The Visitor Experience: Adapting in Post-Covid World

The heritage and tourism industry has suffered in numerous ways due to the Covid pandemic currently prevalent in our world. When we think about the relationship between heritage sites and consumers who are eager to explore history and heritage, this has naturally been subject to change during these challenging times. Ensuring that collections, artefacts and displays are appreciated, and that the heritage is valued by the visitor is key for a successful visitor experience (Wallace, 2017, p. 3) and this coupled with the new safety precautions, is what all heritage sites are attempting to balance. As a researcher, I have visited different heritage sites and experienced how they have adapted to the current circumstances where social distancing, improved hygiene practices and safety precautions have been put in place. One heritage site of note is New Lanark, where I have also had the privilege of working for the past year on a part-time basis. Awarded World Heritage Site (WHS) status in 2001, New Lanark celebrates the industrial history of Scotland through a Visitor Attraction Centre and various other tourist facilities such as a hotel, café and shop. It can be found alongside the River Clyde, between Glasgow and Edinburgh. The purposes of this WHS are summarised below (New Lanark, 2020): Conserve the site’s heritage, site and environs, Contribute socially and economically to the area, Evolve to stay relevant to our people and the world. As the Covid pandemic has swept through the country, New Lanark has attempted to balance the consumer needs and wants with government restrictions and guidelines to ensure a safe, enjoyable and informative visit to the site. Arguably, this is in keeping with the above purposes of the site. With the visitor experience already being widely recognised in literature as a ‘multidimensional and complex’ learning environment with varying perspectives (Packer and Ballantyne, 2016, p. 129), adding necessary safety precautions into the mix has created many challenges which have required urgent solutions. Using online platforms such as social media to further promote heritage and history has enabled New Lanark to reach various target audiences and promote the visibility of the site. A new socially-distanced exhibition entitled ‘A Tenement Through Time’ has also been opened to the public, where the consumer can learn how people lived through their words, lives and wallpapers. Despite these successful promotions of history and heritage, New Lanark has been unable to fully open its doors to tourists which is sadly the reality for a great number of heritage sites. Thus, we ask ourselves… How long can this be sustained? The temptation to think negatively of such circumstances is to be expected but perhaps when...

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Acropolis: Marbled by Monumental Myths and Stories 

“During my first days in the city for fieldwork, I strolled around the small streets in Anafiotika, a Greek island-like neighborhood at the foot of the Acropolis. There, I started chatting with a shop owner in his 60s, who was trying to sell his summer linen clothes and straw hats to tourists. When he asked me how long I was planning to stay and I told him that I will be staying to do some research, he became curious. His first reaction to the topic of my research was to tell me the story of Konstantinos Koukidis.”[1] He’s the one who committed suicide, preventing the Greek flag to not get lost to the Germans during the German occupation in Greece (1941-1944), by wrapping his body in the fabric and throwing himself from the Acropolis hill. Though there are speculations that Koukidis himself did not really exist, but rather became a myth told for almost 80 years now, for the shopkeeper I talked to, this story represents the beginning of the Greek resistance against the Nazis as well as many following movements. “It is one of these stories that often remain in the shadow of an impressive historic monument and the endless queues of tourists in front of souvenir shops, bars, restaurants, ice cream shops and shops selling Greek frozen yogurt. I am certain that on this day in late June 2018, when I was told this story by the shop keeper, thousands of tourists had already passed by the plaque commemorating Koukidis’ act of resistance on their way to climb the Acropolis hill – most likely without even noticing it. I was still at the beginning of my fieldwork and yet the shopkeeper’s story already made me aware of the gap between heroic testimonies of antiquity and heroes of modern Greek history in official Greek historical representation, as exemplified by the Acropolis.”[2] However, this is not the only story surrounding a fabric – here a flag – and the ancient site. There is another one, a bit less mythologized, as the main protagonists definitely existed: Manolis Glezos and Apostolos Santas became icons of the anti-fascist resistance during the German occupation in 1941, by taking down the swastika flag hoisted on the hill of the Acropolis. “I really like it cause it’s amazing how a piece of fabric can have such a big meaning of belonging,” states Della, whom I interviewed during a fieldtrip in 2018, when we are talking about acts of resistance and the Acropolis. Glezos himself remained politically active amongst others as the oldest member of the European Parliament for Syriza in 2014 and 2015, at the age...

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Why is history never set in stone?

July 13th, 2013 a socio-political movement took off across the United States of America. In the aftermath of a controversial judicial decision to acquit Officer George Zimmerman, in the shooting of 17-year-old African American Trayvon Martin, people took to social media platforms with the simple yet powerful statement: #BlackLivesMatter. Momentum gained across the next several years, with demonstrations against police brutality and civil rights violations, the movement was formalised as Black Lives Matter (BLM). Then in 2020, the unlawful death of George Floyd by police reignited the movement not only in America, but across the globe. The movement gathered between 15 to 26 million people in USA, becoming one of the largest movements in United States’ history. Then BLM has seen ramifications and support across the globe and stirred a new stand in the UK. By June 2020, BLM protesters in Bristol dislodged a public sculpture of Edward Colston, a philanthropist who also had connections to the slave trade, and pushed it into a nearby river. Why did the BLM movement shift from protesting police brutality in contemporary society to the destruction of historical figures in public spaces? If there is one thing we all rely on without necessarily giving it much credit, it is our understanding of the past. In many cases, history represents a core ideological narrative of any given society. It can shape our ways of behaving in any social context and represent the roots of many of our values, traditions and beliefs. The narration of past events represents a fundamental element of the heritage experience, producing meanings and sharing culturally significant values of a nation. Yet we tend to regard history as a fixed immutable asset. We can find comfort in knowing that while our society is constantly evolving, our past lies unchanged. But is this the case? Who wrote the historical records and for what purpose? The old adage ‘history is written by the victors’ has been problematised by the BLM movement and in particular the unquestioned presence of historical figures’ monuments scattered across cities. As the overarching controllers of historical narratives, museums and heritage sites have been actively rethinking past narratives.The heritage scholar Rodney Harrison argues that “heritage is not simply a collection of ‘things’, but instead constitutes the social ‘work’ that individuals and societies undertake to produce the past in the present.” (2013, p.113) In that sense, the BLM movement has certainly challenged the social ‘work’ that past societies created in the commemoration of Edward Colston in public spaces. While it was perhaps an agreed form of narrative in a very different period of time, it might not always reflect the understanding...

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Negotiating Contested Landscapes: The Alaska Lupin in Iceland

A windy summer day gives a glimpse into the complex, and at times contested, relations that emerge between people and plants in Iceland’s quickly transforming landscapes.

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Content Wanted! Become a Part of Transformations

How much of the experience and results of our anthropological research reaches the public? Far too little in our eyes. We want to change the cycle of invisibility. Anthropologists do have a lot to offer. We have the expertise to engage in public discourse. Anthropology matters. Tell your stories, write for us.

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From the Field to the Laptop: The Art of Writing a PhD Thesis
Apr30

From the Field to the Laptop: The Art of Writing a PhD Thesis

The fact that one should go for a PhD only when s/he is 100 percent sure is well-publicised. What, however, is often not known is that even after being sure about one’s research topic, writing the dissertation can still be a difficult task! The struggles that a researcher has to go through to write a dissertation is underrated. It can be both academically and personally challenging. The two most significant aspects of doing a PhD include the collection of data and then writing the thesis. My PhD research explores the relationship between the mobile theatre of Assam and the ideas of the public. I argue that Assamese mobile theatre has created an intersection between two kinds of public – the counter-public and the public culture. While mobile theatre is seen as an assertion of Assamese identity in the face of increasing globalization, at the same time, it has adapted itself to the demands of the time by using the latest technologies and content. Thus, the example of mobile theatre shows that a public can exhibit characteristics of being both a counter-public and public culture at the same time. There is an intersection between the two categories of public. Keeping in mind the nature of my topic, the methods that I used were mostly qualitative and include oral history, both participant and non-participant observation, interview, case study and ethnography. These methods complement each other in the sense that oral history, observation, interview and case study help a social scientist in writing a good ethnographic piece. However, doing a PhD is not just about collecting the data. A lot of it is also about writing, writing and more writing. This is especially true for students of the social sciences. It can be very overwhelming to come back from the field and sit down with the field notes. It often happens that the fieldwork goes great, and the researcher collects very rich and insightful data. But the challenge lies in putting the field notes into writing. After all, a researcher is someone who ‘observes, records, analyses, interprets and writes’ (Geertz 1977: 5).  The writing part is equally important as the fieldwork part. So what can be done to ease the process of writing? As someone who has just finished writing her thesis, I have some vital insights to share with others who may be struggling. First of all, it is a good idea to discuss one’s ideas thoroughly with his/her supervisor. It is also not a bad idea to note down every minute of those discussions. Many times, brilliant and interesting ideas can emerge from those meetings. It is also important to...

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