China’s Cultural Tourism- 中国的文化旅游

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Although mass tourism is one of the most lucrative industries in the world due to the growing competition between destinations, and the major source of foreign exchange earnings that tourism gives to countries, increasingly critics have pointed to tourism’s negative social, economic, cultural, and environmental impacts. For example, by overusing scarce water and land resources and failing to regulate rapid population growth in already congested areas, locals in Venice and Barcelona have held anti-tourist protests in the past years calling for a cap on tourist numbers (Kettle, The Guardian, 2017). This has led to a call for alternative forms of tourism such as ‘cultural tourism’. As Scott (1997) noted, the reason for this shift from mass to cultural tourism is that capitalism has moved into a phase “in which the cultural forms and meanings of its outputs become critical if not dominating elements of productive strategy” (p. 323). In other words, the commodification of culture’s material and symbolic resources provides a highly mobile and arguably infinite form of capital supply. 

On the one hand, this model can be considered to be attractive to some local communities. Van der duim, Peters, and Akama’s (2005) study on cultural tourism in African communities reveals that host communities cannot always be seen as victims to predetermined global development processes of mass tourism. Through the initiation of various cultural tourism activities, groups like the Maasai people in Kenya and Tanzania have acted as agents with power to influence tourism projects that have become a key source of livelihood for their communities. These observations reveal that the power dynamics of cultural tourism are not a one-way flow as they often are with mass tourism, and shared power dynamic is reflected by the negotiations that often take place between tour guides and local representatives, as well as between tourists and locals when it comes to buying souvenirs or hosting tourist families. 

For governments too, the cultural tourism model is an attractive alternative to the negative reputation and impact of mass tourism since cultural tourism can easily be tied to the idea of a national ‘brand’. In India, cultural tourism was the main push behind the rise of the tourism sector, with the promotion of India as a land of ancient history and culture in the 2002 Incredible India!campaign. Since launching the campaign, India improved its travel and tourism competitiveness by increasing its position from 65thof 40thin The Travel & Tourism Competitiveness Report 2017 (World Economic Forum, 2017, p. 4). However, as Reena Gupta (2018) noted in her analysis of the Incredible India!campaign, the use of cultural tourism as national branding has become more of a reflection of an imagined identity rather than reality itself. In some of the most recent Incredible India!advertisements, Indians are not fully present on screen as when they are shown, they mostly represent unknown characters whose purpose is to welcome and dance for the western woman at the centre of the tourist story. Therefore, even in the cultural tourist setting where a place’s history, landscape, and people should take centre stage, ethnicity and culture is presented as the “seasoning that can liven up the dull dish that is mainstream white culture” (hooks, 1992, p. 424). In other words, the cultures that are being shown and projected are not neutral: they are related to how governments and the global tourist market construct and understand a place, and the packaging of this is aimed towards a particular western (but increasingly, growing middle class, eastern) market. 

This raises the question about who owns and is able to access culture. In his analysis on cultural politics and tourism, Jim Butcher (2005) states that museums, galleries, and heritage sites are often “regulated through state culture policy, policy that is very much the product of a wider contested cultural politics” (p. 21). This contestation plays out between marginalised and dominant groups in society, and it is usually the case where the dominated group either directly or indirectly fights against or accepts the dominant group’s historical narrative as the natural state of the world. For instance, in Western Europe, the history of state socialism has been externalised to the current neo-liberal socio-economic model, where most museums in former Soviet countries have been revamped to the extent that the nuances (and sometimes positive experiences) of life under communism are rarely shown (Molden, 2016, p. 126). Although pro-communist, pro-Soviet groups still exist throughout Europe, especially in Eastern European countries, it is rare that the positive experiences of Soviet times will be shared in official cultural tourism sites. 

In that case, there is always a connection between cultural experience and the structural context of power relations, especially between those who want to maintain or change the dominant cultural framework and those that just passively live in it. The dominant group establishes this reality through the creation of a distinct language and symbolic imagery that legitimizes the mainstream cultural framework which cultural tourism programs operate in. With India, the fantasy created by the ministry of tourism and culture is that Westerners and upper-class Indians, particularly the diaspora, can consume Indian things without needing to deal with the agency and potential resistance from working-class Indian people, who are increasingly being overworked (Gill, 2018). This represents a form of “internal orientalism” since Indians themselves depict their country as “a place of romance, exotic beings, haunting memories and landscapes, remarkable experiences” (Said, 1970, p. 9) within the framework of tourist capitalism. 

In China, a similar phenomenon is occurring. The celebration and promotion of China’s “Confucian renaissance” is marked by the emergence of the upscale Confucian-themed Nishan Akademia hotel in Qufu, the birthplace of Confucius. Opened in 2016, guests can dress up in traditional Hanfu clothing from the Han dynasty, similar to those featured in Chinese television dramas. Once robed, activities offered to the guests include practicing calligraphy, playing traditional games including touhou, and visiting the Confucius museum. Accommodation at Nishan Akademia includes 47 stand-alone houses, some of which cost more than 10,000 yuan (US$1,440) a night (Yau, SCMP, 2018). These representations, marketed at wealthy Chinese and Western audiences, show a very uncritical, uncontroversial side of Confucianism that fits properly into the (national) master narrative of China’s history and culture. 

Beyond Shandong province, China’s cultural tourism is also marketed around the commodification of various “exotic” minority (minzu) cultures. The term minzu, roughly translated as minority or ethnic group, is a political classification that includes the Han Chinese majority and the 55 officially recognised ethnic minority groups throughout China. While all these groups are defined by a common language, territory, and economy, belonging to the greater category of zhonghua minzu (pan-Chinese national identity), non-Han ethnic minorities are both the object of exoticism and fear, which makes them suitable marketable products for cultural tourism. Swain (1990) writes that most of China’s minority groups live in regions that have important natural resources and are on strategic international borders, and that domestic tourists are encouraged to visit these areas for the scenery and to observe the ‘curious’ indigenous people. A China Reconstructs(May 1988) article describes the difference in park accommodations in Tibet between the three state guest houses and the small inns run by Tibetan families, where the inns facilities are described as “limited, but the experience is unique”. Indigenous groups in these areas often become a generic category, marked only by their distinct traditional clothes. In Hainan island, where the centre is being developed for cultural tourism, hotels, minority restaurants, and tours into Wuzhi mountain minority villages feature minority women as hostesses for guests, which is part of the larger “primitive” package that tourists are promised. In the article, “Hawaii of the Other” (Bier, 1998), a researcher is quoted as saying that development in Hainan Island is for show. Away from the tourist sites, “the central government is not providing money to improve standards of living”. A similar finding was also noted by associate professor Trine Brox (2017), who conducted a mixed qualitative and quantitative study on the biggest minzumarket in Chengdu and found that although sold as Tibetan cultural products, many of the shops sold goods not made in Tibet or by Tibetans and most of the shops were not run by Tibetans themselves.

There is also a sexual and gendered factor in China’s cultural tourism. In many mass media images, indigenous girls and women appear next to or communing with animals, picking fruits, and standing near waterfalls and streams. Their carefree nature is depicted by them laughing and they are dressed in decorative costumes that help identify them with their nationality. While the elaborateness of their clothing is associated with adulthood, these women are often featured with physical features of a child, linking nativity to innocence and naivety. The effect is that these women are infantilized and made to be the object of fascination. In the article Gender and Internal Orientalism in ChinaSchein (1997) highlights that these imaginings made minority women a powerful attraction. Also associated with repulsion and fear along with desire, it was not uncommon to be told by a Chinese urbanite that women “there” do not cover their breasts, or that young indigenous people engage in “socially sanctioned orgies” (p. 77). The idea is that the eroticised ‘other’ is placed into the social imaginary as being both dangerous and alluring, especially for upper-class city people. 

Although there can be a difference between mass tourism from other, most focused forms of tourism such as cultural tourism – which can promote economic development for indigenous groups if these groups are in charge of the decision-making and owning the processes of promoting cultural continuity (Swain, 1990) –  in China, the unequal power dynamics between ethnic groups, the central government, and tourist capitalism creates a rather complex picture. It is the state which defines who and what constitutes an ethnic group and the tourist market that defines who is or will be an upcoming cultural commodity. While there are definite economic benefits in promoting cultural tourism, including stimulating the national economy and attracting foreign capital, it is questionable whether these profits flow back into the ethnic communities whose cultural products are being marketed, and whether the cultural picture that is being packaged for tourists is authentic or part of the imagined cultural tourism experience.


By Cindy Minarova-Banjac

Confucian Sayings- 儒家的智慧

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Trust in Confucianism

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Part 13 (concluding video) of the 2018 interview with Dr. Alan Chan at Bond University, Australia. Trust and being trustworthy plays a central role in Confucian ethics. In the Analects, for example, Confucius frequently uses the term xin 信 to discuss the importance of trust in various social and political contexts in ancient China. In this final section of the interview, trust in Western and Eastern perspectives is discussed.

Questioning Human Nature in Confucianism

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Part 12 of the 2018 interview with Dr. Alan Chan at Bond University, Australia. On the one hand, scholars have argued that human nature is inherently evil and that the state should play a key role in educating and civilising citizens. However, there are also those who argue that human nature is inherently good and that the role and influence of the state should be limited to allow for individuals to fulfil their potentials. In this section of the interview, the various perspectives on human nature in Confucian thought are discussed.

Spreading and Translating Confucianism

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Part 11 of the 2018 interview with Dr. Alan Chan at Bond University, Australia. Having published his own English translation of the Analects, Chan funded the construction of a Confucius Neo-Institute in Qufu, in 2013. This section of the interview discusses the difficulties of spreading and translating Confucianism in current times.

‘Analects Renovated’

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Part 10 of the 2018 interview with Dr. Alan Chan at Bond University, Australia. Dr. Alan Chan discusses his book ‘Analects Renovated’, which is a diluted and applicable version of the Analects in modern times.

Understanding Confucianism

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Part 9 of the 2018 interview with Dr. Alan Chan at Bond University, Australia. Confucianism is often characterised as a one-dimensional, rigid moral philosophy that was greatly disliked by scholars such as Han Feizi, who described Confucianists as ‘vermin’ that preyed like parasites on the body politic. This section of the interview discusses misunderstanding Confucianism in the modern world.