The Problematic Nature Of Cultural Tourism

The progression of technology and its presence in society has strongly molded the way people live their lives today, and the way they will continue to live their lives years from now. But with this advancement of science and increased order, there is a consequence that seems to be a heavy price to pay: the loss of human emotion and freewill, and the submission to organization and commands. The tourist industry is one such manufactured machine, so to speak, that influences people's views in certain aspects. One of these aspects, culture, is a main focus of post-modernist writer Bryan Turner, who believes that "tourism invents and demands empathy...makes cultures

.In Happenings and Other Acts, Mariellen R. Sandford - associate director of The Drama Review (TRD) since 1985 - has collected important essays, interviews and performance texts that help explain the complicated and intriguing nature of Happenings and Live Performance. The book itself is described as a collection of “invaluable documents from a period that radically changed our perception of the function of the artist, the role of the observer, and the relation between art and everyday life.” (Sandford, 1995)

This essay will discuss both the Cinema of Attractions and Narrative Cinema and their origins in order to better understand the differences found between them in regards to the criteria to follow. This essay will highlight the role that the spectator plays, and the temporality that both the Cinema of Attractions and Narrative Cinema exhibit.

Throughout the semester, the lived religion approach has enabled our class to analyze what religion is to many different types of people from all sorts of cultures. This method has allowed the class to view each religion in its own unique form. Essentially, the lived religion approach opens the doors to what each different religion/culture can offer, and how each of those groups embody what they get from the religion in their day to day lives. Unfortunately, conventional approaches do not dive into these different religions deep enough to see what the culture practices contribute to a religion. This paper will attempt to answer the question of why does myth and ritual play such important roles when it comes to an

As a group, contrasting from Stanislavsky to Brecht, we selected to continually break the fourth wall, giving the assurance to the audience that what they see is fiction. In order for the audience to appreciate the art of theatre, not just the entertainment value nowadays is influenced by film and television; but the poetry, the verses, the hymns of theatre currently ‘lost in translation’ with the emergence of money-mongering

Attending a kind of subcultural initiation ritual, known as a gig, in this case comprised of local Wellington musicians is reminiscent of Turner’s discussion of rituals and Rites of passage. This particular ritual form certainly encourages belonging, uniformity that appears to be a universal attribute of group rituals. It is important to distinguish between ceremony and ritual here, the gig can be considered a ritual as it could promote transformation in an individual and is not a conformational event. The following essay discusses this ritual in two parts, firstly examining Turner 's discussion of Rites of Passage and ritual particularly Separation, liminality and Aggregation themes. Secondly the essay will suggest what this particular ritual does for identity and community and suggest that rituals, more broadly, remain essential to contemporary life. Overall, this essay will argue that Turner’s discussion is useful in illuminating aspects of this ritual, however it does not accurately explain all of it.

In the words of Gay McAuley, “for an activity to be regarded as a performance, it must involve the live presence of the performers and those witnessing it…” (McAuley, 2009, cited in Schechner, 2013, pp.38). This statement recognises the importance of both the actor and the audience for something to truly function as a performance. In addition, Lloyd Llewellyn-Jones highlights the significance of the theatrical space and how it can influence an audience stating that “on entering a theatre of any kind, a spectator walks into a specific space, one that is designed to produce a certain reaction or series of responses” (Llewellyn-Jones, 2002, pp.3). The relationship between actor, audience and theatrical space is no less important today than it was at the time of theatre during the Spanish Golden Age and the creation of Commedia dell’arte in Italy. Despite being very close geographically with theatre thriving for both in the same era, sources that explore the social, cultural and historical context of these countries and the theatre styles will bring to light the similarities and differences. This essay will analyse the staging, the behaviour of the audience as well as the challenges the actors faced, and how this directly influenced the relationship between actor, audience and theatrical space.

In both Wilton Corkern’s article “Heritage Tourism: Where Public and History Don't Always Meet” and Barbara Kirshenblatt-Gimblett’s article “Destination Culture”, one of the elements that I liked in both of their articles was the introduction. I thought that the introduction not only helped me understand what their perspectives were on the subject of tourism, but it also helped me paint a mental picture of the place that they were describing by the “show and not tell method”. I also enjoyed how they invited the reader into their conversation and made the reader feel that they were part of the adventure themselves. This is one of the main academic moves of writing that I would like to accomplish in my own work. I want my potential audience members

Paul Basden begins his conversation on worship by seeking to define its meaning. However, the reader will learn quickly that this task is easier said than done. Basden examines worship through theological, biblical, and historical facets and ultimately determines that “Worship has never been practiced in all places by all people in one way (18). In order to discuss the various types of worship in a congenial way, Basden introduces six authors that are charged with defending and critique each other’s methods.

Music is ever present in the rituals of the Greek city-states and only seldom do we find a Greek ritual deprived of any musical expression. Every public act of worship was accompanied by hymn singing, instrumental accompaniment, dances or musical processions. Greek Festivals were dedicated sites of musical performances, ranging from the spontaneous hymnic cries of the crowds to the intricate skills of professional musicians. At the core of this study lies the basic assumption that each Greek cult, each God or Goddess in their varied local manifestations, demanded a specific musical worship, a unique cultic soundscape. The inherent local soundscape of each and every Greek cult defined it`s traditionally accepted set of musical-patterns, governing

Currently, myriads of churches tumble into this false dichotomy. Traditional-based churches sing church hymns with few instruments. On the other side, the contemporary church demonstrates itself, replete with stage lighting, mixing boards, projection systems for the lyrics, etc. Nevertheless, either form of music imparts itself as an acceptable form of worship, moreover, authentic worship puts God in the center, the object of worship. However, the debate continues in Christian circles over the superior form of worship music.

Upon reading the essay topic, I was planning on playing devil’s advocate - I was going to write about how I believe there is very little truth behind theatre. In fact, I thought I had a relatively convincing argument. Theatre is the art of storytelling manifested on the stage through the means of an actor portraying a character; this is to say they are pretending to be somebody which they are not. In this sense, there is a lack of truth. I was to argue that phenomenology has more to do with the significance a spectator places on an event/word/action/etc. than any contribution made by the actor. However, I had developed this idea prior to watching Rodenburg’s video and soon came to realize that this opinion is not only both misinformed and ignorant, it is disrespectful to those responsible for the creation of theatre, as well as any person who has ever felt any sort of emotion while spectating a performance piece. For the purpose of this essay, I will start by defining phenomenology and discussing Martin Heidegger’s theory of presence and truth. This will be followed by a reflection on truth and presence and a connection with my own experiences in the theatre.

Music is ubiquitous and intertwined with the religious experience. Whether it’s a harmonious call to prayer, a hymn sung during worship service, or music written as a vehicle to show one’s faith, music is inseparable from religion. This paper will explore how different religions use music to express their faith, and the importance of music in religious rituals.

This is another compelling book about seduction after Tourism and the Power of Otherness: Seductions of Difference (2014) from Di Giovine and Picard. Dynamics of relations between pilgrimage and seduction are scrutinized elaborately in the book. It is obvious that we owe too much to Arnold van Gennep (1960) and Turners (1978). However, it seems there is still something left to be explained properly. While Turners grasp pilgrimage within one overarching discourse, for instance, contemporary forms of pilgrimage and worship necessitate drawing a framework which permits different discourses to operate. Therefore, in the chapters where multiple discourses are demonstrated, the authors choose to build on Eade and Sallnow (1991). The multiplicity

In Greek mythology, the genius, of poets, musicians, dancers, and artists is said to be inspired by a sisterhood of nine mythical female deities, each of whom act as the wellspring of cultural life, energy, and inspiration. Accordingly, these female gods purportedly dominate the creative moments of any artist's imagination. In turn, artists use their inspiration to create the various elements of culture such as music and literature. Because music is a temporal commodity, culture can be captured and made to serve God in Christian worship; however, God can never be captured and made to serve culture. This fundamental truth constantly eludes the thinking of pastors and church leaders today.