madei a in he con ex
o shoe p oduc ion a a na ional le el and by he physical and symbolic amewo k o
he Museum in a mo e comp ehensi e policy based on cul u e and c ea i i y as local
de elopmen ac o s. (Museu do Calçado, a h p://www.museu-do-calcado.p /, 2019)
Re u ning o he wo esea ch ques ions ini ially posed as an answe o he ques ion “To
wha ex en does he musealiza ion o he communi y’s es imonies and ep esen a ions o he
o me labou ac i i y keep a collec i e memo y ali e?”, i is in e ed ha , in e ec , in a museum con ex ,
in o ma ion on he e olu ion o p oduc ion p ocesses is made a ailable o he isi o s, accompanied by
a na a i e a ound pho og aphs o o me wo ke s o ha ime. Also, we concluded ha he es imonies
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o he p o essional ac i i y long las in he memo y, no only po ayed in he buil and a chaeological
he i age, bu abo e all as a ep esen a ion o communi y his o y and o he in angible a ibu es ha
emain ali e in he iden i y o he place. The in o ma ion o educa ional and social na u e a ha ime
is highligh ed in all elemen s and showing he impo ance o he collec i e memo y o he e olu ion o
a place iden i y, as cul u al landscape and i s in angible alues a e highly ele an in hese p ocesses (De
Uña-Ál a ez; Villa ino-Pé ez, 2019).
I is no ewo hy ha indus ial he i age is in e wined wi h he li e his o y, memo ies, and his o ies
o places, aligning wi h he ini ial con ibu ions (Ticcih, 2012; Vá gas-Sánchez, 2015). In ac , he Shoe and
Ha Museums a e examples o li e his o y showing he his o ical ela ionship be ween he o me wo ke s,
p esen in he es imonies, and showing he wo ke ’s a ec i e ela ionship owa ds he indus y, being
his echoed o he isi o .
Wi h espec o he ques ion “To wha ex en , do di e en in e p e a ions o an indus y
his o y, alida e he same s o y?”, he analysis e eals ha he es imonies, al hough in many cases a e
indi idualized, a e b oad and ep esen a i e o he collec i e memo y, being able o be applied o any
na a i e in he con ex o he indus ies unde s udy, p omo ing abo e all, uni y. This inding is in line wi h
he s a emen o Ma ha and Ko saki (2015) when men ioning ha epu posing indus ial monumen s
ul ils social needs ied o he building’s memo y, ac ing as a es amen o indus ializa ion. I se es as a
na a i e ool, ecoun ing he mode o p oduc ion and wo king condi ions in a ious pe iods and loca ions.
I is by he exis ence o sho indi idual s o ies ha a la ge one is cons i u ed, ep esen a i e o
he municipali y as a place o indus y and wo k and he collec i e his o y o an “indus y wi h people
inside” (Slogan o he Indus ial Tou ism Ci cui s o S. João da Madei a, h p:// u ismoindus ial.cm-
sjm.p /, 2019).
Al hough, in i s genesis, we a e alking abou ac o ies, i is impo an o emphasize ha hese
ac o ies made his o y and oday a e s ill old in he i s pe son. The s o ies a e based on iden i y and
p omo e he image o a des ina ion wi h a ma kedly indus ial cha ac e , aluing, no only indus ial
esou ces, h ough he use o ou ism bu aluing also i s “people”, c ea ing a common iden i y and an
image o a mos a ac i e des ina ion, bo h o he isi o and he esiden .
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CONCLUSIONS AND IMPLICATIONS
CONCLUSIONS
This pape ied o shed ligh on he impo ance o iden i y and collec i e memo y, based on
na a i es and es imonies om locals. I was also in ended o demons a e he dis inc i e cha ac e o he
indus ial cul u e ha helps o p ese e he local iden i y and he image o an indus ialized des ina ion.
We concluded ha because o he social signi icance o he unde s anding o a des ina ion
image and iden i y o he na a i es o en hese o e lap wi h o he eco ds and, a i s , may seem o
less his o ical alue, ne e heless i is a way o highligh ing he signi icance o iden i y and collec i e
memo y, p ese ing local indus ial cul u e and des ina ion image.
Th ough he exce p s analysed, we assume ha isi o s can unde s and he modus ope andi
o he old p oduc ions and ge acquain ed wi h he a chaeological and an h opological indus ial
he i age. Fu he mo e, he analysis o he des ina ion image can use he pas and p esen na a i es
o he indus ies h ough objec s, images, s o ies, and eachings. Based on his assump ion, i is
unde s ood ha he isi o ’s memo able expe iences can also o igina e in s o ies and na a i es o
a local communi y, in his speci ic case, o a s ongly indus ialized des ina ion. I is also no ewo hy
ha he indus ies ecognized as an icon a e ep esen a i e o he local iden i y and cons i u e a way
o keep ali e an indus ial pas and p esen , ep esen a i e o a communi y.
The esul s p o ides insigh in o he impo ance o he indus ies ecognized as an icon o
he local iden i y, ep esen ing a way o keep ali e an indus ial pas and p esen . I is also ecognized
ha collec i e memo ies and s o ies o he local communi y, along wi h angible and in angible
he i age, can add alue o he des ina ion’s iden i y and p o ide memo able expe iences o isi o s.
A e analysing he a o emen ioned na a i es and es imonies, i can be in e ed ha
ou ism and indus ial he i age ep esen he essence and iden i y o a des ina ion ha is p ima ily
cha ac e ized by adi ional indus ies, and possesses g ow h po en ial in Po ugal
The implica ions o his s udy o science, managemen , and public policy a e mani old.
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IMPLICATIONS
The implica ions o his s udy o science, managemen , and public policy a e mani old. In e ms
o heo e ical implica ions,
This esea ch en iches ou unde s anding o he ole o indus ial iden i y in shaping des ina ion
images. Fu he mo e, i adds new pe spec i es o he ep esen a ion and in e p e a ion o he i age, bo h
angible and in angible. Fu u e s udies could build on hese indings by in es iga ing o he des ina ions
and explo ing addi ional dimensions o indus ial iden i y. Mo eo e , esea che s could use a a ie y o
measu emen ins umen s o alida e he indings o his s udy.
Wi h ega ds o manage ial implica ions, his s udy p o ides insigh s in o e ec i e communi y
engagemen p ac ices and echniques o enhancing isi o s’ in e es in a des ina ion. Des ina ion
manage s can le e age he powe o local na a i es and collec i e memo y o c ea e a sense o belonging
and p omo e communi y in ol emen . This app oach can help a ac mo e isi o s o a des ina ion and
enhance hei expe ience, leading o posi i e wo d-o -mou h and inc eased isi o sa is ac ion.
Finally, om a policymaking pe spec i e, his s udy highligh s he impo ance o p ese ing indus ial
he i age and le e aging local na a i es o p omo e des ina ions. Policymake s can use he indings o his
s udy o de elop s a egies o p omo ing des ina ions ha celeb a e hei indus ial iden i y. Mo eo e ,
hey can use he insigh s om his esea ch o c ea e policies ha encou age communi y in ol emen in
p ese ing and p omo ing local he i age.
O e all, his s udy has impo an implica ions o a ious s akeholde s. By highligh ing he
signi icance o indus ial iden i y and i s con ibu ions o a des ina ion’s image p ojec ion, his s udy o e s
aluable insigh s o esea che s, manage s, and policymake s alike.
The implica ions o his s udy a e signi ican o a ious s akeholde s in di e en ields. In
he scien i ic ealm, his esea ch con ibu es o ou unde s anding o he ole o indus ial iden i y in
shaping how des ina ions a e pe cei ed. I o e s new pe spec i es on how he i age, bo h angible and
in angible, can be ep esen ed and in e p e ed. This opens up a enues o u u e s udies o in es iga e
o he des ina ions and explo e addi ional dimensions o indus ial iden i y. Addi ionally, using di e en
measu emen ins umen s can u he alida e he indings o his s udy.

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F om a manage ial s andpoin , his s udy p o ides aluable insigh s in o e ec i e p ac ices
o engage communi ies and enhance isi o s’ in e es in a des ina ion. By apping in o local na a i es
and collec i e memo y, des ina ion manage s can os e a sense o belonging and p omo e communi y
in ol emen . This app oach can ul ima ely a ac mo e isi o s and imp o e hei expe ience, leading o
posi i e wo d-o -mou h and inc eased isi o sa is ac ion.
In e ms o public policy, his s udy emphasizes he impo ance o p ese ing indus ial he i age
and u ilizing local na a i es o p omo e des ina ions. Policymake s can use he indings o de elop
s a egies ha celeb a e a des ina ion’s indus ial iden i y. Addi ionally, hey can c ea e policies ha
encou age communi y pa icipa ion in p ese ing and p omo ing local he i age. This esea ch con ibu es
o he de elopmen o policies ha aim o p omo e des ina ions and engage communi ies e ec i ely.
O e all, his s udy has implica ions o esea che s, manage s, and policymake s. By highligh ing
he signi icance o indus ial iden i y in shaping des ina ion images, i o e s aluable insigh s and p ac ical
applica ions o a ious s akeholde s.
LIMITATIONS AND FURTHER RESEARCH
The main limi a ion o his esea ch is he absence o quali a i e measu emen ins umen s,
such as in e iews wi h museum cu a o s, as well as in e iews wi h o me wo ke s who s ill hold
i id memo ies o he e en s. While he esul s ob ained h ough di ec obse a ion help elucida e
he ela ionship be ween wo ke s and he indus y, and hei colleagues, shedding ligh on he
endu ing impac , u he explo a o y s udies a e wa an ed. These s udies should employ an in-
dep h quali a i e app oach o bols e he e idence ha pas indus ial expe iences shape a social
iden i y oo ed in collec i e memo ies, he eby enhancing bo h angible and in angible he i age.
Ano he limi a ion o conside is ha he s udy was conduc ed exclusi ely in wo museums
in eg a ed in o indus ial ou ism ci cui s, which may es ic i s gene alizabili y o o he egions.
The esea che s op ed o ocus on hese wo iconic indus ial museums in he ci y due o hei
signi ican ep esen a ion o wo k iden i y h oughou his o y, which pe sis s o his day. Subsequen
esea ch will del e in o he pe spec i es o pa ne s wi hin o he indus ial ou ism ci cui s, including
companies o echnological cen es ha ecei e isi o s, enabling a compa a i e analysis o esul s.
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