Academic Presentation about Performance in Tourism


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  • We are social through and through
  • Matreial c. and all that in imples – rights for mobility, etc.
  • 100 pages / I year 1,000 entries The VB is framed by the AHNMS itself (not a research artifact) The book is a monument – Symbolically unmovable, immobile.
  • First, observe the graphic symbolism printed on (all) the pages/stage. Second, observe the inscribed entries as performances.
  • I am asking questions about my research there and my ethnographic stay there. These questions that I am asking are basically epistemological. They reflect a reflexive and critical re-view of my ethnography. The first point here are Authenticating practices, as they are pursued in two institutions and ideologies: national commemoration on the one hand and academic discourse on the other. I’m asking how can my stay there be understood differently.
  • Presence of research equipment (cameras, tripod, technical equipment) – the point is that this is equipment that “ makes ” me the SS I am; it’s not just technical apparatus, it’s part of my role. I execute authority, marking myself from other visitors (situating myself above them in terms of the range of actions and authority that are available to me).
  • They exhibit awareness of my “being there,” which, though trivial in and of itself, helps me re-situate myself there ontologically. לא היה עלי כל סימן או מדבקה שאני " אתנוגראף " ולכן זהותי היתה נתונה שם למשא ומתן ולפרשנות . This and other illustrations shoed me that while I was a researcher, my role and identity there… I know that I was there but who I was there and what my role was is open and negotiable.
  • If I could I would have told the camera to ignore me, but the automaticity of the camera can be its agency . And because unlike other visitors I ignored or tried to ignore the video camera, I looked all the more suspect, walking ghostly across the screen.
  • Thus far I dealt with my “being there” and with re-positioning me—tracing me—there. But the relationship between academic research practices and those of the commemoration museum had similarities.
  • Now I want to talk not so much about writing but about images
  • This is the image at it waspublished, but there’s a story behind this image that is not told, because science isn’t reflexive or embodied. Here we have the disappearance of the “author,” i.e. ethnographer.
  • We can see here twofold embodied traces of bodies: the bodies of the visitors and the body of the researcher The story that’s in the margins . The margins - not the center– tell the story behind the picture. This story – the story of the trivial practices involved in the “making of social science”– does not come to the fore, and is left, as it would be said in tourism vernacular, in the backstage.
  • 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