Integrating Western and non-Western cultural expressions to further cultural and creative tourism: a case study

The term cultural industries was coined more than half a century ago, but at the beginning of the twenty-first century, the broader concept of creative industries, covering a wide range of cultural, design and digital activity, captured the imagination of public policymakers at national and city levels. Paralleling these developments has been the recognition of the phenomenon of cultural tourism and, more recently, the emergence of the idea of creative tourism, that is, tourism programmes designed to engage tourists actively in cultural activity. This paper presents a case study of a creative tourism event which took place in 2012 in the City of Manchester in the UK. The festival, which celebrated West African culture, utilised existing cultural institutions of the city and drew on the talents of local and visiting members of West African community to engage not only tourists but also indigenous and Black and Minority Ethnic (BME) residents of Manchester in a variety of cultural activities. It thus used the focus of creative tourism to seek to foster community and cultural development as well as tourism

Picturing the nation : The Celtic periphery as discursive other in the archaeological displays of the museum of Scotland

Using the archaeological displays at the Museum of Scotland in Edinburgh, this paper examines the exhibition as a site of identity creation through the negotiations between categories of same and Other. Through an analysis of the poetics of display, the paper argues that the exhibition constructs a particular relationship between the Celtic Fringe and Scottish National identity that draws upon the historical discourses of the Highlands and Islands of Scotland as a place and a time \u27apart\u27. This will be shown to have implications for the display of archaeological material in museums but also for contemporary understandings of Scottish National identity. <br /

Foucault, the museum and the diagram

Foucault’s work on the museum is partial and fragmentary but provides an interesting opportunity through which to explore issues of power, subjectivity and imagination. Following a discussion of Deleuze’s reading of Foucault and his introduction of the issue of diagram as a way of understanding the discursive and visual operation of power, the paper explores some of Foucault’s work from the period around 1967-9 on the non-relation to explore how he engaged with the question of seeing/saying that Deleuze identifies as a key problematic in his work. Through analysis of Foucault’s discussions of the themes of the outside, heterotopia and the work of the painter Manet, in the context of the museum, the paper explores how power operating through the diagram of the museum allows us to understand the space of imagination as one in which subjectivity is constituted

Digital strategies to a local cultural tourism development: Project e-Carnide

Digital humanities and smart economy strategies are being seen as an important link between tourism and cultural heritage, as they may contribute to differentiate the audiences and to provide different approaches. Carnide is a peripheral neighbourhood of Lisbon with an elderly population, visible traces of rurality, and strong cultural and religious traditions. The academic project e-Carnide concerns its tangible and intangible cultural heritage and the data dissemination through a website and a mobile app, with textual and visual information. The project aims to analyse the impact of technological solutions on cultural tourism development in a sub-region, involving interdisciplinary research in heritage, history of art, ethnography, design communication and software engineering and the collaboration between the university and local residents in a dynamic and innovative way. Framed by a theoretical approach about the role of smart economy for the cultural tourism development in peripheral areas, this paper focuses on a case study, dealing with documents, interviews and observations, in order to understand how the e-Carnide project evolves. The study comprises an analysis about the strengths, weaknesses, opportunities and threats (SWOT analysis) of the project in view to realize its social and cultural implications and to appreciate how it can be applied in other similar and enlarged projects. Results of the research indicates that the new technological strategies can promote the involvement of the population in the knowledge of its own heritage as a factor of cultural and creative tourism development centred on an authentic and immersive experience of the places

Networks or structures? : organizing cultural routes around heritage values : case studies from Poland

The most common way of managing cultural heritage recently takes form of cultural routes as they seem to offer a new model of participation in culture to their recipients; they are often a peculiar anchor point for inhabitants to let them understand their identity and form the future; they offer actual tours to enter into interaction with culture and history, to build together that creation of the heritage, which so is becoming not only a touristic product, but, first of all, the space for cultural, social and civic activity. Yet, so far, according to what we know, the research problem concerning the method of cultural route organization (points on the route) into solid structures or more of the networked nature, has not been deliberated. A question arises, what values are brought by routes and how to organize routes to be the carriers of the values important for communities, where routes are functioning. And, as a consequence, if, from the point of view of the values of local communities, organizing solid route structures or organizing more widely-spaced, network-based routes would bring effects and what those effects would be. Thus, the posed question is of course scientifically imprecise because a network is a type of structure but presents a given direction for the development of cultural route structures. Our objective here is to present a certain solidity and rigidity of structure with dynamic and smooth understanding of the network. The research presented in the article is based on 3 case studies. We have selected for this purpose the three largest cultural routes in Poland, organized to various degrees. The outcome of the research was referred also to other cultural route organization research

A Forgotten Adivasi Landscape: Museums and Memory in western India

This article focuses on processes of remembering, forgetting and re-remembering. It examines a fundamental tension between the project of retrieving an adivasi past, initiated by an adivasi museum in rural western India, and the social and material landscape surrounding it, characterised instead by fragmentation and separation from the identity of adivasi. The article reflects on a collaborative research project between the researcher, young adivasi curators and inhabitants of the area adjoining the museum. It shows how, while curators engaged in a project of recuperation, at the same time, they were distancing themselves from their traditional identity by joining reform movements and new religious sects. Processes of memory and forgetting, however, also co-existed. People held multiple identities and the process of retrieving the past also called for transformation and reform. The article is a timely contribution to debates about adivasi identity, social transformation and religious reform. It also offers a reflection on the new role of indigenous museums and their potential to address a ‘crisis of postcolonial memory’ (Werbner 1998). Finally, it contributes to discussions of methodology with a focus on the collaborative process of collecting and its role in eliciting or preventing certain kinds of memories

Performing like an asylum seeker : paradoxes of hyper-authenticity

This essay investigates performance events that feature actual refugees, asylum seekers and immigrants, but in instances where presence and embodiment are mediated and made ambiguous. My focus is a fashion show by Catalan designer Antonio Miro, who uses refugees from Senegal as models, and Christoph Schlingensief's public art project Foreigners Out!. In different ways and to varying degrees, these case studies exemplify the phenomenon that I call the hyper-authentic - where the authenticity of the subject is partly constructed through the gaze of the beholder. Although the projects in question use real refugees and asylum seekers as performers, exilic voices and bodies are often subordinated to the creative and/or entrepreneurial concepts of the established Western artists. Nevertheless, I would argue that the relationship between performance ethics and efficacy remains ambiguous, making these case studies difficult to dismiss as merely gratuitous