Introduction: Staging the Past

Hochbruck, Wolfgang; Schlehe, Judith

doi:10.14361/transcript.9783839414811.7

Cited by 4 publications

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“…This is compounded by the fact that the visitor experience in the Village is made visceral, tactile and sensorial alongside it being located in a more 'naturalistic' setting À the rainforest in the Village's case À that fuses 'elements of conventional museums which are aiming to collect, preserve and display artefacts, and open spaces which are constructed so as to create a sense of place' (Noussia, 2013, p. 179). It also coincides with the recent trend of museums which are increasingly adopting modus operandi that, in line with demands of cultural tourist these days to 'get involved' rather than to just 'gawk at' exhibits (Ross, 2004), allow for more interactive forms of display commonly associated with amusement parks and open air museums (see Hochbruck & Schlehe, 2010;Kane, 2013;Lukas, 2008).…”

Section: Producing the Sarawak Cultural Villagesupporting

confidence: 67%

Informal heritage-making at the Sarawak Cultural Village, East Malaysia

Muzaini

2016

Tourism Geographies

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Scholars have always been fascinated with cultural theme parks as tourism attractions or as vehicles for identity formations. With respect to the latter, the focus has been on how these consumption landscapes also portend spaces of representation that mobilize certain attributes of ethnic groups within territorial boundaries as a means to bind them together and link them to their terrains, although these ideological exercises are often times contested by the very people they seek to depict. Yet, comparably less emphasis has been paid on how local visitors can themselves draw upon their own cultural reserves to rethink the meanings of these spaces to make them more relatable. Drawing on participant ethnography and interviews with key staff and visitors, this paper examines how locals have sought to unmake and remake one such theme park, the Sarawak Cultural Village, to enhance resonance for them and for other visitors, at times even going against intended narratives. In so doing, the paper extends current scholarship beyond seeing themed spaces just as places where the formal employment of heritage for identity-building may be contested; they are also where meanings can be (re)negotiated 'from below', proffering more possibilities for co-constructive heritage-making.

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Section: Producing the Sarawak Cultural Villagesupporting

confidence: 67%

Informal heritage-making at the Sarawak Cultural Village, East Malaysia

Muzaini

2016

Tourism Geographies

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“…Typically, we might think of such spaces as bounded, such as traditional theme or amusement parks. An early debate within the study of theme parks was precisely that they were typically walled off and distinct from their surroundings in economic, social and aesthetic terms (Moore 1980, cited in Hochbruck and Schlehe, 2010). As Hochbruck and Schlehe (2010) argue, this is not necessarily the case and themed spaces are no longer considered extraordinary or liminal; they are now integral to everyday life.…”

Section: Theming In London's Public Spacesmentioning

confidence: 99%

Festive Space and Dream Worlds: Christmas in London

Eldridge¹,

Pappalepore²

2019

Destination London: The Expansion of the Visitor Economy

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Mark Connelly, in his social history of Christmas, begins by arguing that Christmas is 'England's single greatest cultural export' (2012, iv). Though aware that modern day Christmas finds its roots across Europe (McKay 2008) and draws on a range of local Pagan and Christian traditions (Miller 1993), Connelly argues that the Victorian period saw a search for and consolidation of uniquely English literature, myths, stories and practices that have since come to define Christmas across the world. Rather than the commonplace argument that the Victorians invented Christmas, Connelly, much like Storey (2008), suggests they were instead concerned that the ritual was dying out and 'conserved' and 'revived' rather than originated an entirely new set of customs and practices. Against the backdrop of rapid social and economic changes such as urbanisation, commercialisation, and industrialisation the Victorians became, for Connelly, 'obsessed' with finding and compiling English customs from the past in order to save this annual festival. This endeavour was especially driven by the desire to unearth and maintain ancient customs unsullied by excessive commercialism and modernity. The emerging materialism associated with How to cite this book chapter:

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A hyperreal first-place:Portugal dos Pequenitostheme park and the narrative of origins

Santos

2017

International Journal of Heritage Studies

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Introduction: Staging the Past

Cited by 4 publications

References 0 publications

Informal heritage-making at the Sarawak Cultural Village, East Malaysia

Informal heritage-making at the Sarawak Cultural Village, East Malaysia

Festive Space and Dream Worlds: Christmas in London

A hyperreal first-place:Portugal dos Pequenitostheme park and the narrative of origins

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