For anyone who's ever been a tourist, Counter-Tourism is an invitation to completely transform our experience of the heritage-tourism industry and its many sites (castles, National Trust properties, etc.). It provides a set of powerful lenses, designed to bend a whole world of conventional tourism into a spiral of new perspectives and experiences. Beneath those simple sounFor anyone who's ever been a tourist, Counter-Tourism is an invitation to completely transform our experience of the heritage-tourism industry and its many sites (castles, National Trust properties, etc.). It provides a set of powerful lenses, designed to bend a whole world of conventional tourism into a spiral of new perspectives and experiences. Beneath those simple sounding stories in the Visitor Guide and behind the locked gates marked PRIVATE in heritage sites, there lies a multitude of inconvenient stories, hilarities, wonders, absurdities, extremes and entertaining outrages. When Counter-Tourism opens the doors, tourism becomes a funny, shocking, revealing, subversive and life-changing experience rather than a deferential procession through the unrevealing stately homes of Heritage plc. Counter-Tourism upsets the sanitising efforts of the heritage industry. Counter-tourism is also a journey of mini-pilgrimages, challenges and pleasures. It celebrates the multiplicities of meanings in every heritage venue and upsets all the heritage industry's attempts at meaning-control and homogenisation. With hundreds more tactics and images, philosophical diversions and asides, the Handbook is for anyone who wants to explore the ideas of counter-tourism in more depth. Part 2 of the Handbook has ideas on how to extend the tactics described in Part 1 into interventions that can be planned and performed in heritage sites. And Part 3 goes on to suggest open 'infiltrations' that can be used by artists, performers, radical tourists and even heritage site managers themselves to reinvent their own sites. Alongside this there's a photo-essay on using the tactics, and a full bibliography....
|Title||:||Counter-Tourism: The Handbook|
|Number of Pages||:||228 Pages|
|Status||:||Available For Download|
|Last checked||:||21 Minutes ago!|
Counter-Tourism: The Handbook Reviews
From an early age I’ve always been vaguely suspicious of information provided at heritage sights. Somehow they seemed a little too clean cut. It’s said that history is written by the winning side and like the arch artifice of television editing, a heritage centre or sight can tell you anything it likes. This is true in particular if those who run it have some sort of axe to grind or money to be spun.But now the tourist strikes back. Counter Tourism The Handbook penned by Phil Smith AKA Crab Man is a mine of alternative ways of circumnavigating the heritage industry’s prescribed narratives and looking at building, spaces and areas themselves in a new light of your own creation.Crab Man himself worked in the industry for a number of years so he is in a pole position to give incites into the strange way it works. One of the most outrageous things he encountered was when he was involved in a WW2 display and was asked not to mention Nazis or Jews in case it upset or insulted anyone! That strikes me as being rather like the National Marine Aquarium getting asked not to mention the sea.Often times it seems like the most interesting things at a sight are the things not on the tour itself, the things you are not supposed to see. In one account Crab Man and a friend, whilst walking in the grounds of a castle, stumbled up on the spooky ruins of a US military hospital. It turned to be an old VD clinic.Some of the stories would not sound out of place in the pages of Fortean Times. For example plans were drawn up during WW2 (it’s that war again) to stockpile steam locomotives as a reserve in case of a German invasion. The plans were never carried out but steam engine enthusiasts still believed in a kind of lost city of vintage locomotives in some undisclosed area.Another bugbear is the restrictions put on places that are supposed to exist for the recreation of the public. Bemoaning the restricted access to Stonehenge (oh how they danced) it suggested that the reader put up a box office at the faux stone circles that councils have a fad for erecting on roundabouts and charge for entrance, keeping the visitors well away from the stones of course.The handbook is liberally peppered with top tips for the budding counter-tourist such as visiting historical sights in period costume but just acting normally or asking the tour guide if the ever used Wikipedia.The whole raison d'être of counter-tourism is a fight against the singular narratives about things and places in favour of multiple narratives the visitors bring themselves. The thing that is stressed the most is that it is the visit itself, not the actual place that is important. 10/10