Date post: | 03-Jan-2016 |
Category: |
Documents |
Upload: | alban-carpenter |
View: | 220 times |
Download: | 2 times |
Postmodern Tourism: Staging Authenticity
Catering to the postmodern tourist who– Seeks rapidly changing art/enter-/edutainment– Seeks extraordinary and individualistic experiences– Who expects experiences to be produced but presented as
real – Has not always time to cross the globe to visit.– Who has been socialized into consuming by gazing - the
tourist gaze is demanding
The development of the tourist gaze
Tourist landscapes are ‘consumed’ by the tourist who ‘gazes’ upon them
The idea is of – seeing as discovering– interpreting the seen as aesthetically significant– and determine its difference to the mundane.
The tourist gaze The ‘gaze’ is defined in terms of difference Perceived strangeness (but only to tourist) Exotic, pleasurable Distinguished by semiotics - symbolic icons –
e.g., Eiffel Tower, the Pyramids, Taj Mahal rational work and seeks efficiency
Authenticity The gaze is a construct Tourism as pilgrimage – a quest for the
authentic Authenticity versus ‘staged authenticity’ Staged authenticity protects hosts from
intrusion, yet allows commercial benefits of tourism
Can any form of tourism be totally inauthentic?
Still there:
Capello and Montecchi, the families that Shakespeare turned into the Capulets and Montagues
Evidence is overwhelming:
Shakespeare’s characters are fictitious. Most scholars believe that Shakespeare simply
reworked an old drama by an Italian playwright. Lack of factual basis offset by imagination to fill in
the gaps left by documentation. Entire package tours of tourists insist to see the site
of the most romantic episodes in all of literature – the immortal balcony scene.
Producing the Lake District
Nothing natural about it says “beautiful tourist site”
So how come it is?
Answer: symbolic construction of difference though signs and images and cultural production in general.
The “place myth” in three stages:
Discovery Interpretation (capacity of being in, seeing, and
experiencing the site) Management of the discourse
– What activities are allowed or appropriate– Physical and perceptual capacity– Aesthetic dimensions– Cultural hegemony (of taste, of language, mobility)– Create attractions
Summary History of tourism as the formation of the tourist gaze The patterns of tourism consumption TODAY are
indebted to the forces socializing the tourist gaze. The production of place requires symbolic and
cultural work! Authenticity is a historical and cultural construct. Authenticity as attraction superseded by staged
authenticity as the attraction.– Authenticity is a floating (ie., non-essential) concept