The European Wine Tourism Charter and Its Link with Wine Museums in Spain

Abstract

The European Charter for Wine Tourism (2005) promotes the sustainable development of tourism activities associated with viticulture. The document identifies the active role that wine-growing territories must play in the conservation, management, and valorization of their resources. This study aims to understand the degree of linkage that this Charter establishes with initiatives for the heritage of wine culture, specifically focusing on wine museums in Spain. It examines how these museums contribute to defining a tourism development program, constructing a common strategic vision, and encouraging cooperation between the social and economic agents involved in the territory. As case studies, the Vivanco Museum of Wine Culture (La Rioja), considered by World Tourism Organization (UNWTO) as the best in the world, and the Valdepeñas Wine Museum (Castilla-La Mancha), an example of rehabilitation and musealization in the region with the highest concentration of vineyards in the world, have been chosen. The results show that both museums exemplify management, development, and cooperation in their respective territories, aligning with the theoretical assumptions established in the Charter.

1. Introduction

Wine tourism represents a specific form of tourism that connects the new demands of cultural tourism with the strategies for promotion and economic diversification of the wine sector (Getz & Brown, 2006, p. 147; Pedraja & Marzo, 2014). In 2006, the European Charter of Wine Tourism (ECWT), which we will discuss later, identified it with the development of tourism and leisure activities dedicated to the discovery and cultural and oenological enjoyment of the vineyard, wine, and its territory. Therefore, when we use the concept of wine tourism, we focus our attention on an activity that has an evident identity and heritage value, generating new employment opportunities and proposing new socio-economic perspectives.

In recent years, research on wine tourism has evolved significantly, incorporating a variety of perspectives. Since the early 2000s, the most frequently explored themes have included the strategic approaches of tourist destinations, the roles of key social and economic stakeholders, and the behaviors of visitors (Santos & Moreira, 2025). These core areas have been enriched by additional lines of inquiry. Some studies have focused on the sociological and perceptual profiles of wine tourists (Bruwer et al., 2016; Liberato et al., 2023; Kee & Yen, 2022; Goodlad & Phillip, 2022). Others have examined the active role of vineyard landscapes in shaping the tourist experience, particularly through the lens of Cultural Ecosystem Services (Winkler & Nicholas, 2016; Cañizares & Ruiz, 2020; Bellé, 2022). Further research has highlighted the importance of multisensory experiences in wine tourism (Brochado et al., 2021; Saliba & d’Ament, 2023), the integration of new technologies (Garibaldi, 2022; Correira, 2022; Santos & Moreira, 2025), and the impact of the COVID-19 pandemic on the sector (Martínez-Falcó et al., 2023; Eastham, 2022; Fountain et al., 2022).

The wide range of topics related to wine tourism is well illustrated in the Routledge Handbook of Wine Tourism, published in 2023 (Kumar, 2023). This comprehensive volume explores global wine tourism through various lenses, including market segmentation, the role of wine tourism in regional development, innovative marketing practices, examples of successful initiatives, the adoption of new technologies, and its significance as a sustainable and cultural activity. Despite this progress, further research is needed to better understand the specific resources that shape wine tourism experiences (such as wine routes, museums, wineries, and landscapes) and their socio-spatial connections.

In the sociocultural sphere, wine tourism becomes a new educational resource for raising awareness about aspects associated with the environment, craftsmanship, tradition, and the values of the landscape that are “tasted” as part of a unique, comprehensive, and in-person experience (Martínez Puche, 2014; Baraja et al., 2019). The expansion of wine tourism in recent years has been linked to the enhancement in the quality of wines, supported by various Designations of Origin, vineyard landscapes, and their unique constructions (primarily wineries), as well as gastronomy. This combination of cultural and historical elements serves as “a reflection of the identity of a geographical area” (Rodríguez García et al., 2010, p. 218). Economically, it encompasses a segment of activity driven by trips motivated by the appreciation of the taste and aroma of wines and the traditions of the regions that produce them (Dordio, 2011).

Wine tourism presents excellent development potential in the near future, becoming, alongside gastronomic tourism, the perfect complement to a broader program of high-quality domestic tourism. Turespaña, the public body responsible for promoting Spain as a tourist destination, has made wine tourism a cornerstone of its marketing and promotion plan for the “Spain Brand” in the gastronomic and cultural spheres (VINETUR, 2024). In fact, visiting wineries and accessing local wines can be, along with culture, the main attraction for visiting a region, rather than merely a secondary (or complementary) attraction of the trip (Rodríguez García et al., 2010, p. 218; López-Guzmán et al., 2013, p. 172). Many wine tourism initiatives originate from thematic and regional projects led by local and regional governments. These administrations aim to revitalize their areas by leveraging local wine-related resources and actively engaging key stakeholders, particularly wine producers and tourism businesses.

Since the late 20th century, Spain has begun to culturally value the heritage of its various vineyard landscapes and winery architectures, which have now become spectacles and symbols of refined avant-garde (Yraveda, 2009, p. 119). In fact, some wineries, with heritage value recognized by the National Plan for Industrial Heritage (IPCE, 2011), have become reference museums for their regions. Examples include the former Alcoholera Extremeña in Almendralejo (Badajoz), now the Museum of Wine Sciences, and the R. López de Heredia Wineries in Haro (La Rioja), now the López de Heredia Viña Tondonia Museum.

One of the most effective territorial marketing strategies related to wine tourism is the grouping of wineries, wine shops, museums, tourism companies, and activities around a specific, well-defined, and identity-rich wine landscape that can be explored through a route, generally identified with the territory of a Designation of Origin (D.O.). These agricultural cultural landscapes hold special prominence in Spain (Cañizares & Ruiz, 2022). This strategy aims to integrate the relevant tourism resources and services of a wine-growing region through a varied range of activities and visitable establishments. Among these, “Wine Museums” stand out as initiatives that encompass the territorial, cultural, and heritage identity of tourist destinations, primarily covering three objectives (Acha, 2016, p. 165): I. to be guardians of memory; II. to be distributors of knowledge; and III. to be generators of culture. While culture, memory, and knowledge can be identified in many wine tourism experiences, in this context, they become central and catalytic elements for the rest of the tourism initiatives established in the territory. Museums of this type have also been favored by the rise of the “wine culture” with certain media development, as well as by the possibility they offer of providing new tourist formulas associated with “exploration tourism”, which has a strong didactic and gastronomic cultural component. For some, this is considered a luxury and therefore remains a minority and differentiated experience (Díez, 2005; Elías, 2014), but it is increasingly being established within the structures of territorial development.

Research Approach: The European Charter for Wine Tourism

The interconnection between nature, tradition, craftsmanship, and economic activity allows wine tourism to be interpreted as a sustainable activity. The historical tradition and current vineyard landscapes provide intrinsic environmental values that give meaning to the exploitation and express the conservation of natural resources. The cultural and social values of heritage character generate emotions and feelings within a lived experience, contributing to the respect for the sociocultural authenticity of host communities. Finally, from an economic perspective, the attractiveness of the exploitations is promoted in the medium and long term, without neglecting the productive activities oriented towards the wine market. Evidently, the conjunction of these environmental, social, and economic criteria is not always carried out in the most effective manner. In a context where market-oriented agriculture remains hegemonic, it is sometimes difficult to articulate economic diversification initiatives that faithfully respond to the sustainability paradigm, offering either depersonalized tourist products or experiences that do not duly respect traditions, rituals, or landscapes (Crouch, 2006; Ruiz & Cañizares, 2019).

The commitment of wine-growing territories to sustainable development is evidenced by their adherence to various initiatives or opinions formulated in recent years. One of the fundamental references is the European Charter for Wine Tourism (hereinafter, the Charter). The Charter was signed in Paris in 2006, at a time when the number of tourists linked to the enjoyment of wine and vineyards was nearly 20 million in Europe, and where the expenditure of EUR 1 in the winery corresponded to EUR 5 in the territory, figures that are continuously growing (García, 2008). It began to take shape in 2002 within the framework of the European community project Interreg IIIC-sur VINTUR, in collaboration with the European Assembly of Wine Regions, the European Network of Wine Cities, and Italian, Spanish, and French associations of wine cities, as well as the municipalities of Buhl (Germany), Brda (Slovenia), and Rhodes (Greece). The idea was to offer basic and common standards to preserve quality in all spaces intended for wine production and wine tourism in Europe. The Charter was presented at the III Congress of Wine Museums in Laguardia, Rioja, held in February 2005. It followed the signing of its general principles on 28 March 2005 in Frascati (Rome) and culminated in its formal adoption on 28 March 2006 in Paris, alongside the signing of the Vademecum.

The Charter is founded on the commitment of wine-growing territories (Figure 1) to prioritize the principles of sustainable development, the necessity to foster effective cooperation beyond their immediate areas of action, and the leadership role of wine-growing regions in promoting an authentic “wine culture”. This commitment necessitates comprehensive, accurate, and careful management for the rational exploitation of resources, both ecologically and socially (RECEVIN, 2008). The Charter defines wine tourism at a European level and establishes the lines of participation and cooperation among various stakeholders for its development and self-regulation (RECEVIN, 2006). Consequently, wine-growing territories “must commit to and prioritise sustainable development in terms of the conservation, management, and enhancement of territorial assets, ensuring that they do not harm the survival of other animal or plant species in the ecosystem”. Additionally, territorial and wine-growing resources must be conserved, protected, and managed in the most responsible manner possible, ensuring their availability for both individual and economic use.

In summary, the Charter stipulates that signatories who agree to participate in the development of wine tourism must adhere to the following general commitments:

• To promote wine tourism in accordance with the principles of sustainable development, based on the commitment of the involved agents and tourism and wine professionals, and to establish a local-level strategy in favor of “sustainable wine tourism development”. This entails “a form of development, planning, or wine tourism activity that respects and preserves natural, cultural, and social resources over the long term, while also contributing equitably and positively to economic development and the overall well-being of the people who live, work, or reside in these territories”.
• Helping territories and partners to define their own tourism development program, a common multi-year strategy for the development of wine tourism, as well as a program of activities in favor of the territory and the companies and/or entities associated with it.
• Select a common strategic vision whereby wine-growing areas must promote the exchange of information regarding data, knowledge, management models, technology, and analysis models. To this end, it is proposed to conduct diagnoses both on the needs of the territory (threats and opportunities) for local, regional, or national entities with competencies in territorial planning and management, and on the activity (supply, heritage valorization, etc.) for wine and tourism service companies.
• The commitment to developing cooperation involves adopting a working method based on the principle of intense and loyal collaboration among the agents managing the territory. This principle is expressed in all phases of the definition and implementation of the sustainable wine tourism development program. For the territorial agents, the proposed strategy must be defined and implemented in conjunction with representatives from the wine and tourism sectors, other economic sectors, and the residents of the area concerned, as well as with the authorities. This strategy must be complemented by agreements signed with local partners. Wine and tourism companies, for their part, must commit to reflection and the application of sustainability principles.

The Charter also proposes a series of suggestions and actions for both public managers of the territory and the private sector (companies), highlighting the commitment to differentiating the tourist product and involving socio-economic agents while also emphasizing visitor awareness and loyalty, as well as respect for the environment. In this context, we hypothesize that wine museums could play a significant role in fulfilling these commitments, particularly in defending and appreciating the culture of wine; raising awareness among users through education, interpretation, information, and responsible promotion; and defending and enhancing the natural, cultural, and historical heritage of wine. These initiatives are characterized by being places where the productive system, the human factor, the territory, and the recovery of memory define the lines of work of a tourist territory. However, it is true that only in certain cases are these approaches satisfactorily projected at the level of pedagogical, educational, or research programming, due to various reasons, whether technical, logistical, or economic.

In this context, the objective of this work is to evaluate the degree of alignment or compliance that wine museums, through two representative examples, establish with the principles of the European Charter of Wine Tourism. It emphasizes how they contribute to the definition of a tourism development program and build a common strategic vision, how they favor the defense and promotion of wine heritage, and how they encourage cooperation between the social and economic agents involved in the tourism development process. This approach is innovative because it highlights the value of musealization efforts, not just to enhance a region’s wine tourism offerings, but also as key contributors to sustainability and the preservation of cultural heritage. These efforts go beyond the traditional focus on wineries, which have typically dominated discussions about the potential of tourism activities. A particularly relevant fact is that they are aligned with the Sustainable Development Goals (SDGs), specifically with Goal 11 (Sustainable Cities and Communities) for their contribution to one of its targets: 11.4 Redouble efforts to protect and safeguard the world’s cultural and natural heritage. The case studies will focus on Spain, one of the countries with the longest tradition in the wine sector and the third-largest wine producer in the world, behind France and Italy (OIV, 2023).

2. Materials and Methods

The methodology primarily follows qualitative parameters, mainly based on the consultation of bibliography on the subject analyzed, direct observation, and personal interviews. It has been structured into three phases, represented in Figure 2: The first phase involves the selection of case studies, for which the 36 museums that currently make up the Association of Wine Museums of Spain have been considered. From all the associated museums, two have been selected: the Vivanco Museum of Wine Culture, located in the municipality of Briones within the La Rioja Designation of Origin; and the Valdepeñas Wine Museum, located in the municipality of the same name, within the Valdepeñas Designation of Origin.

The choice of the Vivanco Museum of Wine Culture responds to the fact that it is an exclusively private initiative, which allows us to evaluate both the level of cooperation with the local and regional socio-economic agents involved, and to judge the role of wine tourism in the diversification of income within the business group. For its part, the Valdepeñas Wine Museum responds to an example of a public initiative. Institutional coordination at different levels of action, its role in strengthening cultural identity, and actions to promote sustainability are aspects directly linked to compliance with the principles of the European Charter for Wine Tourism.

In addition, Vivanco Museum is one of the best in the world by the specialized public. The numerous awards and recognitions received over the last twenty years endorse this. In 2004, the year of its inauguration, it received the first prize for the Best International Wine Tourism Project by The Global Network of Great Wine Capitals; in 2007, it was considered the Best World Museum of Wine Culture by the World Tourism Organization; and more recently, in 2017, it won the International Wine Challenge award for Best Wine Tourism Experience. Additionally, it is located within the “La Rioja” Designation of Origin, one of the best-known in Spain, which has an important historical tradition and a strong commercial vocation, accounting for 36.8% of Spanish wine exports.

Currently, it continues to be one of the best in Europe in this typology, along with the Bordeaux Wine City (France), the Museo do vinho do Porto (Portugal), the Santorini Wine Museum (Greece), WINU, the Barolo Wine Museum (Italy) the Pleven Wine Museum (Bulgaria) and the Samos Wine Museum (Greece). The Valdepeñas Wine Museum, for its part, represents the tradition of one of the oldest Designations of Origin in Spain (1932). It is located in the Autonomous Community of Castilla-La Mancha, a territory with the largest wine area and production on a national scale (52% of production and 48% of vineyard area in Spain). In addition to its structural importance, there is a rich historical tradition, evidenced by archaeological remains of wine production from the seventh century B.C. found at Cerro de las Cabezas, an Iberian settlement near Valdepeñas. This crop has been integral to the socio-economic dynamics of the area, and in the twentieth century, Valdepeñas progressively developed into a local production system specializing in vines, grape production, and their transformation into agribusiness (Mecha, 2002).

Both cases reflect the philosophy and themes of the European wine museums mentioned earlier. However, the Vivanco Museum presents a comprehensive, universal approach by concentrating all tourist resources, while the Valdepeñas Wine Museum focuses on heritage appreciation within a region characterized by a high concentration of vineyards and a strong local identity rooted in viticulture. Also, both museums are ideally suited to the initial hypotheses, as they allow us to assess the efforts in pedagogical, educational, and research matters of initiatives already recognized by the wine tourism sector, such as the Vivanco Museum of Wine Culture. They also represent regions of structural importance to viticulture, like Valdepeñas, where the local production system fosters significant environmental, social, cultural, and economic synergies. Additionally, they enable us to evaluate two models of museum proposals: private initiative, as seen with the Vivanco Museum, and public initiative, as exemplified by the Valdepeñas Wine Museum, both operating within a Foundation.

In phase II, a questionnaire is designed based on the principles established by the European Charter for Wine Tourism for both territory managers and companies offering activities related to wine culture. The questions are structured around four main axes:

(1)

Sustainability. As a common link for companies and managers, it advocates for promoting socio-economic development that respects the environment, in line with the precepts of the World Tourism Organization (UNWTO) on sustainable tourism. The questions are based on the guidelines of this organization, addressing aspects such as the conservation of natural resources and biological diversity; respect for the sociocultural authenticity of host communities and the preservation of their cultural assets to contribute to intercultural understanding and tolerance; and, finally, long-term economic viability.

(2)

Tourism development program. The aim is to identify and evaluate participation in the activities organized by the museum in the short and medium term, as well as collaboration in other events held within the Designation of Origin, together with other social and institutional agents.

(3)

Common strategic vision. This reflects and debates the participation of museums in the diagnosis and planning of wine tourism activities in the territory, emphasizing the exchange of experiences, information, management models, and technology between the social and economic actors involved.

(4)

Cooperation with social and economic actors. As mentioned, this involves the development of the tourism program, and the strategic vision based on the informed participation of all relevant socio-economic actors. The questionnaire would also address the existence of local leadership to obtain broad collaboration and consensus. Cooperation is a continuous and dynamic process that requires constant monitoring to introduce necessary preventive or corrective measures.

The interviews are carried out using the “direct interview” format with the heads of the museums. All the information obtained is then compared with two fieldwork visits conducted in October and November 2024 during Phase III of the research. After direct observation of the experiences, the results are interpreted by linking them to the principles of the Charter and other initiatives dedicated to promoting wine culture in Europe.

3. Results

Wine museums arise from the need to preserve the heritage and culture of regions with a strong winemaking tradition. In Spain, the most representative examples are integrated into the Association of Wine Museums of Spain, which emerged in 2005 from previous efforts to establish a national network of wine museums, interpretation centers, and museum wineries. According to the information on its website, the main objective is to “promote the meeting, cooperation, and study of the associated museums and wine thematic Centers, for the promotion, dissemination, and defense of common interests and activities, as well as to promote and disseminate the culture of wine in general and that of each wine region in particular”. Its main activities include the organization of annual congresses, seminars, and symposia that address various topics related to viticulture, contributing to the dissemination of knowledge and good practices. At the same time, there have been other initiatives dedicated to the musealization of wine that are not incorporated into the association due to lack of activity, economic reasons, ongoing reforms, or company policies (Acha, 2016).

3.1. The Vivanco Museum of Wine Culture (Briones, La Rioja)

The Vivanco Museum of Wine Culture is located in the municipality of Briones, in the province and Autonomous Community of La Rioja, adjacent to the former Vivanco Winery. It is a private initiative that originated within the Vivanco family, particularly from the collections that Pedro Vivanco Paracuellos had amassed over time. These collections included objects related to ethnography, machinery, and books on wine since the mid-1970s. His children, Santiago and Rafael Vivanco, expanded these collections with elements of painting, engraving, sculpture, archaeology, decorative arts, literature, music, glass, silverware, numismatics, and philately, among others (Díez Morrás, 2017). This hobby began in the 1960s when collecting was a rare activity in Spain, especially for such a specific subject as ethnographic material, which hardly enjoyed recognition (Vivanco et al., 2014, p. 194). With the presence of the King and Queen of Spain, its inauguration in 2004 marked a revolution in the wine world, becoming the most significant tourist attraction in La Rioja due to the number of visitors (Figure 3).

Additionally, the museum houses an active winery, which introduced a new system in the functional organizational chart, differentiating the visitor route from the work areas (Marino, 2014). Its ultimate objective is to represent the universal culture of wine, not necessarily focusing on specific production areas, although the landscape of the La Rioja vineyard is prominently featured in the museum’s exteriors (Figure 4a).

The museum is part of the Vivanco Foundation, along with the wineries of the same name, the Wine Documentation Centre, and a panoramic restaurant associated with a contemporary oenological project of excellence. Its main resources for visitors are:

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The museum, which occupies a 10,000 m² building, 4000 m² of which is allocated to the exhibition (Figure 4b). It consists of five permanent exhibition rooms and one room for temporary exhibitions, as indicated below. There is also an “experiences” area where emotions and activities are combined around culture, art, gastronomy, flavor, and fun, serving as a meeting point between the knowledge and enjoyment of wine (Vivanco et al., 2014, pp. 195–196). The remaining space comprises the winery, where wines are produced and stored using the latest agri-food technologies (cold room, oak vats, etc.). This is one of the “latest generation wineries”, designed to apply advanced winemaking techniques and ensure precise functionality for the careful handling of grapes and wine (Marino, 2014, p. 80).

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Exhibition rooms and collections: ethnography (machinery and tools for vine cultivation and winemaking, mainly); archeology (wine in ancient civilizations such as Egypt, Greece and Rome); painting (religious and costumbrist works, including artists such as Jan van Scorel and Joaquín Sorolla); engraving (works by Mantegna, Dürer, Rembrandt, Picasso, Miró, Warhol and Lichtenstein); decorative arts (collections of eboraria, terracotta, porcelain, and more, themed around Bacchic mythology); wine service (crockery and corkscrews); and other collections (sculpture and tapestries) (Díez Morrás, 2017).

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The Wine Documentation Center, with more than 9000 monographs published in various languages and among which are some incunabula, 10,000 photographs, 6000 postcards and various collections.

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A tasting room, where one can taste different wines.

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Other sections: warehouses, Department of Didactics and Cultural Action, conference room, shop and restaurant.

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Outside, the Ampelographic Garden, known as “Bacchus’ Garden”, houses a collection of 222 varieties of vines, which is one of its main attractions that few museums have.

The collections also have a strong scientific character, aimed at documenting varieties, conducting research for practical purposes, exchanging plant material between different centers of this type, and training scientific personnel, beyond their informative nature (Vivanco et al., 2014, p. 206).

3.2. The Valdepeñas Wine Museum (Ciudad Real, Castilla-La Mancha)

Located in Valdepeñas, within the province of Ciudad Real, in the extreme southeast of the region of Castilla-La Mancha, the museum is housed in the old Leocadio Morales Winery, dating from 1901 and rehabilitated in 1999 for museography purposes. The building preserves the original structures of the winery and offers a didactic and interactive experience on the evolution of winemaking practices and the history and tradition of the Valdepeñas Designation of Origin. It exemplifies the winery complexes built at the end of the 19th century and the beginning of the 20th century in the wine-growing centers of La Mancha (Tomelloso, Manzanares, Daimiel, Argamasilla de Alba, etc.), typically located within urban centers and near the railway.

This architecture offers a unique typology, repeated in numerous towns: a large access courtyard where the grapes arrive, and different work areas including a grape pressing area, fermentation rooms, and rooms for aftercare or aging of the wine (Peris, 2017). In this case, an impeccable refurbishment enhances the original structure of the winery and creates new functional spaces through contemporary architecture that dialogues with the architectural tradition of La Mancha (Cerceda, 2010, p. 78).

The museum is part of the Valdepeñas Wine Museum Foundation and its main resources for visitors are:

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The museum, which is housed in an old, unused winery from the early twentieth century. It includes a central courtyard with a La Mancha well (Figure 5a), a gabled roof, an unloading dock, scales, chilancos, a jaraíz with presses, and various sections where original farming implements and atrojes are exhibited. Notably, the Nave de Tinajas displays historical machines and utensils for winemaking (Figure 5b). The collections include transfer pumps, presses, tampers, filters, warehouse utensils from the late nineteenth and early twentieth centuries, and trolleys. In the Cubería, you can see where barrels and vats of different sizes were manufactured and repaired, with a collection of objects related to this activity.

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A cellar of jars and its cave that offers the possibility of contemplating an excellent example of a traditional winery.

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Interactive and audiovisual rooms on the history, the physical environment, marketing, culture and wine festivals, especially a room that explores the relationship of the vineyard with literature and painting, highlighting authors such as Antonio Ponz, the Baron of Davalier and the painter Gregorio Prieto.

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The recreation of a didactic laboratory, which includes devices such as acidimeters, breathalyzers and density meters, recreating an old laboratory.

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A wine bar with wines from the Valdepeñas Designation of Origin and tasting room where you can taste local wines.

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A multipurpose room equipped for various events.

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A permanent exhibition of photographs by Harry Gordon on the 1959 harvest in Valdepeñas, reflecting the joy and effort of that time.

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Collection of documents and awards related to wine.

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A library specialized in wine culture.

3.3. Application: The European Charter for Wine Tourism and Wine Museums

In applying the European Charter for Wine Tourism to case studies, we will follow the methodological approach presented above to analyze its suitability in the areas of sustainability, tourism development programs, common strategic vision, and cooperation. We start from the idea that, in the museums analyzed, visitors can learn about the benefits of the product, its cultural richness, qualities, and the unique characteristics of the Designations of Origin. They can also learn about the territory, soils, climates, pruning, grafting, harvests, and machinery (Alonso, 2014). Fortunately, visitors can also learn about the memory of the work of men and women who have cultivated the vine, following a comprehensive approach in which both material and immaterial resources play a leading role.

3.3.1. Application to the Valdepeñas Wine Museum

Starting with the Valdepeñas Wine Museum, sustainability here reflects a balance between the environmental, sociocultural, and economic aspects of the region. This balance is achieved as the museum is part of the Valdepeñas Wine Route, a wine tourism itinerary that unites wineries from various municipalities linked to the distinctive landscape of La Mancha, where the vine has traditionally been one of the main crops.

The museum showcases this traditional landscape through old photographs of the vineyards and social practices such as the grape harvest, complemented by information panels that establish the region’s territorial identity. This sustainability was particularly evident when vineyards were used strictly traditionally, up until the second half of the twentieth century.

From an environmental perspective, the museum offers representative examples of the region’s genetic heritage, especially the Cencibel grape and the Airén variety, which are truly traditional ones, and it also exhibits a collection of bottles. However, due to market demands, other varieties such as Chardonnay, Cabernet Sauvignon, and Merlot have been introduced. These varieties are now part of the landscape heritage, demonstrating that the museum is situated in a dynamic territory that adapts to international market tastes.

Socio-cultural authenticity is fully guaranteed. Not surprisingly, the building corresponds to an old winery from 1901. In addition, the museum’s administration pays special attention to social issues and the memory of work, for example, through Harry Gordon’s photographs of the grape harvest. The main idea is to show visitors what a winery was worked like and what it was like at the beginning of the twentieth century (Figure 6b). Socio-cultural authenticity is also reinforced in the intangible heritage with the museum’s link to the numerous festive events held during the Wine and Poetry Festivals in Valdepeñas, which have been held since the middle of the last century in September and in which local associations also collaborate. It is also especially relevant that most of the resources presented correspond to donations from the wineries themselves, which implies a choice and prioritization of elements, in addition to local support and identity endorsement. In short, the inhabitant of Valdepeñas sees themselves reflected in the museum.

From an economic perspective, the museum receives visitors year-round, although it is clearly seasonal. It has established itself as a mature initiative within the regional cultural offering, with just over 4500 visits in 2024. The visitor profile is predominantly national, although the number of international visitors is increasing, including those from Europe, Latin America (particularly Argentina), and even Australia. Therefore, its economic viability is quite plausible. The conservation of both movable and immovable material resources is part of the museum’s strategy, aiming to avoid overcrowding and ensure a more enriching experience for visitors.

Regarding the Tourism Development Program, it offers a wide range of activities, some of which are organized jointly with the National University of Distance Education (NUDE) or associations such as the Young Friends of Wine of Valdepeñas. These activities include tastings and cultural events in Campo de Criptana, with winemakers like Félix Solís, as well as short story competitions. Additionally, there are activities such as “Don Quixote Innovation”, where talks related to the scientific world are offered, establishing a clear connection with the novel Don Quixote in this area of Castilla-La Mancha. Also noteworthy are the visits to schools in Valdepeñas and other towns, providing diverse experiences.

In terms of the common strategic vision, being one of the main enclaves of the Valdepeñas Wine Route allows for the establishment of common programs, such as the exchange of experiences and participation in “The Wine Train”, where visitors join a train that travels through different wineries, with the museum serving as the starting point of the tour. Additionally, it is worth mentioning the collaboration with the Government of Castilla-La Mancha to organize concerts, charity concerts, concerts for the disabled, and events supporting the fight against cancer.

Finally, cooperation with social and economic agents is optimal, being more stable and fruitful with some agents than with others. This is evident in the public management framework of a Foundation and a mixed Board of Trustees comprising administrations, the city council, and the provincial council. The museum was founded in 1999, with the local initiative of the city council as the main promoter, later joined by the Provincial Council and other public and private entities (Ministry of Agriculture, University of Castilla-La Mancha, Caja Rural). Also noteworthy is the continuous collaboration with the schools in the municipality for educational and didactic purposes while also strengthening local identity. However, there is a certain disconnection with the Designation of Origin due to the absence of valid interlocutors, following the cessation of the D.O.’s Interprofessional operations in 2021 due to a commercial and legal conflict between two large commercial firms operating in Valdepeñas. This conflict has substantially damaged the commercial image of the territory in recent years, despite the identity and cultural strength of wine throughout the Valdepeñas region.

3.3.2. Application to the Vivanco Museum Wine Culture

At the Vivanco Wine Culture Museum, sustainability is initially linked to the itinerary of the La Rioja Wine Route, which forms part of a network of wineries and museums centered around the wine and vineyard landscape of La Rioja, the only region in Spain declared an Asset of Cultural Interest.

From an environmental perspective, the unique genetic heritage focuses on the Tempranillo grape as the primary variety, although other varieties such as Graciano, Grenache, Mazuelo, Viura, and Malvasia are also present. Additionally, there is a commitment to organic viticulture, with over 40 hectares of organic vineyards surrounding the museum, out of a total of 200 hectares cultivated entirely organically. The museum also features a treatment plant that purifies the water used in the winery, allowing it to be reused in the gardens that encompass the entire tourist complex.

In terms of sociocultural authenticity, the museum adopts a global approach, primarily targeting an international audience and aiming to pay tribute to wine, its culture, heritage, and legacy (Figure 7a). However, there is also a dedicated room focusing on the wine industry in La Rioja, indicating an approach that honors local traditions. This concept of the universality of wine has inspired other significant wine-growing regions worldwide to replicate the model, including Georgia (the birthplace of viticulture), Mendoza (Argentina), Bordeaux (France), and a new initiative planned in Verona (Italy). The reinforcement of territorial identity is closely linked to the exhibition of the Vivanco Dynasty collections, which began with purchases and acquisitions in the 1970s, initially gathering the first presses and pumps for display in a pavilion. Since 1999, the museum has evolved to incorporate sculptural and pictorial works and artisanal pieces through private acquisitions (Figure 7b), with a recent strong emphasis on photography.

In the economic sphere, the museum has been receiving approximately 160,000 visitors annually since its opening in 2004, which led to issues of overcrowding and general customer dissatisfaction. This discontent necessitated a change in strategy, focusing on halving the number of visitors to better serve them and enhance the business by incorporating additional services such as a shop and restaurant. Despite the challenges faced following the COVID-19 pandemic in 2020, which required covering all costs related to the conservation of exhibitions and maintenance of security, the winery’s prospects are now improving. The museum has a consolidated offering of around 80,000 visits per year.

Regarding the Tourism Development Programme, specific collaborations are established with certain institutions, such as the Regulatory Council of the Designation of Origin, based on the transfer of some of their art pieces. However, there is a notable absence of a consolidated tourism development program beyond what is offered by the La Rioja Wine Route itself, where private initiatives maintain both formal and informal relations, with the museum being just one of the assets to visit. Museum managers advocate for greater involvement from the Regional Government, which holds the authority over tourism. Similarly, collaborations with the Rioja Designation of Origin are minimal, highlighting the clear commercial focus of such organizations. In the face of public authorities’ passivity, private initiatives have become the primary drivers of wine tourism strategies.

For these reasons, the common strategic vision has important limitations, since there is no wine tourism project for the territory. We insist that the Designation of Origin has a clearly productive or commercial nuance, and that its collaborations are punctual. In this sense, the need for greater awareness of winemakers around tourism activity as an element of economic diversification of the exploitation is underlined. Perhaps, in the future, this situation can improve with the development of a strategic plan for rural tourism that the regional government plans to approve and in which it has counted, at least in its initial phase, on the Vivanco Museum, among others. In fact, this common strategic vision around wine culture is not reflected in active policies on the part of the Autonomous Community of La Rioja, where allocations for wine tourism have remained stable in recent years. The absence of institutional leadership (regional government) and the passivity of the Regulatory Council of the D.O. mean that the strategies are left in the hands of only private initiatives, as we have mentioned above.

Cooperation with social agents is particularly relevant with the local administration. Various events are organized, such as a popular race where the prizes consist of guided tours, and the Medieval Days. Noteworthy is the collaboration with early-childhood education centers, which includes the purchase of books for libraries and educational visits as part of the cultural action program. Finally, it should be noted that the two decades of the museum’s operation have facilitated the multiplication of hospitality initiatives, promoting local development and helping to curb rural population decline as much as possible.

4. Discussion

Currently, the Wine Routes encompass not only wineries but also a diverse array of resources that may be required by the wine tourism traveler. These range from specific visits to wineries to equestrian centers, transport companies, and restaurants. Promoting integrated services around wine has been the primary motivation and driving force for travelers to visit a region (Elías, 2014), which has significantly boosted wine tourism and improved many wine-associated regions (Celestino & Blánquez, 2013). In this context, the processes of patrimonialization related to unique local resources, such as the settlements within wine-growing landscapes, are directly aligned with the Sustainable Development Goals (SDG 11). This alignment is exemplified through musealization initiatives like those analyzed.

The activities proposed by the wine museums not only protect and safeguard the natural and cultural heritage linked to vine cultivation and wine culture, but also contribute to a specific tertiary activity by offering an integral and unique wine tourism experience (Carlsen, 2004; Hall et al., 2000; Gravari, 2014; Baraja et al., 2019). This experience is comprehensive because it encompasses a wide range of activities, from visiting a winery and wine tasting to contemplating the vineyard landscape, where the landscape “assumes a leading role, as the quality of the product is linked to the quality of the place” (Brochado et al., 2021, p. 101), as well as the educational and sensory values that a museum visit entails. The experience is also unique because it is lived exclusively in a specific place, with a distinctive combination of natural and cultural aspects, aligning with what has been identified as terroir tourism (Hall & Mitchell, 2002), where the analyzed museums personify and imbue all meaning. Following the decline in visitors and income during the COVID-19 years (Martínez-Falcó et al., 2023), wine tourism has re-emerged as one of the most attractive rural tourism activities, with a commitment to public–private partnership models (Maduro et al., 2015), scientific rigor (Inácio, 2018), and as a meeting place for a joint experience between “producers with the land, with work, with social actions, with religion or with art” (Elías, 2006, p. 184). The approach we have adopted aligns with the sustainability paradigm proposed in the European Charter for Wine Tourism.

As early as 1995, the World Charter for Sustainable Tourism, signed in Lanzarote, recognized that tourism development should “be ecologically sustainable in the long term, economically viable, and equitable from an ethical and social perspective for local communities” (WCST, 1995). These aspects can only be achieved through adequate planning, which we consider essential for the practice of tourism. This activity is integrated “into the natural, cultural, and human environment”, as stated in the Charter, and contributes to the recognition of “the traditions of local communities, and the support of their identity, culture, and interests”; “the participation of all actors involved in the process at all levels: local, regional, national, and international”; and “the conservation, protection, and enhancement of natural and cultural heritage represents a real cultural, technological, and professional challenge”, among other noteworthy aspects.

We believe that this effort of integration is evident in the museums analyzed, especially when we attempt to appropriately value the conditioning factors derived from cultural heritage. The tradition of local communities and the support for their identity, culture, and interests are fully demonstrated. Additionally, the Global Code of Ethics for Tourism, published in 1999 by the UNWTO, provided a set of principles designed to guide the main actors in tourism development. The aim is to maximize the benefits of the sector while minimizing possible negative consequences for the environment, cultural heritage, and societies. In relation to its 10 articles, tourism in wine museums clearly responds to these principles (UNWTO, 1999):

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It contributes to “mutual understanding and respect between men and societies” (art. 1) through the enhancement of an agricultural activity.

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It is an “instrument of personal and collective development” (art. 2), as well as a factor of sustainable development (art.3), based on adequate planning.

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It is a factor of “use and enrichment of the cultural heritage of humanity” (art. 4), in relation to the agricultural cultural landscapes included in the UNESCO World Heritage List.

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It is “beneficial for the destination communities” (art. 5), in which tourism activity contributes to completing incomes, generally linked to the primary sector, and boosts local economies.

In response to a more recent and relevant document, approved at the World Summit on Sustainable Tourism+20, held in Vitoria, Spain, in 2015, the World Charter on Sustainable Tourism+ proposes that wine tourism contributes to the respect and enhancement of “traditions and local knowledge” (WCST, 2015). It also promotes “the full participation of local communities (…) in the decisions that affect them in tourism development projects”, as evidenced by the wide range of activities organized by the museums. This document emphasizes the transversal nature of tourism, constituting “a driving force of cultural heritage, the arts, and the cultural and creative industries, in accordance with UNESCO’s cultural conventions and its operational guidelines”.

In summary, wine tourism should include all stakeholders, empower local communities, facilitate planning, maximize economic benefits, and preserve its values by assessing threats, risks, opportunities, and carrying capacity. It should also promote educational and outreach activities. Particularly important, in relation to the subject matter, is the attention the Charter pays to a key issue: “preserving our common heritage”, based on the idea that “tourism can and must strengthen the decisive role of heritage, both tangible and intangible, in contemporary society, consolidating identity and cultural diversity”. These aspects are widely considered in the museums under study.

5. Conclusions

Wine museums have fostered the development of wine tourism strategies that value both the tangible and intangible heritage linked to viticulture. The results of these initiatives confirm their potential to not only enhance the territorial identity of the producing areas, but also promote their tourism development within a wine route, offering unique experiences with a distinct territorial character. The Valdepeñas Wine Museum exemplifies a commitment to cultural authenticity within the consolidation of a local production system centered around wine. This system, based on public initiative, brings together a diverse group of local entrepreneurs with varying entities and commercial aspirations, establishing a robust network of business synergies. This has turned Valdepeñas into a hub of viticulture and wine tourism. In contrast, the Vivanco Museum of Wine Culture demonstrates a universal projection and approach, leveraging the cultural assets of its permanent exhibitions and the extensive catalogue of collaborations and cultural activities it develops annually. This museum, a private initiative by a family of winegrowers, highlights the significant role of private enterprise in promoting wine culture.

We consider the alignment of both initiatives with the sustainability principles of the European Charter for Wine Tourism to be important for three essential reasons: first, for their optimal integration into officially recognized wine routes; second, because sociocultural authenticity is demonstrated through the territorial identity that sustains their exhibitions or the compilation of art collections featuring wine as the protagonist; and third, for the involvement and cooperation with social and economic agents within the territory, particularly the collaboration with local administrations. These initiatives act as engines and showcase for their respective producing areas. In this regard, a comparison between the perspectives of museum managers and those of the political actors involved (more readily observable at the local level) would have been desirable.

This level of cooperation is more challenging to verify with Designations of Origin that are either commercially focused (e.g., DO La Rioja) or not operational (e.g., DO Valdepeñas). The collaboration with the regional government is appropriate in the case of the Valdepeñas Wine Museum but more controversial for the Vivanco Museum, pending the drafting of the Strategic Plan for Rural Tourism.

Future research should focus on the necessary inventory of heritage resources of real estate nature. This inventory will allow, based on their importance, for the conversion of these resources into new museums or cultural facilities that enhance the wine tourism offerings of the producing areas and improve territorial articulation. Both the Rioja Designation of Origin and the Autonomous Community of Castilla-La Mancha currently possess active and varied resources that could be utilized for this purpose. Another interesting line of research would be to analyze the perceptions of other social and economic actors involved in wine tourism (such as tourists, business owners, and public administrators) regarding the territorial impact or sustainability of this type of museum. This would involve broadening the theoretical framework and refining the research questions within the context of a wine route, for example.