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Academic Presentation about Performance in Tourism

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Academic Presentation about Performance in Tourism

  1. 1. Performing Tourism: 3 Takes Chaim Noy Workshop CTS iii, Zadar
  2. 2. <ul><li>Performance and Discourse in Tourism: The Narratives Visitor Books Tell </li></ul><ul><li>Epistemologies and their practices: </li></ul><ul><li>A performance approach to ethnography in tourism </li></ul><ul><li>Trans(gressive)-disciplinary attractions: Remakings </li></ul>
  3. 3. Take 1 Performance and Discourse in Tourism: The Narratives Visitor Books Tell
  4. 4. Performance approaches <ul><li>Origin in dramatic, theatrical or dramaturgical appreciations of the social sphere (Goffman, Turner, and many others) </li></ul><ul><ul><li>poststructural </li></ul></ul><ul><ul><li>ceaselessly “on” </li></ul></ul><ul><ul><li>aesthetic </li></ul></ul><ul><li>A few works in tourism </li></ul><ul><li>include Adler (1989) </li></ul><ul><li>Edensor (1998) </li></ul><ul><li>Kirshenblatt-Gimblett (1998) </li></ul>
  5. 5. Tourism stages <ul><li>The essential “assembled” (Latour) social nature of tourism practices and encounters </li></ul><ul><li>The heightened visual architecture of tourist sites, attractions, views (gaze) </li></ul><ul><li>Exchange of capitals </li></ul><ul><li>tourism accomplishes </li></ul>Symbolic/social Material
  6. 6. Potential merits <ul><li>Exploration of actual practices and norms thereof </li></ul><ul><li>Critical research that builds on reflexivity </li></ul><ul><ul><li>turning the gaze </li></ul></ul><ul><ul><li>whose (in)visibilities </li></ul></ul><ul><li>Sensitivity to material settings, technologies of representation, mc, mobility, etc. </li></ul><ul><li>Extension of the stage of tourism to everydayness (“off-tourism” tourism) </li></ul>
  7. 7. Tourists’ Texts project: Pages as Stages <ul><li>Visitor book </li></ul><ul><ul><li>discourse, materiality, ideology, (im)mobility </li></ul></ul><ul><li>War commemorating complex (1975) built on historic battleground </li></ul><ul><ul><li>West Jerusalem </li></ul></ul><ul><ul><li>25,000-50,000 vis. per year (groups) </li></ul></ul><ul><ul><li>Intel. tourists, local tourists and sightseers </li></ul></ul><ul><ul><li>Exclusively Jewish </li></ul></ul><ul><li>Zionist-Militaristic Nationalism </li></ul>
  8. 11. Illustration: Doing heritage 9.8.05 The visit taught us of the difficult battles and of the high and dear cost we paid in blood so that today we would be able to stroll and live in Jerusalem quietly and freely. It was very moving. [The] Shaked Family.
  9. 12. <ul><ul><ul><ul><ul><li>pages as Ideological stages </li></ul></ul></ul></ul></ul><ul><ul><ul><ul><ul><li>pages as Jewish stages </li></ul></ul></ul></ul></ul><ul><ul><ul><ul><ul><li>pages as Nationalist stages </li></ul></ul></ul></ul></ul><ul><ul><ul><ul><ul><li>pages as Memorial stages </li></ul></ul></ul></ul></ul><ul><ul><ul><ul><ul><li>pages as Chauvinist stages </li></ul></ul></ul></ul></ul><ul><ul><ul><ul><ul><li>pages as (picto-)Graphic stages </li></ul></ul></ul></ul></ul><ul><ul><ul><ul><ul><li>pages as (cinemato-)Graphic stages </li></ul></ul></ul></ul></ul><ul><ul><ul><ul><ul><li>pages as Excluding stages </li></ul></ul></ul></ul></ul><ul><ul><ul><ul><ul><li>pages as Collective stages </li></ul></ul></ul></ul></ul><ul><ul><ul><ul><ul><li>pages as Sacred stages </li></ul></ul></ul></ul></ul><ul><ul><ul><ul><ul><li>pages as Subversive stages </li></ul></ul></ul></ul></ul>
  10. 13. Further questions <ul><li>Can a book be agentic? Under what conditions? </li></ul><ul><ul><li>A ctor N etwork T heory (Latour) </li></ul></ul><ul><ul><li>is it a “visitor book”? </li></ul></ul><ul><li>Identifying network, semiotic, (im)mobile performances </li></ul><ul><ul><li>points of entrance/exit, points of exchange, etc. </li></ul></ul><ul><ul><li>political employment and manipulation </li></ul></ul>
  11. 15. Take 2 Epistemologies and their practices: A performance approach to ethnography in tourism
  12. 16. A performance approach to ethnography in tourism <ul><li>Can my ethnographic stint at the site be rendered anew in terms of performance? </li></ul><ul><li>How would this deconstructive move illuminate academic discourse? </li></ul><ul><ul><li>… authentication </li></ul></ul><ul><ul><li>… collecting practices </li></ul></ul><ul><ul><li>… publication/dissemination </li></ul></ul>
  13. 17. (Whose) authenticating practices(?) <ul><li>Reflexivity: Two-times </li></ul><ul><li>Dasein : Re-situating researcher in the “field” </li></ul><ul><ul><li>Dasein of ethnography </li></ul></ul><ul><li>Modes of Being transpire via particular sets of technical and aesthetic practices </li></ul>
  14. 18. Tracing ethnographic presence <ul><li>Presence of research equipment (cameras, tripod, technical equipment) </li></ul><ul><ul><li>Visitors approach the equipment, gaze directly into the’ lends, discuss it meaning with fellow visitors </li></ul></ul><ul><ul><ul><li>the video tape captures instances where I approached visitors, asking them to avoid manipulating the equipment </li></ul></ul></ul><ul><ul><li>Within the spaces of the museum research equipment is interpreted (contested?) as “display” </li></ul></ul>
  15. 19. <ul><li>My embodied presence draws visitors' attention and reactions; visitors negotiate my role: </li></ul><ul><ul><li>A visitor: &quot;Wow! I thought it's a sculpture!&quot; </li></ul></ul><ul><li>My embodied presence is captured by (my own) capturing devices </li></ul>
  16. 20. a b
  17. 21. a b
  18. 23. Collecting practices <ul><li>“ The idea of the museum has become fundamental to collecting practices beyond the museum [which] produce knowledge about objects but also configure particular ways of knowing and perceiving” </li></ul><ul><li>S. Macdonald </li></ul><ul><li>Collecting practices in museums and in (all) social science research </li></ul><ul><ul><li>ideologies, resources, authorities </li></ul></ul><ul><ul><li>collecting, storing, classifying </li></ul></ul>
  19. 24. Documenting ² : Pages in the Window©
  20. 25. Publication: Ideologies of representation <ul><li>Practices of disseminating and representing academic knowledge </li></ul><ul><ul><li>Objectivist and positivist genres of writing (Young) versus </li></ul></ul><ul><ul><ul><li>Autoethnographic, poetic, dramatic, evocative, humorous, etc. </li></ul></ul></ul><ul><li>Present focus on visual objects </li></ul>
  21. 26. Embodied i
  22. 27. Embodied ii F R A M E S
  23. 28. Take 3: Remakings Trans(gressive)-disciplinary attractions
  24. 29. Performative social sciences (PSS) <ul><li>Transforming the social sciences from “scientific paradigms to ethical-aesthetic paradigms” (Guattari) </li></ul><ul><li>PSS is “action that incessantly insinuates, interrupts, interrogates, antagonizes, and decenters powerful master discourses” (Conquergood) </li></ul><ul><li>Doing art of science </li></ul><ul><ul><li>performance ethnography </li></ul></ul><ul><ul><li>Ethnographic films, video installations, etc. </li></ul></ul><ul><ul><li>ethnodrama </li></ul></ul>
  25. 30. Textual Attraction February 08, Be’er Sheva
  26. 33. Performative prospects <ul><li>Expanding creativity (from) within communities of researchers </li></ul><ul><li>Cross-disciplinary collaborations and fertilization </li></ul><ul><ul><li>Can we suggest a dance-for-an-article; a drawing-for-an-article? </li></ul></ul><ul><li>Accessing new audiences </li></ul><ul><li>Witnessing the reception of the “work of art/science” </li></ul>
  27. 34. fin

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