Disruptive and Adaptive Methods in Activist Tourism Studies: Socio-Spatial Imaginaries of Dissent

Abstract

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Tourism research with ‘double-eyes’: A selfless epistemology

“…While we argue that phantasmagorical contexts and their atmospheres are particularly suitable for a selfless epistemology, we encourage tourism researchers to build on our work and see how this epistemology could work in other contexts as well. deep reflexivity as of narratives (Ivanova et al, 2021) creative & disruptive of body/space staging (Farkic, 2021) kinaesthetic consumption (Varley et al, 2020) embodying place/non-place reflections of (Chronis, 2015) messy fieldwork & experiencing discomfort to study dissent (Lamond, 2021) disruptive & adaptive approaches convention through play (Wengel et al, 2021) challenge & disrupt as unsettling method (Grimwood & Johnson, 2021) collective memory work to challenge narratives (Tomassini et al, 2021) linguistic analysis from gaming (Lalicic & Weber-Sabil, 2021) role-playing & co-creating (Rydzik et al, 2013) arts based methods through literary fiction (Wright, 2021) creative analytical practice CAP of multi-species relations & assemblages (Haanpää et al, 2021) video ethnography of multi-species as living agents (Äijälä, 2021) videography (Pernecky & Jamal, 2010) experiential & existential issues to represent emotional complexities of (Pocock, 2015) poetry entanglement in the field as postcolonial (re)presentation (Dabezies, 2020) iconography as to create tourism knowledge (Rakić & Chambers, 2010) filmmaking visual method Indigenous contests (Lee, 2017) storytelling linear narratives…”

“…Lalicic & Weber-Sabil, 2021;Wengel, McIntosh & Cockburn-Wootten, 2021) and creative, arts-focused approaches (Rydzik, Pritchard, Morgan & Sedgley, 2013;Wright, 2021), more community-engaged forms of research (e.g. para-ethnography, Duxbury, Bakas & Pato de Carvalho, 2021; collective memory work, Grimwood & Johnson, 2021) and academic activist tactics (Chong, 2021;Lamond, 2021). All of these methodologies are acknowledged to be "messy" (Duxbury et al, 2021, p. 333;Tomassini, Font & Thomas, 2021) and risky, particularly given the institutional and epistemological academic structures on which tourism studies is built (Butowski, Kaczmarek, Kowalczyk-Anioł & Szafrańska, 2021).…”

“…Indeed, alternative forms of expression have started to receive more attention (Lee, 2017;Rakić & Chambers, 2010;Rydzik et al, 2013); for example, both Noy (2007) and Pocock (2015) use poetry to represent the emotional complexities of their entanglement with the field. There is significant potential for other forms of representation ranging from music, games (Lalicic & Weber-Sabil, 2021;Wengel et al, 2021), role-play and theatre, dialogues, interactive, non-linear and fragmented narratives (Lamond, 2021;Tomassini et al, 2021;Wright, 2021), videography (Äijälä, 2021;Haanpää et al, 2021), visual arts (Dabezies, 2020), walking tours (Chronis, 2015;Duignan & McGillivray, 2021) and many more. These approaches are well equipped to support us in our unlearning and are thus powerful tools in a project of self-detachment.…”