Burlesquing “the other” in Pueblo performance

Sweet, Jill D.

doi:10.1016/0160-7383(89)90030-3

Cited by 51 publications

(14 citation statements)

References 3 publications

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“…However, here the imperative is to redirect tourists' interests by offering not the expected exotic but rather the mundane and familiar in order to challenge preconceptions about what constitutes Ojibwe authenticity. In this way, and like the tourist workers discussed by Sweet (1989) and EvansPritchard (1989), guides rejected tourists' expectations. In refusing to offer performances of expected differences, they put the onus of cultural interpretation on tourists.…”

Section: Rootedness Encounter and Knowledgementioning

confidence: 86%

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Stampe

2008

Tourist Studies

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In this article, I consider the ethnographic study of tourists and tourism by juxtaposing the perspectives and positions of differently situated members of the tourist-receiving population at Lake Mille Lacs, in the upper midwestern USA. There, I positioned myself as worker at two sites — the Mille Lacs Indian Museum and Trading Post State Historic Site and the Mille Lacs Area Tourism Council's information office. From these two locations, I conducted ethnography by engaging in a range of pursuits including participant-observation, conducting surveys and interviewing both tourists and tourist workers. In discussing this experience, I critique discourses that ascribe `mobility' and `rootedness' in ways that obscure the complex realities of daily life in tourist settings. I argue that these conceptions of the positions available in tourist settings can be usefully unsettled through the practice of ethnography.

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Section: Rootedness Encounter and Knowledgementioning

confidence: 86%

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Stampe

2008

Tourist Studies

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“…The political potential of these performative tactics reaches its most sophisticated expression in the performance ‘Zorba The Greek Yolngu Style’. This dance does not simply negotiate change by dealing with external challenges and ‘making sense of the other’ (Sweet :63), nor is it only a form of resistance and protest that counter‐appropriates western musical, performative, and discursive techniques (Michaels :27). Further, it does not stop at making a strategic use of the mimetic faculty to act on and transform power relations (Redmond ; Taussig :250ff).…”

Section: Discussionmentioning

confidence: 99%

A Space and Time for a Generation to React: The Gattjirrk Cultural Festival in Milingimbi

Tamisari

2016

Oceania

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This article deals with the annually held Gattjirrk Cultural Festival organised in Milingimbi, a Yolngu\ud community in Northeast Arnhem Land, and has the objective of analysing its socio-cultural and political\ud meaning. Although this event is considered an amusement (wakal), it nevertheless constitutes an arena\ud to negotiate postcolonial realities in which Yolngu people are forced to live. Focusing on the organisers’\ud overall frame of ‘sharing culture’ and youths’ interpretations of hip-hop dances as ‘performative\ud tactics’, I suggest that the Milingimbi Festival creates a space in which generational perspectives within\ud the community as well as the tension between Yolngu people and the non-indigenous (balanda) world\ud may be displayed and mediated. While the Festival has been mainly conceived as a space for encountering\ud and ‘sharing culture’ with other groups and people both within the community and with the\ud balanda world, it is also seized as an opportunity by young people to generate new ways to engage with\ud and challenge others. By weaving together elements of Yolngu heritage and pop culture, I argue that fun\ud or burlesque dances (wakal bunngul) are ‘tactics of cultural remix’ that through laughter and irony\ud demand a witnessing: a mutual recognition, engagement, and responsibility to participate and to\ud respond. It is thus in their own ways that these performances produce new connections and relationships\ud bringing together old and young, Yolngu and balanda in an effective although fleeting encounter

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“…This illusion influences how communities view themselves and can gradually become their collectively true and defining characteristics (Medina, 2003). The illusion will turn away visitors who discover residents engaging in "twice-behaved behavior" (Schedner & Turner, 1985, p. 179), parody, feigned ignorance or outright deception (Sweet, 1989), or striving to "re-become who they never were but wish to have been or wish to become" (Conquergood, 1992, p. 44).…”

Section: Cultural Identity Risks and Benefitsmentioning

confidence: 97%

The good souvenir: representations of Okinawa and Kinmen islands in Asia

Hunter

2011

Journal of Sustainable Tourism

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Representations of indigenous Okinawa shisa (Japan) and Kinmen wind lion totems (Taiwan) are popular tourist souvenirs. They are also commonly used in destination tourism promotion as logos or mascots. Some tourism research describes these practices as exploitative and damaging to local culture. Other research suggests that resident consensus, local production and government sponsorship can produce a good souvenir that benefits local identity and economy. This paper reports on a semiotic analysis of these cultural representations as found onsite at these two destinations. Photographs are interpreted as index, icon and symbol according to Peirce's semiotics compared. Seven types of representations were found that indicate complex relationships between original totems and their variations. The representations are the same for both destinations. This comparative research finds that each type of representation has a unique place in the tourism economy, but all are held together as a coherent whole by the form and location of the original totems. The good souvenir is a product of creative marketing and sponsorship and vigilant preservation of cultural heritage. The original totem form should be immutable; its value and significance increases over time. As commercial duplications proliferate, government policy should protect the originals and fix them in their physical locations.

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Burlesquing “the other” in Pueblo performance

Cited by 51 publications

References 3 publications

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A Space and Time for a Generation to React: The Gattjirrk Cultural Festival in Milingimbi

The good souvenir: representations of Okinawa and Kinmen islands in Asia

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