Heritage, Tourism, and Race

Abstract

Heritage, Tourism, and Race views heritage and leisure tourism in the Americas through the lens of race, and is especially concerned with redressing gaps in recognizing and critically accounting for African Americans as an underrepresented community in leisure.Fostering critical public discussions about heritage, travel, tourism, leisure, and race, Jackson addresses the underrepresentation of African American leisure experiences and links Black experiences in this area to discussions of race, place, spatial imaginaries, and issues of segregation and social control explored in the fields of geography, architecture, and the law. Most importantly, the book emphasizes the importance of shifting public dialogue from a singular focus on those groups who are disadvantaged within a system of racial hierarchy to those actors and institutions exerting power over racialized others through practices of exclusion.Heritage, Tourism, and Race will be invaluable reading for academics and students engaged in the study of museums as well as architecture, anthropology, public history, and a range of other disciplines. It will also be of interest to museum and heritage professionals and those studying the construction and control of space and how this affects and reveals the narratives of marginalized communities.

Laugh—cry, eat—drink, dance! Tracing belonging through cartographies of joy

“…They call for ethnographers to pick up pencils, audio recorders, and other tools for crafting multi‐sensory and multimodal ethnographies (Boudreault‐Fournier 2019; Causey 2017; Degarrod 2018; Elliott and Culhane 2017; Kashanipour 2021a, 2021b; Pink 2016; Taussig 2011). Motivated by a desire to decolonize the disciplines and share power with research participants in meaningful ways, anthropologists have championed collaborative methods and asserted the critical power of centering Black, Indigenous, Latinx, queer, and feminist practices (Bejarano et al 2019; Breunlin 2020; Harrison 2008; Jackson 2020; Lassiter et al 2004; Lassiter 2005). Some have created labs, like Elizabeth Chin's Center for Speculative Ethnography, Centre for Imaginative Ethnography, Harvard's Sensory Ethnography Lab, and the Participatory Media Lab led by David Syring to draw students and faculty into different ways of working together, rethinking ethnographic apprenticeship and generating visions for what ethnography can be and what it can do (Chin 2015; Culhane 2017; Lee 2019; Syring 2019).…”

“…They call for ethnographers to pick up pencils, audio recorders, and other tools for crafting multi-sensory and multimodal ethnographies (Boudreault-Fournier 2019;Causey 2017;Degarrod 2018;Elliott and Culhane 2017;Kashanipour 2021aKashanipour , 2021bPink 2016;Taussig 2011). Motivated by a desire to decolonize the disciplines and share power with research participants in meaningful ways, anthropologists have championed collaborative methods and asserted the critical power of centering Black, Indigenous, Latinx, queer, and feminist practices (Bejarano et al 2019;Breunlin 2020;Harrison 2008;Jackson 2020;Lassiter et al 2004;Lassiter 2005) ). In New Orleans, the Neighborhood Story Project harnesses art, photography, and narrative, expanded modes of peer review and co-authorship to create collaborative ethnographies, exhibits, and events engaging Indigenous, African, and diasporic knowledge and practice (Breunlin 2020;Fi Yi Yi et al 2018;Haviland 2017).…”