ToSEE – Tourism in Southern and Eastern Europe, Vol. 4, pp. 469-479, 2017 T. Pivac, I. Blešić, T. Kliček: IMPACT ON TOURISM DEVELOPMENT - THE CASE STUDY OF THE ... 469 IMPACT ON TOURISM DEVELOPMENT – THE CASE STUDY OF THE CREATIVE INDUSTRIES CLUSTER OF VOJVODINA Tatjana Pivac Ivana Blešić Tamara Kliček Received 16 May 2017 Revised 12 June 2017 5 July 2017 Accepted 25 July 2017 https://doi.org/10.20867/tosee.04.47 Abstract The purpose – The purpose of this paper is to provide an in-depth understanding of the role that the Creative Industries Cluster of Vojvodina (CICV) plays or could play in tourism development of Vojvodina, the northern Serbian Province. CICV is a unique NGO, umbrella organisation that has a role of a consulting agency in the creative industires sector. It is also the public-private- people partnership (4P) of creative industries stakeholders. Methodology – This paper presents an examination and in-depth analysis of the role and potentials that CICV has on tourism development of Vojvodina. Authors will explore the influence of creative industries on direct and indirect tourism development. Findings – The findings will shed light on the complexity of tourism development in the time of austerity in Vojvodina today, exploring how creative industries influence or could influence tourism development in this particular region and its cities. This study enhances the understanding of how creative industries’ stakeholders from CICV analyze destination images in order to reach a decision on future actions in terms of active tourism development. The findings can also be used to help destination managers define a marketing strategy that would make their destination more attractive by using creative industries. Contribution – This paper represents the first study that examines the role which CICV plays or could play in tourism development of Vojvodina and its cities. Keywords tourism development, 4P, cluster, creative industries, CICV INTRODUCTION Creativity is ‘in’; it is not just ‘hot’, but also ’cool’. Creative cities, the creative industries, creative districts, and creative individuals jostle for the attention of policy- makers, the media and the ‘creative class’ in general. People seem increasingly keen to develop their creative potential, by enhancing their productive or consumption skills, by following courses or experiencing creativity on holiday. Creativity is arguably not just an end in itself, but also a means to develop distinction, economic spin-off and authenticity. In recent studies of urban economies, tourism is often listed as one of the creative industries, and ‘creative tourism’ has been taken up by many destinations around the globe. Creative tourism has been posed as an extension of cultural tourism—at once an adjunct and an antidote to mass forms of cultural tourism and the serial reproduction of culture (Richards, 2011, 1225).