Thesis-The-Search-for-Identity-through-Everyday-Life-Renske-Dalmijn

The Search for Identity through Everyday Life:
‘ Exploring Places by means of Contemporary Art and Tourism’

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The Search for Identity through Everyday Life:
‘Exploring Places by means of Contemporary Art and Tourism’
Thesis Report written by:
Renske Dalmijn, student at NHTV Breda University of Applied
Sciences, Bachelor Degree of International Tourism Management
and Consultancy
Under the supervision of:
Ariane Portegies, NHTV Breda, the Netherlands
I hereby declare that this thesis report is wholly the work of
Renske Dalmijn. Any other contributors or sources have either
been referenced in the prescribed manner or are listed in the
acknowledgements together with the nature and the scope of
their contribution
June, 2010

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PREFACE
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This thesis report is made in reference to my study International Tourism
Management and Consultancy at NHTV, Breda. By means of contemporary
art and the phenomenon upon itself, this study will attempt to open up the
ethical debate about questions that are related to tourism. Next to that, these
questions are also all related to identity.
I have always been interested in the relation between art, tourism and
identity. My former background as an art student has unconsciously been the
drive for the creation of a visual product next to this written thesis report. As
a tourism student I have also felt the need to work within several areas of the
contemporary art phenomenon.
I have assumed that the research by means of contemporary art would lead to
new insights in the tourism phenomenon. This unconventional wish has
therefore been accompanied by certain risks. I have felt restricted by only
taking an academic way of looking upon tourism into account, which into my
feelings misses the connection with the ‘everyday’ life. I felt that
contemporary art was the suitable way to be able to translate this
philosophical study topic ‘identity’ in tourism and art into something that can
be easily applicable within the daily lives of the viewer-reader. In that way
risks were involved, but many opportunities automatically returned. Another
motivation was to gain personal knowledge about my own capacities within
the field of filmmaking. This goes beyond the making of a thesis report. With
this visual product I hope to create enough potential credits for the making of
a documentary.
I would like to express my gratitude to my supervisor Ariane Portegies for
her guidance, enthusiasm, and support at times of downfall, the many
interesting conversations at interesting existing and non-existing places, her
advice, flexibility, and her faith in me. I am genuinely thankful for her
guidance through this thesis process.
Furthermore I would like to thank Margiet Kemper, Ad van Rosmalen, Jaap
de Vries, and Marius Boender for their willingness to share their views upon
this thesis topic and effort made to introduce me to other people active in the
field of contemporary art.
Last I would also like to thank my teachers; Vincent Platenkamp, Ray Boland
and Jeroen Hol for their support and encouragement during this thesis
process.

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EXECUTIVE SUMMARY
Introduction
By means of contemporary art and the phenomenon upon itself, this study
will attempt to open up the ethical debate about questions that are related to
tourism. Next to that, these questions are also all related to identity. Firstly,
art and tourism will be looked at as phenomena on itself; secondly, the way
people practice this phenomena will be used in search for identity.
The purpose of this study is not to define the meaning of identity, rather
threat the subject in an explorative way by researching how identity is
expressed in the area of tourism and contemporary art. This will lead to new
ways of seeing the art and tourism phenomenon.
This study will contribute to cultural understanding and to a new way of
seeing the ‘self’ and ‘other’. By combining contemporary art and tourism, this
study will help searching for new ways of seeing the tourism phenomenon.
It can be suitable for anyone that asks himself or herself the question ‘who
am I?’ Furthermore it can specifically help tourism professionals and artist
reflecting upon their working field. By representing the current influence and
power of contemporary art, this study will also represent another way of
seeing upon itself.
The leading research question throughout the research report will be:
How does contemporary art help us thinking about our current
worldview upon identity and in which ways is this represented in
tourism?
The main research question will be treated by the following sub research
questions:
1. Identity, Theory and Daily Life: Who is the self and the other?
And what does this theoretical analysis mean in daily life?
2. Identity Represented in Tourism and Art: How is Identity
represented in tourism and art?
3. The Research of a Place: How can contemporary art reflect
upon the tourism phenomenon?
4. Conclusions: How can this help people approaching the tourism
phenomenon?

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In addition to this research questions, the writer will also explore upon the
topic identity by means of a visual research into a case study. This includes
the visual representation of a tourism destination by means of film and
photography, which will be presented to the reader at the end of August at
NHTV Breda.
Methodology
This study asks for an explorative approach.
Next to the conventional methods such as desk research, field research and
unstructured interviews, the writer has also used more unconventional
methods.
The outcome of this study will exist out of two products; the first will be in
form of a thesis report. The second will be a visual representation of the
research. This product serves as an integral part of this research study and
will be presented to the reader upon invitation.
Thesis Report: The theoretical background of this study provides
sociological and philosophical perspectives of the question: what does identity
mean in current times? This theoretical background will specifically
introduce the concept ‘Self and Other’ and relate this to current issues going
on in the world. Next to that, contemporary art works are used as tools to
reflect upon the mentioned research questions. Therefore this thesis report
will represent a collection of contemporary art works including paintings,
sculptures, photographs and novels from which the interpretation helps
finding answers on the way people deal with identity. This again will lead to
new insights in the tourism phenomenon.
Visual Research: The creation of a visual product includes the research of
a place by means of photography and film. For the making of this visual
product, the writer has been going through a creative process. Activities
performed included: Broad and narrow field research, collecting advises and
performing organizational tasks.
Following lectures has inspired the writer and unstructured interviews took
place with artists, philosophers, students and conversations people in the
writer’s own social surrounding. This visual research serves as preparation
for the making of a documentary.
The research of a place by means of film and photography intended to oppose
the current limiting view within the tourism field. It attempts to connect with
other study fields such as science and contemporary art, but it also intends to
reconnect and be applicable to the everyday life.

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The discussion that is planned to take place based upon this research is an
attempt to break through the current disconnection of tourism studies with
other study fields.
Conclusions
From a theoretical, sociological and philosophical perspective one can
conclude that identity is shaped by means of ‘the other.’ One cannot define
‘the self’ if there is ‘no other’. Although some theorists suggest that identity is
shaped by interaction with ‘the other’ it does seem that people in current
society very much alienate from each other. As if it is only a search for the
differences between people.
By researching the notion for uniqueness and the search for authenticity one
can conclude that within the tourism and art field the way of thinking is
based upon differentiating the self from the other.
Also within marketing strategies, promotion folders, tourism studies and
travel literature, the ways of seeing is based upon looking for difference. Even
the tourist himself is classified into tourist types and seen from this
perspective of difference.
By looking at ‘sameness’ within people, fear will disappear and a world of
adventures will be opened up. One is looking for recognition, for confirmation
of the self, one can find that in everyone. Whether this is an ideal can be
questioned.
In the specific case of Neeltje Jans Attraction Park taken as tourism case
study, the visual research contributed to the development of this other way of
seeing.
The research of a place by means of film and photography intended to oppose
the current limiting view within the tourism field. It attempts to connect with
other study fields such as science, and contemporary art, but also to
reconnect and be applicable to the everyday life. The making of this research
has touched upon a new perspective. It is an interpretation of a place. The
discussion that is planned to take place based upon this research is an
attempt to break through the current disconnection of tourism studies with
other study fields and hopes to enrich the ways of seeing within the tourism
phenomenon.

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TABLE OF CONTENT
EXECUTIVE SUMMARY((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((( $!
Chapter 1: Introduction, Methodology & Thesis Structure(((((((((((((((((((((((((((((((((((((((()*!
1.1 Introduction((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((()*!
1.2 Methodology (((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((()+!
Introduction ((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((()+!
Thesis Report(((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((()+!
Visual Representation of the Research into Art, Tourism and Identity((()"!
Preparation for the making of a documentary ((((((((((((((((((((((((((((((((((((((((((((((((((((((((()%!
Limitations and Opportunities (((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((()&!
1.3 Thesis Structure ((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((()'!
Chapter 2: Theory and daily life: Who is the self and the other? (((((((((((((((((((((((((((),!
2.1 Is the Identity shaped within the Individual, by Society or Both?((((((((((((((((),!
2.2 Identity and Globalization((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((+*!
2.3 Identity Crisis?((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((++!
2.4 The desire for belonging(((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((+"!
Chapter 3: Identity represented in tourism and art(((((((((((((((((((((((((((((((((((((((((((((((((((((((+%!
3.1 Body, Identity & Art(((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((+%!
3.2 Fashion and Tourism, an expression of individualism?((((((((((((((((((((((((((((((((((((((("*!
3.3 Tourism, Art and Beauty(((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((""!
3.4 Looking for the authentic(((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((("#!
4.1 Motivation for the visual representation: In search for the relation
between Art, Tourism and Identity(((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((("'!
4.2 The research of a place by means of film and photography(((((((((((((((((((((((((((((((#+!
4.2.1 Process of Activities((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((#+!
4.3 Visual Research of a place, Destination Neeltje Jans (((((((((((((((((((((((((((((((((((((((((((##!

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4.4 The gaze within tourism and film; looking at ‘otherness’ (((((((((((((((((((((((((((((((((((#$!
Chapter 5: Conclusions(((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((#&!
References(((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((#,!
Appendices(((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((($$!
Appendix 1: List of documentaries & TV programmes:(((((((((((((((((((((((((((((((((((((((((((((((($%!
Appendix 2: Exhibitions and names of artists(((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((($'!
Appendix 4: Rough script film team(((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((%+!
Appendix 5: New idea made together with artist(((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((%%!
Appendix 6: Contribution visitor((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((%'!
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Chapter 1: Introduction, Methodology & Thesis Structure
1.1 Introduction
The artist of today can represent a living example of someone who tries to
communicate in a different way, like the tourist who does not speak the local
language. The strength of an artwork lies in the process of interpretation,
just like the interpretation of a place one has never been before.
Rather then a verbal message outspoken, the artwork attempts to
communicate in other forms then the usual verbal communication.
Art is an ability to use other forms of thought. It opens up for ethical debates.
It questions our behavior. This other forms of thought are powerful learning
tools to shape this study about identity. Art has power to touch people’s
feelings.
So can it also open up an ethical debate within the tourism phenomenon?
Underneath the surface contemporary art and tourism are interrelated:
Contemporary art and tourism could be named two ‘phenomena’ that shape
the way we live. Both can be experienced as providers of new perspectives
upon life by creating or experiencing new interpretations of the world we live
in. The artist creates a new world vision by transferring feeling into an
artwork. The tourist is faced with new world visions of others by means of
traveling.
The tourist and the artist both (conscious or unconscious) reflect upon their
own culture and themselves. By traveling, the tourist will meet new people
and experience what he has not seen before.
These new people could be distinguished from the tourist and be named ‘the
other’.
The encounter with 'the other' makes the tourist think of whom he is himself.
While looking and gazing at ‘the other’, is he looking for ‘otherness’ or does he
also look for recognition? And what is then actually this ‘otherness’?
Distinguishing or not, the tourist will reflect upon what he is experiencing.
A same sort of reflection can appear by the experience and the creation of
contemporary art works and the relation between artist and visitor. Art
touches people, and makes people think. Every person has his or her own
preferences and interpretation. Even within the person, the interpretation
might change or be multiple. One might feel happy, sad, frustrated, confused
or any other feeling might arise by the experience of an artwork, by viewing,
something will happen.

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What happens with these interpretations? And what happens in a time where
different worldviews so strongly mingle with each other?
By the means of contemporary art and the phenomenon upon itself, this
study will attempt to open up the ethical debate about questions that are
related to both contemporary art and tourism. Next to that, these questions
are also all related to identity. Art and tourism will be looked at as
phenomena on itself; secondly, the way people practice this phenomena will
be used in search for identity.
The leading research question throughout the research report will be:
How does contemporary art help us thinking about our current worldview
upon identity and in which ways is this represented in tourism?
To answer this question the following questions were treated:
Who are the self and the other? How are theories about self and other
expressed in daily life?
How is identity expressed in the tourism and contemporary art phenomenon?
How can contemporary art reflect upon the tourism phenomenon?
How can the above mentioned questiones help people approaching the
tourism phenomenon?

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1.2 Methodology
Introduction
This study asks for an explorative approach.
Next to the conventional methods such as desk research, field research and
unstructured interviews the writer has also used more unconventional
methods. Therefore patience and openness for new ways of seeing and extra
effort is asked from the reader.
The outcome of this study will exist out of two products; the first will be in
form of a thesis report. The second will be a visual representation of the
research. This product serves as an integral part of this research study and
will be presented to the reader upon invitation.
Thesis Report
The theoretical background of this study includes philosophical and
sociological perspectives of the first sub research question: who is the self and
the other and how is this related to current issues going on in the world. This
forms the starting point of this thesis research.
This theoretical background study is based upon books found in the NHTV
Library and Breda Public Library. The academic articles used for this
background are searched via the database of the NTHV Library Catalogue.
SCIENCE Direct, SAGE Journals online, Hospitality and Tourism complete
(EBSCO) have been the main databases used for the search of the articles1.
To be able to reflect upon this basis created and relate this to current issues
going on in the world, further desk research is used and unstructured
interviews were done with philosophers and artists to gain a deeper insight
into the topic. In attempt to gain deeper understanding of people’s daily life
thoughts about ‘identity’ desk research in form of Internet blogs took place.
The use of documentaries has also been a very important inspiration source
in attempt to understand what identity means in current times. The writer
refers to appendix 1 for an overview of the documentaries watched.
Field research in form of observation in (semi) public places such as the gym,
hospital, train stations, parks, cafe’s and conversations with people in the
writers own social surrounding have been other useful information sources to
relate this topic to current times.
Secondly contemporary art works are used as tools to reflect upon the
research question. Therefore this thesis report will represent a collection of
contemporary art works including paintings, sculptures, photographs and
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1 See References

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novels from which the interpretation helps finding answers on the way people
deal with identity. This again will lead to new insights in the tourism
phenomenon. A Google image search, visits to exhibitions (both physically
and virtually)2, visits to websites of artists, and visits to galleries have lead to
the collection presented in this thesis research.
Within this thesis research the reader is also invited to watch several film
fragments, art works, and other visual products in combination with poetry
that have all contributed to insights into the research question. Out of respect
for the artist, the writer prefers to refer to the website of the artist.
This method can be compared to a method named ‘Virtual Curating’
(mentioned in Tribe 2008) which assumes the role of tourism art curator.
Tribe explains the following about the method:
“Virtual Curating can be seen as the extension of content analysis and
discourse analysis. In this case the texts are works of art and virtual curating
elaborates and evaluates a method for using these works to understand
tourism”
Visual Representation of the Research into Art, Tourism and
Identity
The creation of a visual performance includes the research of a place by
means of photography and film.
This visual product serves as the preparation for the making of a
documentary, but can be already seen as a useful insight into a perception of
a place from a tourism perspective. The visual product will suggest a ‘slow
way of looking’; this can help looking upon how tourism destinations can be
seen and treated.
The thesis report and the making of the visual representation are
interrelated. This visual can be watched independently from reading the
thesis, but the making of it was strongly interrelated to the writing of this
work. The preparation for the visual research has also served as an
important part for the research done for this thesis report and will be further
explained in paragraph 4.2.2
For the making of this visual product, the writer has been going through a
creative process. This has happened rather unconsciously; nevertheless many
inspiration sources are used for the development of this product.
The activities performed to get to this point are explained below (in
chronological order) to show the reader the creative process in which the end
product has developed itself. Some of the activities can be seen as sketches,
some as research into the topic
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For exhibition names see appendix 2!

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1. Broad Field Research:
Several public places have been visited and the daily life of people has
been observed. Reflection took place upon how a place can influence
the attitude of people. The places visited are all public places or semi
public places. They include:
! Hospital Langedijk Breda
! Fitness First Gym Breda
! Train stations: Breda Central Station, Leiden Central Station and
Den Haag Holland Spoor
! NHTV Breda
! Coffee bars: Latte & Literature Breda, Inspire Breda
! Bars: Café Parc Breda, Café Bruxelles Breda, Café de Bommel
Breda
! Parcs: Mastbos Breda, Valkenierspark Breda
! Other: Brabantplein Breda, Shopping street Breda, Grote Markt
Breda
2. Following lectures:
To gain insights in current view upon visions of art and the artist
function in society lectures were followed. These were the following:
! Fonuys Hogeschool voor de Kunsten (FHK) Tilburg
Studium Generale: Art as Science or Science as art?
Huiskamp,J (Technical University of Eindhoven)
Vrijdag,H (De ondekfabriek Eindhoven)
Van Driel, H (University of Tilburg)
Date: May 17, 2010
! NHTV, University of Applied Sciences, Breda
Lecture: ‘Self and Other’
Platenkamp,V. (NHTV, Breda)
Date: February 22, 2010

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! Chasse Cinema Breda
Lecture: the making of a documentary
De Jong, J (Film lecture: Nederlands Film Institute voor Film
Educatie)
Lecture: reflection upon the documentary ‘Hemels Bewegen’
Conijn, W (Filmmaker and director of the documentary:
‘Hemels Bewegen’)
Date: June 22, 2010
3. Seeing other documentaries:
The writer has analyzed and used documentaries as inspiration
source: Between November 2009 and June 2010 a number of 30
documentaries are watched A selection of these documentaries3
have been analyzed from several points of view; firstly, how can the
content of the documentary help exploring upon the topic identity?
Secondly how is the documentary made? And thirdly, what would I
do differently in the making of a documentary myself?
4. Organizational tasks:
This included approaching people: artist, students, philosophers
and people out of the writers own ‘everyday’ life for the creation of
this product. Different briefs with explanation of the idea for the
visual research were made4.
5. Unstructured interviews:
Unstructured interviews and email conversations with artists5 and
philosophers took place. The people spoken to:
Marius Boender (Artist)
Jaap De Vries (Artist)
Stuart Forster (Freelance Photographer)
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3
See list of Documentaries appendix 1
4
See Appendix 3!
5
See appendix for websites artist

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Magriet Kemper (Art curator and Artist)
Ad van Rosmalen (Coordinator Master of Visual Arts and Artist St.
Joost Academy)
Vincent Platenkamp (Philosopher and Tourism Teacher)
Petra Vogler (Philosopher and Film maker)
The questions discussed were as follow:
Who is the artist?
What is the current role of an artist in society?
What could be the role of art in society?
In what way is tourism connected to art and visa versa?
Why are there tensions between the art and science field?
Why are there tensions within the art field?
6. Collecting advises:
Asking filmmakers for advice:
In a time period of four months, the necessary information has
been gathered to gain knowledge in the making of a film. Names of
the people approached:
Petra Vogler (Filmmaker)
Wout Conijn (Filmmaker)
Robert Schnoor and Ian Schildkap (International Media and
Entertainment students, NHTV Breda)
Further explanation of this visual product can be found in chapter 4 of this
thesis report.
Preparation for the making of a documentary
As mentioned above, the visual product will eventually lead to the making of
a documentary. To gain experience and knowledge in the making of
documentaries the writer has:
- Set up a cooperation project with students from media and
entertainment. Within this project the writer has been gaining
experience within the role of the ‘director’ of a documentary. A
team of students has been made and an extensive study
research and the necessary tryouts have formed the ground

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layer for the preparation of the making of a documentary.
- Made try outs of the some of the broad ideas explained. Raw
material of the ideas produced is explained in 4.2.2. The film
equipment used for this experiment has been rented from the
NHTV service desk.
Limitations and Opportunities
The making of the two products is new and explorative. The writer has
assumed that this would lead to new insights into the tourism phenomenon,
being not totally shore if it would beforehand. Therefore it has been a
research full of intensive ups and downs. The deeper the ‘downs’ the higher
the ‘ups’ have been. Below some of the points described:
The lack of technical knowledge in filmmaking has caused a loss of valuable
film tryouts. This has also meant the loss of valuable research material.
The writer has no experience with filmmaking. This has been a limitation as
well as an opportunity for openness, not limiting myself towards to use of
professional film equipment.
People are cooperating on voluntary basis. Due to that the writer has
experienced a lack of a sense of responsibility within the preparation for the
documentary.
The writer wanted to explore in new ways of doing research. An inner need
was felt to do this with the help of visual research. By the fact that this is an
unconventional method within the tourism field, many people involved within
this research needed to be convinced of the value and purpose of this study.
This has lead to challenges concerning the communication with people.

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1.3 Thesis Structure
The content of this thesis report has the following logic:
Chapter 2: Theory and daily life: Identity, Who is the Self and
Other?
This report will start off with providing an academic background of the first
sub research question. This includes sociological and philosophical insights
into the research question: ‘Is Identity shaped within the individual, society
or both?’ accompanied with an introduction into the topic ‘Self and Other.’
In the second part of this chapter this question will be related to current
issues going on in the world: the topic ‘Identity and Globalization’ will touch
upon the influence a ‘network society’ has upon the shape of the identity.
Then the writer will give insights into the current feeling and questions: have
people lost their sense of belonging?
Chapter 3: Identity Represented in Tourism and Contemporary
Art
Via contemporary art and everyday thoughts of people about identity, this
chapter explores upon the question how identity is represented in tourism
and art. The subjects;body, beauty, fashion, individualism, authenticity, will
be related to both tourism and art. This in return will give insights about the
current thought upon identity. Websites of artist and viewing Internet blogs
of people are recommended to gain further insights into the topic. This
chapter will treat the questions: What is the relation between identity and
the body in current times? What do fashion and tourism have in common?
Why do people seek for ‘authenticity in tourism and art? And where does are
drive to create beautiful things come from?’
Chapter 4: Art To Do: Being in Search for a Place
This chapter will introduce the visual representation of the research on art,
tourism and identity. Firstly the motivation behind the making of this visual
is explained. Then the goal of making the visual research is explained and
activities performed that have been leading to the representation are broadly
explained. The activities explained will automatically lead to the explanation
of the motivation behind the creation of a visual representation.
Chapter 5: Conclusions
This chapter presents the conclusions of this thesis study.
Reading suggestions: I have chosen to refer to artist’s websites. Due to
the character of this thesis study, which wants to invite the reader to a visual
experience it may be useful to take notice of the following: Ideally, the reader
should have access to internet to these sites simultaneously to the reading of
this thesis report.

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Chapter 2: Theory and daily life: Who is the self and the other?
Introduction
Identity is a subject discussed in many ways. It is a rather ambivalent subject
as the meaning is not clearly defined. Many sociologists and psychologists
have attempted to explain identity by providing frameworks, based on the
research of human behavior.
The following chapter will discuss some of these ideas and combine these
with current issues going on in the world. Firstly an insight of an academic
view gained upon ‘identity’ theories will be explained and secondly tries to
give a view upon the current discourse about identity within this time. What
does the term mean in current times?
2.1 Is the Identity shaped within the Individual, by Society or
Both?
The frame where in identity is conceptualized differs among social
researchers in the first place and demands research which lays beyond the
time set for this study as a tourism student. Therefore the explanation below
provides probably a basic in (western) psychological and social views about
identity.
Most current western sociologists have based their identity theory upon
Charles H. Cooley and George H. Mead.
Cooley came up with the concept of ‘Looking Glass Self’. (G.H Mead (1934)
and C.H Cooley (1931), sited in Coleman 2007). Within this concept the term
‘identity’ makes a connection between the reactions of a group and the
reaction of an individual. Cooley suggests that the way people think about
themselves is shaped by the opinions of their social surrounding. The views of
a person’s own identity matches the view of the social surrounding of that
person’s identity. The ‘Symbolic Interactionalism Theory’ from George H.
Mead (1934) furthers this idea. Mead used two terms; ‘the mind’ and ‘the
self’. Mind and self are both brought up by the social interactions with others.
With ‘the mind’ the individual is able to understand social symbols that are
used in interaction with others. The mind develops due to the repetition of
these social symbols. ‘The self’ indicates an understanding an individual
creates of how others respond to him by being able to replace in the other.
(Mead; 1934 sited in Coleman; 2007)
Most researchers have started from this idea of Mead and further developed
identity theories based on that.

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Tjafel’s technical model ‘La Catégoristation Sociale’ (1972) implies that
people categorize themselves into groups. The groups are distinguished by
viewing the ‘out’ groups in a negative manner and the ‘in’ group (in where the
person belongs to) in a more positive manner. In that sense positive self-value
is created. Hinkle and Brown challenge this theory. Firstly Hinkle and Brown
argue that this model can only be applied upon collectivist societies and
secondly that the individuals in a group should have a comparative outlook;
‘a high level of competition between the groups must be present’. (2002; sited
in Coleman; 2007)
The ‘Identity Control Theory’ (ICT) of Peter Burke (2000) suggests that by
being able to replace yourself in the other, one is able to predict how people
will react to the ‘own’ identity. This in return enables people to adapt this
‘personal view’ of their identity to the view others have upon the identity of
this person. When not adapting the personal view with the ‘outsiders’ view,
negative feelings arise according to Burke. The goal of an individual is
therefore always to adapt which will create positive feelings. (Burke, 2000)
Questioned can be where this ‘personal’ view, this inner ‘self’, or also named
‘ego’ part of the identity comes from if the identity is purely based upon
interaction with others? So does Burke (2004) also mention that his identity
control theory is very individualistic in its formulation: ‘ICT includes
individual actions to change individual perceptions to match individual
standards.’ However he also mentions; ‘What makes this theory sociological is
that identities are tied to positions in social structure’ (Burke, 2004). And
these positions, as Burke mentions ‘are bound to culture’. ‘People occupy the
various positions that make this social structure and people apply the
meaning and expectations upon themselves (and others) that these various
positions include’. According to Burke, the meaning that we attach to
perceptions of identity is therefore always related to certain social positions
and thus in relation to others.
2.2 Identity and Globalization
!
Due to globalization, different subcultures become more dominant in the
current post-modern society, which creates tensions in former existing
(dominating) ‘lifeworlds’ of people. (Platenkamp 2010) This also refers to a
“We- Perspective”. What do minority cultures think, feel, and have to say?
The book ‘Beyond Illusions’ written by Duong Thu Huong is such an example
of a “We-Perspective”. Opposing many stories about ‘the other cultures’, this
book is written about the writer’s own culture.

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Reading a book from a Vietnamese writer, through ‘the writer’s own eyes’
could on the one hand make it an interpretation of the Vietnamese culture
seen from western white female eyes.
On the other hand, this seems a very easy way of how to distinguish oneself
from the ‘other’ and made me think about the question if people besides of
their cultural background are really so different from each other? Why do
people in societies create the “We-perspective” in the first place? Someone’s
society might be placed in a different setting, such as traditional and
communistic or modern and democratic, could it be that the questions and
the struggles of people in their lives remain the same? In case of the story ‘
Beyond Illusions; (it takes place in a traditional communistic society) it can
be questions whether the interpretation of the writer could differ from a
Vietnamese reader?
Globalization has brought a ‘network society’ in where media, social and
economic networks reach every edge of the world. The mixing up of ‘different
networks’ the mobilization of people from all sorts of different countries has
caused a mixture of all sorts of life worlds living together. ‘In a world of global
flows of wealth, power and images, the search for identity, collective or
individual, ascribed or constructed, becomes the fundamental source of social
meaning’. (Castells 2000) What does that mean in a ‘network society’ where
the identity exists out of different roles exposed in different networks? Can
humans deal with that? And does that explain the recent focus upon what
identity may mean?
If assumed that identity is shaped by social surrounding: this social
surrounding of the individual of a society is often not limited towards one’s
own place of origin, but soon latterly becomes the whole world due to
globalization.
Bauman and Giddens (2000) argue: “For the theorists of late modernity,
individualization and the dissolution of stable and enduring structures and
indicative of a transition into a more fluid and, thus, unstable social milieu.
While aspects of this transition can be celebrated as the liberation from rigid
an determining structures dictating life chances, the significance of late
modern ‘liquidity’ is predominantly identified as being the changing status of
identity as a reflexive project and, increasingly, the role of consumption
within this process.” (Bauman: 2000, Giddens; 1991 sited in Wearing,
Steverson and Young: 2010) .
Although some theorists (see above) suggest that identity is shaped by
interaction with ‘the other’ it does seem that individuals in current society
very much alienate from each other.

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As if it is only a search for the differences. It seems that similarities between
people are regarded as a threat, because the individual is stimulated to be
‘the one and only identity’ on its own.
According to Castells (2000) individuals and groups become alienated from
each other in current times, because our societies are ‘are increasingly
structured around a bipolar opposition between ‘Net and Self’. The Net also
includes the ‘information age’. Technological revolution has brought new
information technologies. The Net creates tensions as people do have the
feeling to lose control of their own life and environment. This again is caused
by ‘patterns of social communication being under stress’.
The current thought about identity also seems contradicting from a
sociological point of view. According to Burke (2004) for example, people need
to make groups and by ‘shared meanings’ within one group a ‘shared identity’
exists and differentiation from other groups are made possible. What if
identity is not purely based upon interaction with the ‘other’?
Relating the identity to ‘the other’ is according to Welz (2005) very much part
of current modern societies. So he mentions:
“The dissolution of living together in homogeneous groups, the structural
differentiation of modern society, causes the increase of experiencing the
other in everyday life. And that causes changes in the conception of the world
and in the conception of identity as well. But even when the concept of
identity is used in a methodological strategy to challenge the notion of
identity bearing social-structural witness to a mobile society; it does not
thereby deliver an understanding of identity.”(Welz 2005)
2.3 Identity Crisis?
Some researchers argue that current ‘western post-modernism’ has brought
‘identity crises’, in where people on the first place wonder what the meaning
of the term identity might mean and secondly how people act upon that
definition.
According to Strinati (2004) this identity crises is caused by the loss of
‘traditional and highly framed values in which people could define themselves
and their place in society. Since there are no other alternatives, mass media
and popular culture is the only frame of references in where identity can be
constructed’. As formerly people hold on to as Stranati names ‘The
Metanarratives’ such as Religion, Science, Marxism or Modernism as ‘a
universal frame of reference’, identity in post modernity seems to be
constructed by consumerism. It seems that identity exists out of the products
that one has and buys. Overconsumption takes place in desperate need for
the self.

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People buy and become a brand name on itself; the marketing and branding
industry replace religion, science or political stream. The ‘self’ becomes Nike,
Adidas, or All Stars. Our current identity crises seems to be caused by the
fact that our new religion ‘consumerism’ doesn’t have a bible and church and
other traditions and rituals to believe in. People become anxious about this
new religion and realize this new relative truth is ever changing as well.
Did people shift from formerly being defined as ‘thinkers’ in the modern
society based on the philosophy of Descartes (the self as ‘the autonomous
rational subject’) to a self that lives with the acceptance of a relative reality?
Which can be brought in the line with the thoughts of Nietzsche who claimed
that there is no ‘one’ absolute truth. (Platenkamp 2010)
If so, this seems to have created an attitude within people to accept that
everyone sees the world with his or her own glasses on and no interpretation
should claim the absolute truth.
This acceptance of no absolute truth seems to make many distinctions and
the connection to others in the individual’s mind becomes blurry. As
Nietzsche argued: ‘our world is a work of art that is continually being created
and recreated. But nothing lies either “behind” or “beyond” this web of
illusion’
2.4 The desire for belonging
The documentary series ‘enlighten the mind’ (LUX, IKON, Ned 2, 05-01-
2010 until 26-01-2010) asks the question ‘if we have lost our sense of
belonging due to the globalization’? Within this series several people with
different cultural backgrounds and professions provide their views upon
identity in current times.
The writer recommends the reader to see this documentary about identity.
(Duration +/- 20 minutes) The most striking comments into the writer’s view
are summarized below followed by a reflection.
http://www.nederland2.nl/uitzendinggemist/programma/lux-
verlicht-de-geest/2726
According to Jonathan Sacks (philosopher and Rabin), a sense of belonging is
created by “The difference between a place where people just happen to be in
and a place that people call home. Not only gaining from society, but also
giving something back is one of the elements of a place that people call home.

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Society is the home people build together.
Contributing to society is the best way to feel part of the society, because in
that way people put something of your self into it. The more different we are,
the more beautiful the building will be, because it is so much more rich and
culturally diverse, then anything that one culture or one religion can build on
its own.”
The real question according to Sacks is; “Does difference encourage to
segregate or to integrate? Difference could be a source of integration, if we
ask every group in society to give to society as a whole. Contribution here is
of the essence. If we fail to provide a sense of belonging, we fail to provide a
sense of society”.
Multiculturalism can be compared to a hotel: were all the people are equally.
The problem is; you can never belong to a hotel. We need to move on by
building a home together”
Antjie Krog (South African writer of books and poetry) argues: “that people in
Colonialised countries have lost their sense of belonging already long ago.
During the process of colonialisation, the first world has settled them by
means of transferring mother tongue languages and way of living into these
countries. What is happening now a days, is that the third world countries
are entering the ‘first world countries to take what has been taken from them
long ago. It is the first world that has the feeling of her roots being affected.”
Ian Burma (Professor of human rights, democracy and new media): “Feeling
at home does not need to be ‘exclusive’; it does not need to mean that there is
no space for ‘others’”
Nasr Abu Zayd (Egyptian Qur’anic): “ The most serious conflict is about
identity.

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The globalization might be on the expense of people’s own identity. There is a
universal declaration of human rights, global values, and global ethics that
make some people feel lost. The complexity of identity should all the time be
the message. It should be a message that identity is rich. And the more your
identity is rich, the more you can share with other people. That is the only
ground in which can allow diversity.”
Who is the ‘We’?
Remarkable is that all speakers mentioned above have their own theory that
has caused the current lack of belonging; nevertheless these theories seem to
say the same despite of their different reasons mentioned. All seem unaware
of providing an indiscrete ‘we’- they’ perspective. In that way it seems that
the statements upon themselves are based upon thinking in ‘differences’.
Sacks speaks of the citizens with foreign background and the native citizens,
Krog speaks of the first world and the third world, Burma latterly speaks of
‘others.’
Furthermore Zayd declares that identity is a complex entity. Cultural
differences are often assumed to create a difference in identity as a whole.
According to the writer this focus upon cultural diversity is exactly why the
difference is created in the first place. By extra emphasizing cultural
differences we seem to get further away from the actual subject: identity.
Why should identity be a complex entity rather then a simple basis that
allows people to share the same?
How can people experience their sense of belonging in a world where people
cross each other globally? In this 21st century the whole world has become a
home to people. Can the whole world become a home to people? Is it possible
as a sense of belonging on the first place is something that is created by
people? Due to globalization the borders of a sense of belonging are extended
to almost the whole planet. Only not extended by the intension of people. The
construction of a sense belonging seems to have taken it’s own lead and
wanting to control this feeling is maybe exactly why people fail to create a
sense of belonging.

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Chapter 3: Identity represented in tourism and art
Introduction
Via contemporary art and everyday thoughts of people, this chapter explores
upon the question how identity is represented in tourism and art. Several
websites of artist and Internet blogs of people are recommended to gain
further insights into the topic.
Writers Wijnberg and Jensen from the book ‘ Dus ik ben’ (So, I am) invite
people to contribute by means of visual images and text that says something
about identity. People have responded and shared their vision upon the topic
‘identity’ by contributing an image and/or text on the site. The contributions
of the visitors have been a very useful source for this thesis research.
The writer recommends viewing some of the contributions at:
http://weblogs.hollanddoc.nl/dusikben/6
Within this chapter the subjects: body, beauty, fashion, individualism and
authenticity, will be related in both tourism and art phenomena. This in
return will give insights about the current thought upon identity. Websites of
artist and blogs of people are recommended to gain further insights into the
topic. This chapter will specifically treat the questions: What is the relation
between identity and the body in current times? What do fashion and tourism
have in common? Why do people seek for ‘authenticity in tourism and art?
And where does our drive to create beautiful things come from?’
3.1 Body, Identity & Art
Why do we attach so much value towards how we look nowadays? What can it
reveal or express? Wijnberg and Jensen (2010) ask the question how much
‘the looks’ will really shape one’s identity?
According to Wijnberg and Jensen, the explanation leads back to the 19th
century. The writers argue that with the upcoming industrialization, people
changed living space and more and more people started to live in a city.
Within the city people started doing ‘gymnastics’ which has been a change in
how people thought about body and mind. Exercising became part of a
‘healthy’ mind as well. People have to feel fit to think fit.
From no exercising at all, the emphasis in our society nowadays seems very
much focused upon a ‘fit body’. According to Wijnberg and Jensen, it is 19th
century philosopher Foucault who has influenced our way of thinking
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6
An example of a contribution can be found in appendix 6

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nowadays about the body and mind. Foucault speaks about ‘disciplining the
body’, which is a sign of strength, and can also be linked within the Darwin’s
evolution theory. (See paragraph 3.3)
‘Do you have enough information to define a person if you know the looks of
someone’?
The question; ‘who are you?’, has nothing to do with the looks, it is the inside
that matters,’ is a phrase often heard. “Unfortunately still many people are
not satisfied with their body” (Wijnberg and Jensen 2010). The body and
mind questions seem up coming within this time. Is the body something loose
from the mind? Are they the same, are they connected? What are they?
Within this time the order seems to be turned around, a ‘healthy’ body is
more important then a healthy mind. It almost looks like people are dealing
with the disconnection between body and mind. French Buddhist Monk
Matthieu Richard (former biologist) expresses his concerns about this focus
upon this ‘outside’- ‘inside’ order. So he mentions:
“ Very often we look outside. We think that if we could gather this
and that, all the conditions, something that we say, "Everything to be
happy -- to have everything to be happy." That very sentence already
reveals the doom of destruction of happiness. To have everything. If we
miss something, it collapses. And also, when things go wrong we try to
fix the outside so much, but our control of the outer world is limited,
temporary, and often, illusory. So now, look at inner conditions. Aren't
they stronger? Isn't it the mind that translates the outer condition into
happiness and suffering? And isn't that stronger? We know, by
experience, that we can be what we call "in little paradise" and yet, be
completely unhappy within.
The Dalai Lama was once in Portugal, and there was a lot of
construction going on everywhere. So one evening he said, "Look, you
are doing all these things, but isn't it nice, also, to build something
within?" And he said, "Unless that -- even you get high-tech flat on the
100th floor of a super-modern and comfortable building, if you are
deeply unhappy within, all you are going to look for is a window from
which to jump."

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And what does a ‘healthy’ body include nowadays? The perception of people’s
own body is often influenced by media, which promotes body ideals. Dutch
artist- photographer Erwin Olaf reacts upon the current beauty ideals with
his photo series ‘Mature’. The writer now recommends to visit the website of
the artist to see the series.
Website: http://www.erwinolaf.com/
See below for two photos made by Erwin Olaf in case of not being able to visit
the site:
A body seems to define the person and therefore changing the body is often
linked with a change of identity. Do people nowadays lose themselves in this
thought, by thinking that everything including the body is something one can
construct? Diets, plastic surgery, anorexia, bulimia and other so called ‘ 21st
century deceases’ arise and it looks like the food and fashion industry are the
winners of this cake.
The ‘body image project’ of artists Larry Kirkwood (1993-) attempted to focus
upon ‘aesthetic appreciation of the human form' and to deal with self worth
by exploring the concept of beauty.

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Kirkwood argues that ‘our (in his case American) culture has become
obsessed with ‘the image’ and keeping up appearances’.
Furthermore according to Kikwoord ‘we are letting the so-called beauty
industry and corporate America define reality for us, and encouraging the
body hatred is an extremely lucrative business’. Kirkwood expresses his
thoughts about body in form of body casts of men and women. Kirkwood has
experienced that the body casts project has become a catalyst for many people
to gain deeper understanding of who they are. For Kikwood the current
perception of reality is a problem. ‘We give the human form meaning on the
basis of our perceptions and attitudes’. Kirkwood wants people to take their
own responsibility for how we choose to look at things. And the body casts
project helps people realizing this according to Kirkwood. Kirkwood goes one
step further and also attempts to create awareness in peoples prejudges.
“Sexism, racism, ageism, and prejudices based on weight and size- all of
which divide us rather than unite us”. Kirkwood says the following:
“ With this work, I am trying to show 2 rather diametrically opposed views. First we
all have the same stuff, but it is put together on each of us as little differently. We
are all wonderfully unique and individual. Second we also are alike in the fact that
we are human beings, with characteristics we all share. I feel that there are more
similarities between men and women of all backgrounds than there are differences.
We are all human beings with similar emotions; we get happy and sad; we can fell
rejected; we need love; we have dreams to fulfill”.
The writer now recommends visiting the artist’s website:
http://www.kirkwoodstudios.com/
Perception
According to Kirkwood beauty is not a contest. ‘Beauty cannot be defined by
comparing one body with another. A body has it’s beauty on it’s own’
(Kirkwood 2005). Thereby Kirkwood suggests looking at a body in an
objective manner.
Whether this is a denial of reality can be questioned. It assumes control over
our way of looking. Darwin’s evolution theory would probably oppose the
ideals of Kirkwood by stating that people have preferences. And these
preferences are unconsciously (maybe unconscious in this time) influenced to
prefer one body above the other based upon who would generate the best
offspring. By having no control of how people see and perceive the world, the
discourse of the concept freedom of thought’ can be discussed. ‘What we are
thinking is predefined’, would determinist argue.

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Can people be consciously aware of the fact that the perception of people’s
reality is influenced?
What does the focus upon ‘the looks’ mean for the shape of our identity
nowadays? Are people getting confused about the definition of a ‘healthy
body’ due to media influences that are constantly promoting beauty ideals? Is
there an objective way to define beauty for example? And if there is an
objective way, what does that ‘objectivity’ then include? Does that mean that
people agree upon the meaning of beauty? Is beauty something that can be
biologically defined or are some people forming hegemony in defining beauty?
Within tourism and art, one is looking for beauty. If generalizing people all
agree upon the fact that van Gogh has made ‘beautiful’ paintings and that
the Egyptian Pyramids are a beautiful tourist attraction, a ‘must see’ when
visiting Egypt.
3.2 Fashion and Tourism, an expression of individualism?
!
Within the tourism study of former tourism student Maya Kiknadze
(NHTV,Breda 2009), similarities between fashion and the tourism
phenomena are expressed. Kiknadze argues that the human need for
differentiation and isolation is evident in the fashion phenomena as well as in
tourism behavior.
According to Kiknadze one of the similarities between fashion and tourism is
‘identity’ in form of ‘expressing individuality.’ Kiknadze further explains that
clothes will express someone’s personality, self-image and social status.
Another interesting observation is that Kiknadze sees fashion as a
dichotomy: “the desire to stand out and the desire to fit in. Fashion is
balancing between invention and imitation”. (Kiknadze 2009)
On the other hand Kiknadze also believes that ‘clothing are a vital part of the
social construction of the ‘self’’. What is meant by this term and does this not
oppose the former statement? Does the term ‘social construction’ with
emphasis upon the word ‘social’ not include; a construction made by more
then one person? And if so, what does the term ‘individualism’ then include?
Does ‘individualism’ exist if fashion (as a form of art) is expressed by people
wearing the same thing?
Exactly the same reflection can be made within the tourism field. ‘Searching
for the exotic and the familiar’ are also often presented as dichotomies within
the tourism field. Expression of individualism is highly valued within
western society. Also tourism is often promoted as the unique way to search
for individualism. Tourists are searching for that unique trip, which no one
has ever done before. Are host cultures- or fashion designers not aware of this
perception? Don’t they know that more people will exactly wear the same
piece of cloth or will go on exactly the same trip?

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Kiknadze makes a point by stating that people have a desperate need for self-
realization, which is expressed via traveling or clothing. Apparently people
have the urge to believe that they are the only ones with this new piece of
cloth or the only ones who have visited this temple.
The Notion for Uniqueness
What is the motivation behind the need to be unique? Why do people want to
be so unique and on the other hand search for belonging? Can people be
unique? The perception of uniqueness differs, what is unique for one person is
not unique for the other person. Does uniqueness exist when the ambivalence
of the term is concerned?
Not everyone has the urge to be unique. In Asia (Vietnam, China, Cambodia
and Laos) the writer has experienced that copying concepts is totally accepted
within society and ‘being unique’ is seen as a risk instead of an advantage. In
Vietnam there are clothing shops located next to each other that sell exactly
the same piece of cloth. One can bring the economical development (according
to the World Bank Vietnam has the status of ‘ developing market economy.’)
or political history (former communist country) as logical explanation, but
according to the writer it is necessary to look beyond this hierarchical way of
positive self-interest grouping. (We are good, they are bad, see paragraph 1.1:
Tjafel’s technical model ‘La Catégoristation Sociale’,1972)). By not wanting to
explain everything by means of the economic wealth of a country, one looks
beyond the safe borders of one’s own frame of reference.
The look upon tourism seems to taste like this. One problem according to
Chan (2006) for example is that tourism literature is Western-centric.
According to Chan tourism is seen as an essentially Western social and
cultural phenomenon, and non- Western tourists are treated as part of the
expansion of ‘Western tourism’ (Cohen, 1995:mentioned in Chan 2006).
Whereas Chan explicitly explains that his intention is ‘not to dichotomize the
Western and non- Western, nor to say that tourism in non-Western places
and conducted by non-Westerners is extraordinarily different from what we
have witnessed in Western tourism’. (Chan 2006)
Research into Chinese border tourism in Vietnam examines different issues
of host-guest interaction in the context of expanding Asian tourism. In
China, which is a communistic and by now has a very rapid developing
economy, Chinese tourism behavior seems not related to this need for
uniqueness at all.
Tim Winter says the following about domestic Asian tourism: ‘a trip to the
temples of Angkor is not remembered by the locally crafted, traditional but by
the modern, mass-manufactured.

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But do such examples mean the aesthetics of heritage and tourism in Asia is
fundamentally and intrinsically different to those in the west? Or is Asia
essentially evolving along the same aesthetic and cultural trajectories as
other parts of the world? These are two simple, but challenging questions
that have yet to be fully addressed.’
The search for identity by means of Asian tourism markets would therefore
be another interesting research field. The emergence of non-western tourism
in the west demands a fresh look into how to organize and what to organize
art and tourism activities. What for example are Chinese tourists looking for
in art and how can Dutch provide an optimal Chinese ‘art’ experience? And
how, for example is fashion expressed in collective oriented cultures in where
expressing ‘individuality’ is a non- existent value?
In the notion of uniqueness Kiknadze uses Potts travel writing to argue ‘that
the perception of differentiation leads to the notion of pursue for uniqueness’.
Thereby Kiknadze argues that human kind is ‘all created as unique creatures
with unique gene and awareness of the fact that people are different’. The
writers’ perception of Potts’s writing is exactly the opposite. Potts’s
observation is the following:
“ But it certainly can not hurt to retain a sense of perspective as we indulge
ourselves in haughty little pissing contests over who qualifies as a traveler
instead of a tourist. In truth, we are all tourist”
(Potts; 2008 mentioned in Kiknadze; 2009)
Being unique is often explained by distinguishing oneself from the other,
questioned can be if it is such a strength? Fashion is interpreted and
incorporated in different lives of people. Not to deny that the perception of
differentiation leads to the notion for ‘uniqueness’. On the contrary, the
writer thinks it is a very strong point that Kiknadze makes in her study.
People search for difference. But as the word ‘perception’ also indicates, it
does not need to be a reality for other people. What if this perception of
differentiation does not exist for the seller?
Are we talking about a difference when talking about a tourist or traveler? As
Kiknadze namely also further states that Potts realizes ‘the irrelevance of the
categorization of people into travelers and tourists’. (Potts; 2008 mentioned in
Kiknadze 2009)
The way people think about identity is expressed in both the tourism as art
phenomenon. Certain terms such as beauty, individualism, authenticity and
uniqueness can be expressed in a same manner in both tourism and art
forms.

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The term ‘individuality’ is a nice eye catcher within the fashion and tourism
industry. Whether ‘uniqueness’ can be bought in form of a piece of cloth or a
travel experience can be questioned. Another interesting point is that people
who want to be unique travel to countries where this need does not exist and
visa versa.
Are the fashion and tourism phenomenon not in denial by stating that it can
create a ‘unique’ ‘authentic’ or ‘beautiful’ experience/state of being?
Fashion is promoted to ‘express the self’ and travel mostly ‘to search for the
self’. In the writers opinion the assumptions made are remarkable and part
of how people see the fashion and the tourism phenomenon in daily life;
within the study of Kiknadze the term ‘identity’ and ‘individualism’ are
assumed to be the same. It is clear that ‘individuality’ is a well-known value
recognized in both phenomena. What does that mean that both tourism and
fashion are seen as two phenomena that express someone’s ‘individuality’?
3.3 Tourism, Art and Beauty
!
“Everything has its beauty, but not everyone sees it”
(Confucius mentioned by Waldezack 2009)
How do people define beauty nowadays? Why does humanity practice art?
What does art (as it doesn’t have a particular clear function) come from?
Within the series: ‘Beagle’ (VPRO/Canvas/Teleac/W24) Artist Antony Smith7
questions: ‘where does our drive to create beautiful things come from?’
The writer recommends viewing series number 27:
Website: http://www.nederland2.nl/uitzendinggemist/programma/beagle-in-
het-kielzog-van-darwin/4840
According to philosopher Daniel Dennet, art and our sense of beauty could
have evolved from making a particular sort of judgment about potential
sexual preferences. Men originally used it to show off beauty, so that women
could chose which men would provide the best offspring. According to Dennet,
art is a robotic issue; ‘from originally playing the guitar to look more
attractive, as time moves on people play the guitar because they like to play
it, whether they attract potential partners does not matter that much
anymore. One can question why if our sense of beauty did evolve from sexual
selection towards the art object upon itself.
Within the BBC Documentary ‘Modern Beauty’ the following question comes
forward: has modernity lost its touch with beauty?8 Waldemar Januszczak
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7
http://www.anthonysmithart.co.uk/
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'!Modern Beauty, Matthew Collins, BBC two, BBC four
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says the following about beauty: ‘if the beauty of art were reliable, we could
serve it in a tin and gorge on it, day in, day out. But it isn’t. Beauty speaks
only when you allow it. And that means some of the duty for finding it lies
with the observer’
As Ralph Waldo Emerson puts it: ‘Though we travel the world over to find the
beautiful, we must carry it with us or we find it not.’
In travel one is also looking for beauty. Beauty is often connected with
finding the ‘essence’ of a place. People try to capture this in form of pictures.
The true ‘authentic’ experience one finds always worthwhile to photograph. It
is everyone’s own feeling for ‘authenticity’ what to photograph. Although the
image is something that the photographer finds unusual compared to its own
culture. Nevertheless, the unusual is often beforehand planned in mind. One
often knows beforehand which habits of ‘the other’ differ from ‘the self’ and in
that way one is confirming towards one’s own expectations.
3.4 Looking for the authentic
!
The authenticity debate in the tourism field is extensively discussed since the
introduction of the work of Mac Cannel (1973). Mac Cannel (1979) introduced
the concept of ‘staged authenticity’ in the context of ethnic tourism. In his
earlier work Mac Cannel argues a so-called backstage and front stage of
tourism; backstage including the real life of the community that is been
carried out and ‘authentic’ culture is maintained (1973). The front stage is
where commercial and modified performances are carried out and displayed
offered to mass of the visitors. (Ramchender 2003) The front stage by contrast
is the ‘appearance’ whereas the backstage includes reality (Corrigan 1997).
According to Corrigan (1997) front and backstage can be applied to all social
encounters. Corrigan mentions the example of a restaurant where the
kitchen is the backstage and the dining room the front stage. The distinction
of a front and a backstage has the effect that people are convinced that there
is something hidden from them. And because it is hidden there is a tendency
to consider the back stage as where the ‘real’ can be found as opposed to the
mere show of front stage. (Corrigan 1997) According to Mac Cannell the so-
called ‘staged authenticity’ includes the ‘front stage’ and can therefore not be
mentioned ‘true authenticity’. However, he argues that tourists are always
looking for that ‘back stage’. A discussion on this assumption followed,
whereby Urry (1990) questions the motivation of tourists to seek for this
‘authenticity.’
As shown above it has been clear that the work of Mac Cannell (1973) has
been followed by an extensive discourse on the interpretation of the concept
and the definition of the term ‘authenticity’.

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It has been recognized that ‘authenticity’ is a rather ‘subjective’ term, which
can therefore be interpreted from different perspectives, as different types of
tourism are associated with different meanings of the term. Cohen (1988) also
emphasized the social context in which the term is interpreted; ‘authenticity
has no objective quality, it is socially constructed and thus negotiable’.
However, the term is often associated with ‘commodification’ being presented
in an objective sense as being something negative upon itself. Next to that,
one often speaks about the topic between economical developed countries and
less economical developed countries. This sets the flavor of the discussion, as
the writer did not find case study examples in this field based on countries
that have the same level of economical development. (‘Staged authenticity’
for German tourists visiting the Netherlands or even ‘staged authenticity’
within the same country).
Whether staged authenticity can be perceived as positive or negative impact
depends on how authenticity is defined. The writer sees a culture as dynamic
and adaptive and cannot be destroyed that easily by exhibiting to the ‘other’.
Miscommunications or misunderstanding may arise from ‘staged
authenticity’, giving it the label ‘negative impact or positive impact ’ on this
might be a better way for the ‘western world’ to create understanding.
However according to the writer giving these labels (positive vs. negative,
wrong vs. right, good vs. bad) upon subjective terms (‘authenticity’) might
indicate a lack of understanding in the process of ‘staged authenticity’ upon
itself.
A performance purely performed for tourists can be named ‘staged’. The term
‘staged’ assumes that there is a ‘real’ world behind the ‘staged’ performance.
(See Mac.Cannel). The performance has been given the label ‘fake’ because
the economical benefits would be the only motivation to perform. Could that
be stated, that performances purely performed for tourist are ‘fake’ and
thereby maybe also be labeled ‘not authentic’?
Is that not a question that can only be answered by the performer himself?
(In this case: the host culture?). What becomes a ‘fake experience’? Can a
tourism theory decide upon that?
What about going to the museum to watch the art made by the artist? The art
in a museum is to some extent also tends to have the characteristics of a
‘staged’ performance. Is this experience then also not staged, because the
artist allows artwork to be performed in exchange for money?
The authenticity debate within the study of art also takes place. The function
of art is not that clear anymore.

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Artist and Art Curator Margriet Kemper argues that artists moved from
being ‘skillful painters’ to skillful thinkers’: from being people who had a
clear function in society, namely to paint a ‘beautiful painting’ (in times
where beauty had one dominating definition) towards people who reflect and
are critical in the society they live in.

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Chapter 4: Art To Do, Being in Search for a Place
Lanh, Employee Mai Chau, Photography by Esther Vermunt, Vietnam 2009

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Introduction
This chapter will introduce the visual representation of the research on art
tourism and identity. Firstly the motivation behind the making of this visual
is explained. Then the goal of making the visual is explained and activities
performed that have been leading to the representation are broadly
explained. The activities explained will automatically lead to the explanation
of the motivation behind the creation of a visual representation.
4.1 Motivation for the visual representation: In search for the
relation between Art, Tourism and Identity
November 2009
To understand the motivation behind the need to create a visual product next
to the writing of this thesis report as a tourism student, it is important to go
back and explain some of my former experiences.
It is November 2009, and I was following the courses Art Tourism and
Discourse9, Intercultural Photography10, and Cross Cultural Studies.11 These
topics were given in reference to my specialization Cross Cultural Research
within my study ITMC, at NHTV Breda.
These courses all touched upon one question that I apparently still had to
deal with during my life. It woke me up again.
The question was linked with my experiences during my former study, at the
Rietveld Academy for Visual Arts in Amsterdam.
And now, after a few years the question came back again, only the same
experiences that created this question were made within a different context,
namely within the tourism field. It was a question that was related to both
art and tourism. How could that happen that the same question appears
from two (on the first hand seeming to be) totally different areas?
I knew for shore that the two were related, but how exactly I did not know
yet.
January 2009
Going back a little bit further to January 2009. Back then I was doing my
placement. (Jan.2009 till April 2009). I was working in the North- West of
Vietnam, in a luxurious lodge located in a little mountainous village called
‘Mai Chau.’ The lodge was promoted by the fact that the ‘White Thai’
minority (one of the many ethnic minorities in Vietnam) is living there. The
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9 (Lecturers; Ariane Portegies and Ray Boland)
10 (Lecturers: Petra Vogler and Stuart Foster)
11 (Lecturers: Vincent Platenkamp, Ariane Portegies and Brigite Ars)!

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main motivation for tourist visiting the area is to see the ethnic ‘minorities’.12
The lodge is build to fulfill this need; the people working at that lodge are
local inhabitants of Mai Chau and thus from the White Thai minority.
Traditional folk dance performances take place during the night and ‘Thai’
food was served in the lodge accompanied by so called ‘traditional music’ (In
fact this was Vietnamese music, but tourist were told that this was specific
‘White Thai music’) The employers also wore a special uniform, which fitted
into the ‘style’ of the White Thai minority. Within the lodge, a shop sold the
special traditional clothes or other souvenirs from the ‘White Thai’ minority.
After working time, the employers were everything except for the people that
they had to be during working time. The traditional uniforms were exchanged
for trendy Gucci, Nike or Versace shirts, mobile phones appeared and
everyone showed off by crossing around with their motorbikes. The tourists
were not allowed to see that. But what did they actually see then?
Going on a trip is like preparing a meal for me; with choosing what you want
to eat, cooking and tasting in between. Only this meal in Mai Chau seemed
to be warmed up in the microwave already. It seemed imaginary, an illusion.
In Mai Chau it felt like tourist do no cook them selves anymore and therefore
do not know what they are eating.
The feeling that this experience gave was recognizable; I had felt like this
before, it had touched something within my own essence, my own existence.
Only where?
Art Academy Amsterdam 2002-2005- making Art for the art
The traditional dances of the White Thai minority performed for tourist loses
its original context, whereby the ‘authenticity’ (a topic extensively discussed
within the tourism field) of the product can be questioned. (See paragraph
3.4)
What about the ‘authenticity’ of an artwork exhibited in a museum? The
moment of the artist creating the work is already gone, the original
environment in which the artwork is made is gone, what is left is the
produced work. But is that not reducing the value of the art, as there is much
more which belongs to the work upon itself?
Since November 2009 I started to understand why, during the period when I
was studying art, I could not make ‘art’. I had felt like this before during the
period I started to study Art at the Rietveld Academy in Amsterdam. Making
art felt strange to me, because the original context of making an artwork was
gone. If I had to make art for the Art it felt useless. I could not connect with
what I was doing anymore. Back then I did not understand why I had felt
that way and had therefore blocked my creative capacities. For me, creating
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12 (See http://www.vietnamtourism.com/e_pages/country/overview.asp)
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an artwork had to be connected and placed within a context of time and
space. I left the academy with great doubts about the function of art in this
society. Why is it, that artist seem so far apart from society and society from
art? Why is art something else then society?
Back to November 2009: And the question is…..
I thought about myself as being a former art student and now being a
tourism student. I have never felt to be either functioning as one of them in
society. Why should I? I did feel that the two are strongly related. Thus how
exactly is the relation between art and tourism?
I doubted whether I liked to be awake or rather be still asleep. It was and
issue which I did not understand a few years earlier. And maybe back then I
could not understand. I realized that it was not a matter of liking or not
liking, I was awake anyway.

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Employees Mai Chau after working time, photograph by Renske Dalmijn (Vietnam2009)

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4.2 The research of a place by means of film and photography
!
Exploring the relation between art, tourism and identity have been the drive
for the creation of a visual product next to a written report. Unconsciously I
have chosen to work within several areas in the art field. Not on purposely to
exclude the academic perspectives, but from an inner dissatisfaction, feeling
limited by the way of thinking which according to the writer misses the
everydayness’s of life.
I have assumed that the work with visual images assumed that this would
lead to new insights in the tourism phenomenon. The dissatisfaction from
academic way of looking upon tourism misses the connection with the
‘everydayness’s of life. Questions such as ‘who am I?’ remain unexplored. The
meaning and search for identity remains restricted towards division between
Self and other which is making blind for other realities.
Documentary: This visual end product is meant to be a preparation for the
making of a short documentary by showing the documentary the writer
wants to express an artist’s view upon life. This view is a useful tool to
provide a fresh insight upon the current search for identity expressed within
the tourism field. In that sense the documentary will also provide a way of
looking towards tourism. Via the art and the artist an exploration of tourism
destination by means of film and photography has taken place.
The writer acknowledges that this view is a vision; it does not want to declare
any absolute truth by this product. In that way an important point of the
study research has been set into practice; by showing the power and use of
film instead of interviews written down and interpreted by my own thoughts,
the viewer can interpret themselves.
4.2.1 Process of Activities
A process of activities helped developing the product.
In chronological order; broad field research, following lectures, approaching
artists, philosophers an other students, unstructured interviews, and the
collection of advises has lead to the broad brainstorm of ideas.
The outcome of the broad brainstorm can be found below:
Broad brainstorm of ideas:
The visiting of places and the seeing of other documentaries have lead
to the creation of ideas of what and how to film. The broad ideas
developed based upon this research:

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Ideas to find out if concept of the ‘individual’ is an illusion;
• The artist and tourist who thinks he/she is ‘the other.’ Who is the
tourist and what does the tourist do? Can the tourist become the
artist? For example the artist ‘Miriam Burer’ who travels for
inspiration.
• Artist from different countries that travel. Who are they as tourists?
And who are they as artists? And meet in the end. Explore by travel
and art.
• Group work between students with its many approaches and the
question why we focus upon this process? Why does working in a
group not speak for itself? Film two groups of tourism students. One
with the most cultural diversity. The other with none ore the least
cultural diversity. Research by means of film what happens. I am
especially interested how group work is organised between different
cultures and what part a 'culture' plays in this process
• Public places in society. For example, a café or bar. The need to
belong and the denial of that. Some people argue that it is
particularly my generation who does not like and does not know how
to ‘define’ themselves.
• Technology and identity; The influence of images and the
encouragement to live as being ‘one individual’. The gym to my
feeling very well visualises this. The fitness device is suitable for one
person and this one person (while doing his/her exercises) drowns
into the flow of images shown at a huge TV in front of him. Wherein
it almost looks like if the two (the images shown from TV) and the
reality; the gym environment are melting into one. Difference
between talking to someone or watching TV is minimal. This can be
seen in how students behave in a lecture room. As if the person
standing there is not standing there as a person, instead a virtual
person. Which is also linked to the influence of technology.
• TV; people who are talking during watching TV and people who are
talking during the lecture.

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• Body and identity. The connection between consumerism and
identity. You are what you wear. You are how you look like.
Products that sell emotions. On the other hand the emphasis on the
rationale; ‘I think so I am’. And the denial of ‘You feel, so you buy’. I
feel, I am. H&M as an example. Or shopping on Saturday.
The broad brainstorm in return has been leading to making my own
photographs and the filming group work. The collection of images served as a
moon board for the creation of the visual research. Filming group work has
been a way to gain insight into the research subject Identity, Culture and
Film. The sub research question for this experiment was: what influence has
cultural background upon working together as a group? In that way the
preparation for the visual research have served as an important part for the
research done for this thesis report.
Unfortunately the findings of this sub research question have been lost due to
al lack of technical knowledge about the film equipment. Nevertheless the
filming of group work has been a useful activity to gain insights into the
technical aspects of filming.
4.3 Visual Research of a place, Destination Neeltje Jans
The former three activities have been leading to a new brainstorm session
with artist Marius Boender. The exchange of visions upon tourism, art and
identity has lead to the final development of the idea for the visual
representation of a place.
Nature Area ‘Neeltje Jans’ located in the province of Zeeland, Vrouwenpolder
has been chosen as final tourism destination case study for the visual
representation of a place. The attraction park: Deltaparc Neeltje Jans is
located in the area. Remarkable form a tourism perspective is that people
visit the attraction park and leave, whereas this park is relatively small
compared to the rest of the area. The need to understand everything can be
seen in this specific case. People visit the attraction, but do barely visit the
nature area. The attraction park has a clear overview and has comfortable
safety zones: a passive attitude is expected from the visitor.
Both Boender his work and the writer’s vision upon tourism will be expressed
by means of photography and film. The artist’ his work will be used to
provide another way of looking upon identity.
This together will provide new perspectives upon identity situated in tourism
and art.

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Thereby the destination Neeltje Jans is researched by means of film and
photography. As mentioned, this visual representation can be viewed
independently from reading the thesis, but the making of it was strongly
related with the writing of this work. Therefore the watching of this film will
hopefully enrich a discussion of the findings presented to you in this thesis
report.
The end product will be exhibited live during a performance in August at
NHTV and sent to the official ITMC exam commission two weeks in advance.
4.4 The gaze within tourism and film; looking at ‘otherness’
!
Hollinshead (1998) calls tourism ‘the business of otherness.’ One often travels
to see ‘the other culture.’ Travel motivations are often related to the need for
seeking difference. The unique or authentic experience or escaping are all
well known terms within tourism motivation studies. ‘Escaping the original
environment’ and staying within ones own ‘environmental bubble can all be
related to this issue of otherness.
Watching film is another way of looking at others too. By film it could be
stated that the maker can influence the interpretation of a place. It thereby
does not make the interpretation useless for further analysis. Not only in
film, but also with all sorts of other media instruments it is possible to watch
the other nowadays. One does not need to travel anymore to step into the
gaze.
The relation between viewer and maker within film is an interesting relation.
The viewer perceives the vision of the filmmaker. The viewer will relate to his
or her own frame of reference and thereby being able to relate to the film or
not.
Cultural background, education, past experiences can all influence the way
people interpret the world, the film on the moment watched. The many
different perceptions of the viewer of an artwork make the work valuable.
‘Grave doubts have been cast on the capacity of language to reach-let alone-
represent the world’. (Rimmon-Kenan :1996 mentioned in Tribe 2008).
Documentaries as an art form are representations of the real world. A
documentary can be seen as a world vision, a perception of some ones view
upon the world. It is always subjective and can be manipulating the moment
the director starts to declare his vision as an absolute truth. (To mention
propaganda documentaries made) De Jong (Film Teacher Dutch Institute for
Film Education) said: “the brothers Lumiere made the first film of a riding
train.

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People hided underneath their chairs, because they thought the train was
real, riding into the public”.
Documentaries look like the real. If there is a real behind a subjective version
of (in this case the film maker) can be questioned and is questioned by many
philosophers.
Making documentary is a beautiful art form that requires taking a more
precise look into matters, to have a little bit more patience in this fast moving
world. Therefore this art form is valuable for the tourism business. To name
the tourism branding- or marketing industry. Whether the tourism industry
is actually willing to present a sense of place like this, can be questioned.
Rene Magritte,1928-1929 Ceci n’est pas une pipe, Museum of Los Angeles
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Chapter 5: Conclusions
This chapter will represent the concluding findings of this thesis study
The main research question of this study was:
How does contemporary art help us thinking about our current worldview
upon identity and in which ways is this represented in tourism?
From a theoretical sociological and philosophical perspective one can conclude
that the identity is shaped by means of ‘the other.’ One cannot define ‘the self’
if there is ‘no other’. Although some theorists suggest that identity is shaped
by interaction with ‘the other’ it does seem that people in current society very
much alienate from each other. As if it is only a search for the differences. It
seems that similarities between people are regarded as a threat, because the
individual is stimulated to be ‘the one and only identity’ on its own. There
seems to be a collective ideal for individualism within this society. And this
daily life thought about identity seems contradicting from a sociological point
of view. Our need for understanding due to globalization and the loss of
former Meta Narratives seem to have brought us much confusion about who
we are.
How can this analysis upon identity be reflected within the tourism and art
phenomena? By researching the notion for uniqueness and the search for
authenticity one can conclude that within the tourism and art field the way of
thinking is based upon differentiating the self from the other.
Also within marketing strategies, promotion folders, tourism academic
studies and travel literature is mainly based upon looking for difference. The
tourist is also classified and seen from this perspective of difference. (The
backpacker, the luxury tourist, the mass tourist etc.) Are tourists being
labelled because they are the label, or is it the inner human need to
understand the world? In reality it turns out that tourist cannot be that
easily divided into boxes. Doing this will make the tourism professional blind
for other ways of seeing. By looking at ‘sameness’ within people fear will
disappear and a world of adventures will be opened up. One is looking for
recognition, for confirmation of the self, one can find that in everyone.
In the specific case of Neeltje Jans Attraction Park as tourism destination,
the visual research contributed to the development of this other way of
seeing:
The place is disconnected with the nature of the surrounding area. This can
be named a ‘staged’ performance applied by the humans wanting to represent
and grasp what nature has to offer. By not being afraid what nature has to
offer, much more tourism opportunities for tourist can be created which can
also help the province of Zeeland.

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The researching of a place by means of film and photography intended to
oppose the current limiting view within the tourism field. It attempts to
connect with other study fields such as science, and contemporary art, but
also to reconnect and be applicable to everyday life. The making of this
research has touched upon a new perspective. It is an interpretation of a
place. The discussion that is planned to take place based upon this research
is an attempt to break through the current disconnection of tourism studies
with other study fields and hopes to enrich the ways of seeing the tourism
phenomenon.

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http://www.liberales.be/boeken/dusikben (online) Accessed: 6 April, 2010
Socyberty (2007), ‘The self and Socialization’ Available:
http://socyberty.com/psychology/the-self-and-socialization/ (online) Accessed:
21 December, 2009
Worldpress, (2007), ‘Social identity theory, boundaries and understanding in
early Christianity’ Available:
http://jcbaker.worldpress.com/portfolio/articles/social-idenitity-theory-
boundaries-and-understanding-early-christianity/ (online) Accessed: 10
December, 2009
Worldpress (2009), Open Reflections Monthly Archive, ‘Homo Ludens’ &
‘Culture is data’Available: http://openreflections.wordpress.com/2009/05/
(online) Accessed: 7 June, 2010
http://weblogs.hollanddoc.nl/dusikben/
Reports:
Bello, E., Dalmijn, R. Hoofs, B., Klockau, K., Koopmans, J., Luoma, L., Shahl,
C., Thachev, V., Vissers, B.
2008, Destination Analysis Son Tra Peninsula, Vietnam, Breda NHTV
University of Applied Sciences
Dalmijn, R.
2010, Cross Cultural Studies: Book Review Essay “Beyond Illusions” Thu
Huong, Breda NHTV University of Applied Sciences
Kiknadze, M
2009, Fashion and Tourism, A journey into imagination, Breda NHTV
University of Applied Sciences
Travel Novels:
de Botton, A, 2002, The Art of Travel, London: Penguin Books

!
$#!
Thu Huong, D, Beyond Illusions, 2002, Hyperion-East
!
!
!

!
$%!
Appendix 1: List of documentaries & TV programmes: !
Documentaries- TV Programmes:
AVRO Kunst Uur, Ned 2.
Website:
http://cultuurgids.avro.nl/front/detailkunstuur.html?item=62d8c4455b89cae4
55c1b23bc01bbe07
(Seen: Sat, 1 May 2010)
Beagle, in het kielzog van Darwin, VPRO 2010
Website: http://beagle.vpro.nl/#/widget/afleveringen/
Serie 27 : Van homo sapiens naar robo-sapiens
(Seen: Sun, 11 April, 2010 Ned 2)
De Zorgfabriek, Kim Brand, IDFA, HUMAN, Ned 2.
Website: http://www.nederland2.nl/uitzendinggemist/programma/idfa/5117
(Seen: Sun, 29 November 2009)
Hemels Bewegen, Joost Conijn, Boedistiche Omroep Stichting
2010
Website:
http://www.boeddhistischeomroep.nl/uitzending.aspx?lIntEntityId=1163
(Seen: Tue, 21 June, 2010 Chasse Cinema)
Last Train Home, Linxin Fan, Chasse Cinema 2010 IDFA
Website:
http://www.idfa.nl/nl/overidfa/wordbegunstiger/film.aspx?ID=b4440aad-6bbd-
4c89-b381-1e94a2f8f941
(Seen: Sun, 14 March, 2010)

!
$&!
Lovely Planet, Ton van Zandvoort, Boedistiche Omroep Stichting
en Submarine 2010
Website: http://www.brabantfilm.nl/
(Seen: Tue, 21 June, Film in Brabant Festival Chasse Cinema 2010)
LUX, Verlicht de Geest, IKON Ned.2
Website: http://www.nederland2.nl/uitzendinggemist/programma/lux-
verlicht-de-geest/2726
Serie 1: Wat overkomt ons (Tue, 5 January, 2010)
Serie 4: Wat overkomt ons ( Tue, 26 January, 2010)
Modern Beauty, Matthew Collins, BBC two, BBC four
Website: http://www.bbc.co.uk/tv/features/modernbeauty/
Serie 1: What is beauty, (Sat, 14 November 20009)
Serie 3: Ugly Beauty, (Sat, 21 November 2009)
Moslims in een kerk, Zakaria Bakali , NIO, Nioscoop
Website:
http://www.nederland2.nl/uitzendinggemist/programma/nioscoop/5183
(Seen: Sun, 4 April, 2010 Ned 2)
Places that don’t exist, Simon Reeve, BBC Four
Website: http://www.bbc.co.uk/bbcfour/documentaries/features/places-that-
dont-exist.shtml
(Seen: Tue, 1 June 2010)
Van Moskou tot Moermansk, Jelle Brandt Cortius, VPRO

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